Photo by Eric Swangstu.
Learn more about the instructors.
Portfolio Development
July 12 — August 2, 2013 ,- F
Kerry Hall 603, 710 East Roy St, Seattle, WA
The price of this class is $400.00. Tuition includes all lab, materials and facilities fees.
- Ages
15 – 18 - Housing
Available - Scholarships
Available
Students will develop necessary skills to build a personal, thoughtful, and technically proficient portfolio for successful application to leading accredited art schools.
With the aid of their instructor, students will select pieces from their other classes to include in their working portfolios. Letters of intent and statements of purpose will be covered as well as basic research on the AICAD (Association of Independent Colleges of Art and Design) colleges and other NASAD (National Association of Schools of Art and Design) schools. Basic instruction on how to document artwork will also be covered.
Eric Swangstu
Contact Eric
- Email eswangstu@cornish.edu
- Website ericswangstu.com
Eric Swangstu
Associate Director of Admissions
Eric Swangstu has worked at four of the top art schools across the country, reviewing thousands of portfolios and applications among all of them. He currently serves as the Associate Director of Admissions for Cornish College of the Arts, Seattle, WA; Curator at the OK Hotel; and Adjunct Instructor at DigiPen Institute of Technology in Redmond, WA.
Swangstu holds a BFA in painting from Kansas City Art Institute and an MPS from Pratt Institute. His paintings and drawings have been exhibited in places such as Exit Art, New York City; The Museum of Contemporary Art, Los Angeles; DC Arts Center; Aldrich Museum of Contemporary Art, Ridgefield, CT; Contemporary Museum, Baltimore, MD; Prince Street Gallery, New York City; and the Kwangju Biennale, Kwangju, Korea; among others. His work is included in the public collections of the Government Employee Hospital Association and the Library of Congress. New York Times critic Helen A. Harrison has written that Swangstu’s paintings, “play on the combination of observation and interpretation at the heart of realistic painting” and provides “an effective strategy for testing the boundary between objectivity and invention.”
