Jamie Bollenbach CV

Artist and Studio Art Instructor in Seattle, Washington

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Jamie Alan Andre Bollenbach

155 Nickerson St #2

Seattle, WA 98109

 

Email: daddyo@u.washington.edu

Website: http://faculty.washington.edu/daddyo

Telephone: 206.650.0591

 

 

Curriculum Vitae

 

 

Visual Artist

 

Area of Specialization: Oil Painting. 

 

Introductory Statement:  

 

My subject matter has evolved from organic abstraction toward the exploration of transitory human presence, represented temporally in paintings as traces of light and color and gestural mark within a specific shape of space.  Recently, elements of desolate, imagined landscapes enter the work, pushing figuration to the edge of winking out- my version of the traditional symbol of the soap bubble as the fragility of life.

I am fascinated by science, particularly oceanography and anthropology, and consider physical art making to be an urgent contemporary intellectual matter.  Human beings think with far more than mere language: we build our perceptual environment with physical movement, hands and the manipulation of matter, the dynamic melding of emotion and logic and the ability of material to create illusion. Today, painting resurges, resplendent in its intellectual and cultural power; its resilience in radically changing cultural environments proves inexhaustible.

Art is not restricted by medium; it is the intelligence with which the specificity of the medium is regarded and controlled that makes it serious work. Painting endures because artwork can form a particular language within fully conscious human action; great paintings can teach their own context.

 

 

Education

 

M.F.A   2002                 Painting                                  University of Washington, Seattle

 

B.A.     1986                 Political Science                      Reed College, Portland, OR

 

Periods of Study, 1987, 1991, 1996:

           

Art, Art History, Economics     University of Alaska, Anchorage

 

 

Professional Experience: Studio Art By Institution

 

Highline Community College (Des Moines, WA): Visiting Faculty, 2005 to Present

 

Subjects: Drawing I and II; Painting, Introduction to Color, Figure Drawing 

 

 

University of Washington, Seattle: 2001 to 2005

 

Subjects Taught: Drawing, 2-d Design, Figure Drawing, Painting I and Painting II, Introduction to Scientific Illustration.

 

UW Extension: 2003-2005. (4 Classes) Instructor

 

UW School of Art:  2002-2003, Visiting Lecturer (3 Classes);  2001-2002, Instructor of Record (5 Classes).  (Note:  5 of 5 possible competitive TA appointments.)

 

                        ASUW Experimental College: Instructor  (1 Class)

                       

 

International Acad. of Design and Tech, Seattle (WA): Instructor, 2004

 

                        Subject:  Drawing I (2 Classes)

 

Edmonds Community College: (Shoreline, WA)  Visiting Faculty, 2003

 

                        Subject: Introduction to Painting (1 Class)

 

Clatsop Community College, (Astoria, OR) Instructor, 1999

 

                        Subject: Introduction to Painting.

 

Other Studio Art Experience

 

1994-2008         Studio Artist

 

1998-2000         Owner, Bollenbach Art Labs, Portland, OR. (Developed an 11- member studio/ alternative gallery.)

 

1998                 Manager, Sockeye Studios Coop, Portland Oregon (Managed small co-op studio).

 

1997                 Projector Director, Network of Oregon Artists, (Information service and institutional advocacy for artists).

 

1994-1996         Occasional Instructor, Steller Secondary School and AVAIL alternative school,  Painting and Drawing. Anchorage, Alaska.

 

 

Other Professional Experience

 

1993-1996         Contributing Editor, Graphic Artist, Poll Manager, Alaska Research Associates/  POL Magazine, Anchorage.

 

1987-1992         Executive Director, American Civil Liberties Union and Foundation of Alaska. (Lobbyist, Fundraiser, Public Relations and Legal Program Manager for state affiliate of national constitutional rights organization.)

 

 

Grants

 

1995                 Alaska State Council on the Arts, Project Grant

 

 

Partial Exhibition Record

 

 

2008                 Art of Democracy Show, (Autumn-Scheduled), San Francisco

2008                 Seattle Art Museum Gallery (New Work)

2007                 Seattle Art Museum Gallery

2007                 Gallery 6311, Seattle

2007                 Highline Gallery, Faculty and Student Show  

2007                 Ballard Open Studios, Seattle

2006                 PONCHO Art Auction, Seattle

2006                 Ballard Open Studios, Seattle

2006                 Seattle Art Museum Gallery (New works)

2005                 Seattle Art Museum Sales Gallery October (new works)

2005                 SAM Rental Sales Gallery, June (Artists of Ballard, 8 works)

2005                 Pratt Museum, Homer, Alaska

2004                 Coupling, Crawl Space Gallery, Seattle, WA (Collaborative-Invitational)

2004                 Ballard Open Studios, Seattle,

2002                 M.F.A. Thesis Exhibition, Henry Art Gallery, Seattle, WA.

2001                 Works in Progress, Jacob Lawrence Gallery, University of Washington.

1999                 Studio Show, Bollenbach Art Labs, Portland, OR.

1998                 Studio Show, Sockeye Studios, Portland, OR.

1997                 Decker-Morris Gallery, Anchorage, AK

1997                 Arctic Rose Gallery, Anchorage, AK

1996                 Open Studio Tours, Pig Day Studio, Anchorage, AK

1995                 Heartbreak, University of Alaska Anchorage, Invitational

 

Invited Talks

 

2002                 Visiting Artist, University of Alaska Anchorage. Lecture and Presentation of Work, Department of Art and Art History.

 

Demonstrations

 

2006-2008         Daniel Smith Art Material Demonstrations, Seattle

 

2006                 Williamsburg Art Materials, Seattle

 

2005                 National Art Materials Trade Association Meeting, Chicago, IL

 


Bibliography

 

“Art, Passion and Fire” ,  Interview and Profile, Thunderword (Des Moines, WA) 2008

 

“Web Life Interview, Weekend Wi-Fi” Seattle Post-Intelligencer Website, 2007 

 

“Liquitex Artist Interviews” Featured Artist Interview, Liquitex Website, 2005

 

“Technical Notes” Liquitex Newsletter, Article, Photo, 7/2004.

 

“Respected Young ACLU Director Resigns to Pursue Dreams,” Anchorage Daily News, 1/1992.

 

 

Personal Publications, Web-Based

 

“Bollenbach.Blogspot.com”   Art web-log, 2003-Present

 

“Jamie.Bollenbach.googlepages.com”    General Website, 2007-Present

 

 

Publications, Print

 

“Compass-American Guide to Alaska,” Current Edition. Expert reader, Contributor (1997):  “Arts and Culture in Alaska.”

 

Various Articles, Anchorage Daily News, 1996.

 

“Crisis in the Arts”, POL Magazine, June, 1994. First Place, Coverage of the Arts, Alaska Press Club, 1994.

 

 

Professional Service

 

2004-2006         University of Washington, Visual Arts Advisory Board, Adult Education

 

2002                 President, MFA Class of 2002, University of Washington

 

2000-2002         Senator, Department of Art.  Graduate and Professional Student Senate, University of Washington

 

1995                 Invited Participant, Governor’s Conference on the Arts, Alaska

 

 

Skills Summary

 

Art:                  Oil and acrylic painting, traditional and contemporary drawing, color use and design.  Some experience: web design, 3-d and ceramics.

 

Computer:      Working familiarity with Mac and PC platforms, Photoshop, Microsoft                                                                                                                                                                 Word, Internet.  Maintain and design several blogs.

 

Writing:           Experienced in grant research and writing, freelance nonfiction writing, prose and poetry, editing and layout. 

 

Non-Profit

Management:    Volunteer management, press relations and public contact, lobbying, substantial public speaking experience.

 

Hobbies and

Curious Skills:  Music: Guitar, rock band, beginning violin, didgeridoo.  Humor writer and blogger.  Basic carpentry.  Boating: basic sailing and kayaking. Outdoors: hiking, cross-country skiing, biking.     

 

 

Professional Organizations

 

College Art Association

Artist Trust of Washington

American Civil Liberties Union of Washington, Public Speakers Bureau

 


 

 

References

 

Norman Lundin, Professor of Art (Retired)

University of Washington School of Art


Phil Govedare, Associate Professor of Art,

University of Washington School of Art,


Jim Gardiner, Art Department Chair (Retired)

Highline Community College


 

 

 


University of Washington

 Search | Directories | Reference Tools

Art ART 256 A

Jamie A Bollenbach   Lecturer   WI03

Form J: Clinical Studio      "6" surveyed    "19" enrolled

Question

Excellent

Very Good

Good

Fair

Poor

Very Poor

Median

Rotation/studio as a whole:

17%

83%

0%

0%

0%

0%

4.10

Procedures/skill taught:

50%

17%

17%

17%

0%

0%

4.50

Instructor's contribution:

83%

0%

17%

0%

0%

0%

4.90

Instructor's effectiveness:

67%

17%

0%

17%

0%

0%

4.75

Instructor was knowledgeable:

83%

0%

17%

0%

0%

0%

4.90

Clear and organized:

33%

50%

0%

0%

17%

0%

4.17

Instructor was enthusiastic:

83%

0%

17%

0%

0%

0%

4.90

Instructor was challenging:

50%

33%

17%

0%

0%

0%

4.50

Instructor established rapport:

67%

17%

17%

0%

0%

0%

4.75

Instructor was accessible:

67%

17%

17%

0%

0%

0%

4.75

For median calculation:   5 = Excellent   4 = Very Good   3 = Good   2 = Fair   1 = Poor   0 = Very Poor

UW Seal

Course Evaluation Catalog
cec@u.washington.edu
Modified:
July 1, 2003

Art ART 132 C

Jamie A Bollenbach   Lecturer   AU02

Form J: Clinical Studio      "10" surveyed    "22" enrolled

Question

Excellent

Very Good

Good

Fair

Poor

Very Poor

Median

Rotation/studio as a whole:

40%

40%

20%

0%

0%

0%

4.25

Procedures/skill taught:

40%

30%

30%

0%

0%

0%

4.17

Instructor's contribution:

30%

40%

30%

0%

0%

0%

4.00

Instructor's effectiveness:

44%

33%

22%

0%

0%

0%

4.33

Instructor was knowledgeable:

60%

20%

20%

0%

0%

0%

4.67

Clear and organized:

30%

40%

20%

10%

0%

0%

4.00

Instructor was enthusiastic:

70%

10%

10%

10%

0%

0%

4.79

Instructor was challenging:

56%

44%

0%

0%

0%

0%

4.60

Instructor established rapport:

60%

20%

20%

0%

0%

0%

4.67

Instructor was accessible:

40%

40%

20%

0%

0%

0%

4.25

For median calculation:   5 = Excellent   4 = Very Good   3 = Good   2 = Fair   1 = Poor   0 = Very Poor

CEC Table of Contents Search CEC PreviousPrevious NextNext

UW Seal

Course Evaluation Catalog
cec@u.washington.edu
Modified:
July 1, 2003

Jamie Alan Andre Bollenbach

155 Nickerson St #2

Seattle, WA 98109

 

Email: daddyo@u.washington.edu

Website: http://faculty.washington.edu/daddyo

Telephone: 206.650.0591

 

 

Statement of Teaching Philosophy

 

Visual art is a poetic language of the eye and senses, of the critical human intellect operating beyond the ordinary reach of the language of words.  The source of this grammar springs from all types of human experience, all sight and seeing, and all that can be perceived, remembered and anticipated by the visual sense.

 

Despite the humbling number of cultures and contexts of its origins, the visual arts contain specific, teachable, highly adaptable grammars.  The principles of its power can be taught, can be modeled, can embody the accomplishment of pictorial craft and must also transcend it to form a progressive development of thinking.  Art students thrive in an environment that melds the eye, hand, heart, and intellect.

 

I teach students to rebuild their power of sight, to strip away the assumptions of vision and to reconsider their perception of appearance.  The initial focus on western pictorial systems introduces a powerful way of thinking and leads quickly to tangible results in the student’s artwork. But mastering proportionality in drawing, for example, also allows the transformation and even rejection of its principles. Even when I insist on a working understanding of perspective, I will assign a Wallace Stevens poem as a source. I am convinced that art instruction functions best in a balance of formal knowledge and inspired, progressive investigation.

 

I often use the metaphor of games: a set of abstract rules strangely creates new opportunities of free action: the lines on a tennis court create the champion, pushing against the rules and playing with nuance and transcendence.  If perspective formed Titian and Caravaggio, the limitations of perspective created Cezanne, Picasso, Duchamp. In the contemporary context, painting’s visual terms are the necessary formal standard to launch artists as distinct as James Turrell or Mathew Barney. Painting only serves fine art to the extent that it continues to push art farther and deeper. I believe painting’s highest philosophical aims are only revealed by understanding, principally through practice, the structures on which it operates. But painting and drawing must constantly demonstrate their phenomenological utility, never assume it.

 

I work to challenge each and every student, to understand their motives, give them specific tools, push rationalization out of the critique and put the thinking into the work. In foundations classes particularly, I try to keep the expectations clean: is the student’s artwork convincing? Is it interesting to others? Does it function on the terms the student sought?  I get the best results by combining challenge and support – teaching students to become wholly enveloped and present in making the work, to become responsible for all characteristics of the image, and to see their results in a cool, clear light.