For a select group of graduate students, we offer an advanced program that has been ranked among the top four printmaking programs for the past decade. Our program is comprehensive, encompassing traditional as well and new media and approaches. Additionally, our program is known for a commitment to connecting theory to practice. Each year we typically receive more than 50 applications for 2-4 openings in the program.
Graduate students are required to place a greater emphasis on applying theory to the development of a mature body of work. Our program is also intended to provide preparatory experiences for college level teaching for students on a Graduate Teaching Assistantship. Click here to see what our current graduate students have been doing.
We strongly encourage applicants to come to Knoxville to meet us and the current students and to see our facilities. The UT Printshop is located in room 241 on the second floor, north-west corner.
To see what our former MFA students are doing today, click here. Current MFA students are listed below. Prospective students are welcome to contact these individuals to inquire about the program.
In order to become a candidate in a degree program, the applicant must be admitted by the Graduate School upon the recommendation of the School of Art. Both the Graduate School and the School of Art have specific requirements and application procedures which must be satisfied by the application.
Questions or comments should be directed to:
Program Resource Specialist
School of Art
213 Art & Architecture Bldg.
1715 Volunteer Blvd.
The University of Tennessee
Knoxville, TN 37996-2410
FAX: (865) 974-3198
Daniel Ogletree - III Year
Education: Baylor University, BFA
“My recent prints are two-dimensional ‘still life’ stage settings which I use to explore the boundaries of traditional printmaking when compared to theater - more specifically, marionette theater. Most works of art are instigated by an unseen creative force: in the case of marionette theater, hands. Usually hidden, I feature them prominently as symbols of manipulation: they imply motion and allow a sense of the passage of time. The limitations of two-dimension art are such that the end result (in this case a woodcut) is, unlike theater, frozen in time. But behind every image is a story; the visible result is the culmination of the artist’s journey, and hints and traces of this journey can be found in the artist’s marks. Jasper Johns was aware of this and in his attempt to make a truly two-dimensional drawing he intentionally left behind traces of his mark-making. Likewise, I want the unseen act of cutting to breathe life, motion, and the drama of process into the finished print.”
Daniel Ogletree was born and raised in Pearland, Texas - a leafy bedroom community south of Houston - the comfortable monotony of life in the suburbs punctuated only by an occasional family road trip into the mountains of the West. After graduating high school, he moved to Waco, TX to pursue a degree in Computer Science at Baylor University. The annual road trips continued, but it was on a lengthy and particularly introspective journey east in 2006 that he spent some time seriously considering the pros and cons of a stable career and the comfortable, monotonous life that comes with it. He switched to a BFA in studio art without much of a plan, and in due time he discovered printmaking in a course taught by Indiana University alumnus Berry Klingman. What started with flowcharts ended with woodcuts and Daniel graduated in 2010 with a BFA in Printmaking. He has worked since then in the thriving metropolis that is Waco, TX, splitting time between printmaking and working with local artists as manager of the Croft Art Gallery.
“Theories, history, and dogma - provide the origin for my work. Raised with a deep sense of spirituality and appreciation for votives and physical objects used to honor the holy, this visual language remains in my subconcious. As I became a figurative artist concerned with social and political issues, the argument that the body cannot escape objectification felt limiting and outdated, so I sought to research the contemporary contextualization of the body in art. Through this research, I came to realize the body as object fit my feminist voice and religious upbringing. My work adopts the use of hierarchy. Often, religious imagery uses the physical body as a metaphor or literal translation to complex theories of holiness; in a post-modern fashion - my work follows suit using the body to bring lightness to serious issues of spirituality,social order, and aesthetic idealism. My prints often reference the classical and medieval period, but in a contemporary dialogue in question with the values of traditional art history. The nude often appears in my work as a pun on idealism, such as in Sacryl Idyllic Plaques; fleshy fragmented Roman sculptures float in an ideal landscape on wall plaques, questioning the bridge between high and low art. My recent work explores the print as a hands-on object and installation."
Jen Scheuer comes to the University of Tennessee Knoxville after attending the Tamarind Institute's Professional Printer Training Program this past year. During the summer of 2011 she is collaborating with regional artists at the Plains Art Museum of Fargo, ND to create limited-editioned prints. Scheuer is passionate to share printmaking with artists as a printer and educator, and wants to start a contract/publishing studio. In 2009, she recieved a BFA in Printmaking and minor in Art History from Minnesota State University Moorhead. In the Fall of 2009, Scheuer offered demonstrations and tours as an intern at the Hannaher's Inc. Print Studio in the Plains Art Museum. Here, she first collaborated with regional artists as an apprentice to the printer John Volk. During the summer of 2009, she spent a month in New York City, with studio space at the New York Academy of Art. Prior to attending college, she joined the AmeriCorps to serve her community and gain experience with non-profits, where she first visited Tennessee in March 2004 to help build The Cumberland Trail.
“In my recent work I have been using the subject of landscape and trees to explore ideas about spirituality and Zen Buddhism. I am interested in the relationship between carving and meditation and in the tradition of eastern woodblock printmaking. My recent prints have an obsessive attention to detail and complexity. Through that obsession, carving the block becomes a devotional and spiritual process. My prints are about an emotional connection between the viewer and the forest as other.”
Hannah Skoonberg grew up in Atlanta, Georgia. She discovered printmaking in high school and immediately fell in love with the medium. She continued in college and earned her BFA in printmaking from the University of Georgia in 2009. After gradating she became involved with an Atlanta based community studio, The Atlanta Printmakers Studio. There she was engaged in community outreach, collaborative projects and was the recipient of the Emerging Artist Residency in 2010. She has continued to show her prints in solo and group shows in private and commercial galleries, including Blue Spiral Gallery in Asheville.
“I am intrigued by uninhabited sites and discarded objects. I wonder about the histories of these spaces, and if an inanimate object or a location can be imbued with a lasting impression or character as a result of an interaction with a dramatic moment. I am curious about how one continues to interact with those ephemeral moments through environment and artifact. My work aims to address and explore a space of deductive reflection by cultivating a relationship between memory, space, object and intuitive assumption. My process involves photographing objects and spaces. This documentation is followed by a contemplation of how the character of a site affects us, what impact does it have on our physical, mental and emotional state?, how do we function, or interact within that space. There is a sensitivity and an awareness toward the assumptions we make about the histories of those spaces as well as the objects/ artifacts that have been left behind; what kinds of events, personal interactions or inhabitations have occurred throughout the existence of a now vacant site and how do we relate to that history as contemporary viewers.”
James Boychuk-Hunter hails from the banks of the North Saskatchewan River. He was raised in a Ukrainian Socialist Feminist Housing Cooperative in Edmonton, Alberta. In his youth he was known in the neighborhood for his skills in raft building and having good luck in games of chance, specifically those involving dice, cards and coins. In 2009 he earned a BFA from the University of Alberta specializing in printmaking and drawing. Since this time he has lived in the city of Montreal, Quebec and has produced artwork independently as well as having participated in an artist residency at Ateliers Graff, an artist run center devoted to the facilitation and promotion of print based artwork. Boychuk-Hunter has exhibited in group shows, traveling exhibitions, and printmaking biennials in western Canada and Montreal.
“Just what is it about a car crash that makes it impossible to look away? Is it a case of morbid fascination? An obsession that has as much to do with fear of death as with blatant curiosity? Crashes, of all kinds, are trivialized by their frequent appearances across the spectrum of information mediums. The constant overexposure to images of collisions is desensitizing and leads to a lack of understanding of the damage caused as well as a loss of empathy for the victims. As the comprehension of these events shifts from a mature viewpoint to a childish one, cars and other vehicles become toys for adults rather than machines with serious consequences. My recent work is presented in an unexpectedly joyful and upbeat manner, in such a way as to attract the viewer. Through the use of bright primary colors and coloring-book line work, the subject matter becomes easier to digest as it is relegated to the context of childhood. At a glance, the crashes look like candy, inoffensive until the viewer casts a second look. Upon that closer look, they turn out to be traumatic events with potential casualties and, just as on television, the difference between truth and fiction is ambiguous. The aim is to show the viewer the trivialized nature of these events and to facilitate their coming to terms with their own potential desensitization.”
Raluca Iancu would like it known that she has never been involved in a horrific crash - that tumble on her bike while riding in Montreal notwithstanding. Nevertheless there’s something about vehicle collisions that she can’t look away from, returning to them as inspiration time and again. She finished her BFA in Fine Arts, Printmaking, at the Nova Scotia College of Art and Design University in December 2011, with a double minor in Art History and Ceramics. In April 2012, Raluca was the Visiting Artist of the month at St. Michael's Printshop in St. John's, Newfoundland, and in June 2012 she completed an International Artist Residency at the Robert Blackburn Printmaking Workshop in New York City.
Most of my interests peak right in the middle between traditional printmaking and graphic design. I have a strong love for design elements and typography as well as drawing and engraving practices. I pull from interests in hand lettering, border motifs, the occult, comics, zines, as well as low brow and psychedelic artwork. Much of my work contains spiritual undertones. Part of that stems from never being too religious but still wanting a meaningful narrative in it's place. I feel that I can't help but be a product of the digital age. However, I like to think of this background as a way to break down limitations and expand the possibilities of creating new, innovative work.
Alumbaugh grew up in rural Iowa and did his undergraduate studies at the University of Northern Iowa. While attending UNI, he excelled in both printmaking and design. He then moved on to work at Yee-Haw Industries, a renowned letterpress and design studio in Knoxville, TN. Since Yee-Haw's closure in 2012, he has continued to do design and print work in the downtown Knoxville area. BJ has been involved in numerous portfolios and publications and continues to show work locally and nationally.
"I create humorous artwork that raises awareness of social issues. Through printmaking and book arts, I offer sardonic commentary on racial, class, and gender inequality often based on my own experiences as a biracial woman and on my professional work in secondary and higher education. My work not only references the politically correct notion of diversity but also addresses the conflicted result of meshing worlds that are culturally, economically, and systemically separated."
Jade Hoyer grew up in Grand Rapids, Michigan, and somehow found home on the frozen tundra of Minneapolis, MN. Her work addresses social issues through narrative, text, portraiture, and humor. Hoyer graduated from Carleton College in 2007, where she pursued coursework in art, environmental studies, and Nocturnalism. She has been awarded grants from organizations including the Minnesota States Arts Board, the Council on Asian Pacific Minnesotans, and the Minnesota Humanities Center, and has exhibited her work at venues including at the Minnesota Center for Book Arts and the Printmaking Center of New Jersey.
"What is sense of place and how can it be created by an artist? What are the feelings that are evoked by looking at imaginary places in artistic compositions and how are these perceptions formed? The series of prints, Perceptions of Places are constructed by combining two or more images of decorative architectural details from trips back to my home in Slovakia and in the USA. They are viewed from different angles in order to create an illusion of imaginary three-dimensional spaces. Through the inclusion of the architectural details, in my mind, I can revisit the places that I experienced and develop a sense of place that is personal. The composition, however, is open to different interpretations based on the viewers' perception of what is being observed. In addition, the composition contains the bold shapes of shadows that are either directly correlated to the three-dimensional place or detached and standing on their own creating their own plane, space or place. The images created on zinc plate, limestone and photo litho plate are printed on top of each other to accomplish multilayered compositions. Printing in layers allows me to manipulate the order of the individual layers and use of different range of colors to create more depth to the composition."
Tatiana Potts is a native of Slovakia. In her early 20s she studied English for two years in the United Kingdom, and then worked for ACDI/VOCA, a non-profit organization in Slovakia, where she served as the Manager of their Community Development Program. In 2000, she moved to the United States to advance her educational opportunities, completing a BA degree (cum laude) in 2004 from Clemson University with majors in Spanish Language and International Trade. In 2007, she started a Graphic and Web Design business. Being passionate about drawing all her life, she began formal art studies in 2009 at UNC Asheville where she discovered printmaking. While at UNCA she was awarded a grant from the University's Undergraduate Research Program, the Office of Academic Affairs Scholarship and a full scholarship by the Windgate Charity Foundation to attend Arrowmont School of Arts and Crafts, Gatlinburg, TN. Three of her large prints were purchased for the permanent collection of the UNCA by the Chancellor, the Ramsey Library and the Dean of Humanities. Most recently she was awarded the prestigious Herman E. Spivey Humanities Graduate Fellowship by the University of Tennessee.
Keely Snook, I Year
Education: California State University Chico, BFA
"Habits are a form of behavior that is not only repetitive and universal but often deeply personal. Specifically, my interest is mannerisms in which the behavior is a physical interaction between the subject and their body. A habit can impact our sense of personal identity not only by scaring or marking the body, but also psychologically by its effect on how we are viewed by peers and ultimately our self-perception. The habits were chosen because the subject not only identified with the idiosyncrasy but also expressed it as odd or strange, sometimes even embarrassing. The work creates an opportunity for communication between subject and viewer, capturing a display that is often hidden or short-lived. The price paid by this voyeurism is the uncomfortable sense of the subject's vulnerability and anxiety, the feeling that they know they are being watched. Through the process of woodcut the repetitive marking of the body is mimicked, as well as scaring, through the preservation of grain pattern and original gouges found in the wood. With my work, each piece stands as a visual manifestation of personal identity."
Keely Snook was born in Mountain View, California in 1989 and at the age of four moved from the Silicon Valley suburb to the Santa Cruz Mountains. At thirteen she took her first printmaking course at a summer program offered through Oregon State University. She was reintroduced to the medium at California State University, Chico and graduated with her BFA in Printmaking and a minor in Art History in 2012. Over the past decade, she has continually sought opportunities to expand upon her knowledge and experience. She has worked as the Printmaking Technical Assistant at CSU Chico and an Intern at the Janet Turner Print Museum, attended the Southern Graphics Conferences in New Orleans and Milwaukee, took multiple courses through the Frogman's Print and Paper Workshop, and participated in local and national group exhibitions and exchanges. Her work is included in the collections of the Janet Turner Print Museum, the Mesa Contemporary Art Center, and the Museum of Northern California Art.
I have always been interested in perception and consciousness, in the way we remember and perceive the world around us; ask any two individuals about the same event and they answer differently. Our experiences as individuals are powerful, yet transient; they mold us throughout our lives, but remain extremely fragile. It is easy to misremember, or color impressions based on the emotion of the moment; the mind sometimes can no longer access the information it has stored. It is this tension between the formative strengths of memory and fragility which informs my work. Printmaking, especially using an easily degraded or more ephemeral matrix, resonates with this concept of an embedded memory; multiple impressions may come from the same matrix, but each is printed differently, and cannot be the same despite that shared origin; over time and use, it becomes impossible to create a similar impression as the plate degrades or is reworked. My most recent work utilizes the structure and shape of ships, referencing them both as a means of navigation and as a vessel, or container, a means of passage. They are not fully of one place or another, but exist in a state of transition. Wherever we go, we bring many things with us. Structures in which we live and work, and in which our experiences and feelings take place become embedded in our psyches, and establish a lasting impression; we take our experiences and influences with us wherever we go. These impressions inevitably change, but traces always remain. Remembered or not, memories of our experiences shape who we are in profound ways.
Kelsey Stephenson was born and raised in Edmonton, and fell in love with printmaking in her second year at the University of Alberta. She graduated with a Bachelor of Design in 2011, and since then has become involved with (SNAP) the Society of Northern Alberta Print-Artists, volunteering and continuing to work on new ideas out of their downtown printmaking studio. Kelsey has exhibited her work in solo shows in Edmonton, as well as in biennales nationally and internationally.
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