589 Ridge Road,
Middletown CT 06457
860.852.3314 (h)
401.743.0136 (c)  
lavertug@newschool.edu
glennlavertu@gmail.com


EDUCATION

M.F.A. Rhode Island School of Design, Rhode Island, graduated with honors
B.A. Central Connecticut State University, Connecticut, graduated with honors

TEACHING EXPERIENCE
Parsonʼs, the New School for Design, New York, NY 2009–present

Instructor of Illustration courses:
Core Lab 1(objects), and Core Lab 2 (Moving Pictures):
Core Lab 1(objects) focuses on technical, sculptural processes of object making for illustration majors, such as plastic and wood toy production, the use of clay maquettes and rubber mold making and casting, pin- hole viewing dioramas and shadow boxes. This is a technical course that introduces as many industrial standard material and methods, as well as a touchstone on experimental making.

Core Lab 2 (Moving Pictures) is a course that introduces illustration students to various methods of animation, everything from early methods like Thaumatropes and Zoetropes to stop motion photography and digital means. Students learn how to construct physical objects, photographic principals and specific computer animation applications such as iMovie, Final Cut Pro, Premiere, Flash and AfterEffects.

Instructor of Foundations courses:
Drawing Studio1 and Drawing Studio 2 (Ideation and Perception):
Drawing Studio 1 focuses on drawing fundamentals and introduces experimentation by tackling perceptual, analytical and ideation (imaginative) processes and techniques. In perception the student explores abstraction and mark making. Analysis requires students to faithfully draw from observation, concentrating on figure drawing and various methods on perspectival drawing. Ideation uses both of these methods and allows the student to connect with an inner dialogue.

Drawing Studio 2 (Ideation) further develops issues started in the first course, expanding the possibilities of imaginative drawing through group mural and animation projects as well as individual examination with various non-traditional materials and formats such as three- dimensional dioramas, narratives and abstract concepts.

Drawing Studio 2 (Perception) approaches mark-making and rendering through the filter of perceptual experience. Exercises and projects take students through envisioning drawing through other the other senses and expands upon the visual means of expression through the exaggeration of color and form. Appropriate demonstrations on techniques such as watercolor, gouache, pastels, oil sticks and paint, silverpoint, sumi-e, pin striping and other appropriate materials were provided.

Bristol Community College, Fall River, Massachusetts, 2005–11

Instructor of Drawing 1, 2 & 3 studio courses:
All three classes are designed to lead students through a basis in drawing fundamentals: mark- making, value, texture etc, to an intermediate level of observational drawing techniques: form, proportion and perspective in still life, figure drawing, landscape, architectural formats, and finally arriving at an advanced drawing level which continues all of the previous drawing issues while introducing imaginative applications.

Instructor of Two Dimensional Design 1:
Exercises and projects are designed to explore and comprehend essential design concepts and problem solving in relation to composition and execution. The first half of the term dealt exclusively with black and white forms, while the second half delved into color theory.

Instructor of Three Dimensional Design 1 & 2 studio courses:
Providing students with individual and collaborative projects that illustrate the use of particular three- dimensional design and construction issues. Projects were designed to explore a range of fields, from sculpture, installation and performance art to industrial design, architecture to apparel design graphic design and Facilitated group discussions and critiques, as well as organize guest lectures from area artists, designers, curators and critics

Instructor of slide lecture format courses in Art History:
Included in these courses are interactive demonstrations of materials and methods used by artists of the covered time period, various videos and selected readings on art and field trips to nearby museums and galleries. Student performance was based on quizzes, tests and research paper requirements. This lecture course covered all material laid out in selected textbooks: Art Across Time volumes 1 and 2, by Laurie Schneider Adams, and the History of Modern Art by H. H. Arneson and Elizabeth Mansfield. Frank and thoughtful discourse about the material was highly encouraged, and keeping an open mind paramount.

Ancient, Medieval and World Art: Covering the time period from 35,000 BC to 1400 AD and including artworks and objects from other world cultures. Demonstrations included limestone and marble carving, gold leaf gilding, and calligraphic writing techniques.

Renaissance to Modern Art: Comprising the period between 1400 to the mid 19th century. Activities included the making of egg tempera paint, fresco preparation, perspectival drawing techniques and using a live stage set of models to demonstrate Tenebrism.

Survey of Modern Art: Encompassing the time period from the mid 19th century to contemporary times. Demonstrations such as collage, linocut and wood block printmaking, exquisite corpse drawing, pointillist painting and drip painting techniques were provided.

2008 Received a Ryckebusch Endowment Fund Grant for the production of In Their Own Words, a mini comic book created and designed for the use as a supplemental text for Survey of Modern Art course.

Co-instructor of Careers In the Visual Arts Course:
Course that consists of career seminars, visiting artist talks, and workshops to help students explore career possibilities in art and design. Provided slide presentations of an overview of art and design careers, including fine arts, textile design, fashion design, industrial design, graphic design, and web and multimedia design. Students gain skills in analyzing works of art and design in addition to exploring career options. They are introduced to concepts central to design and art pedagogy, including the structure and sequencing for art and design education, the creative process, the design process, and oral and written critiques. Arranged for guest lecturers in a variety of appropriate fields.

Academic and Departmental Advisor:
Worked with Department chairperson and Coordinator on organizing core course loads and inclusion of elective courses in conjunction with assisting students with their schedules, in both Graphic Design, Illustration and Fine Art majors. In addition to collaborating with a roster of students within the department every semester for registration, I worked as a college advisor to incoming undeclared freshmen during the summer, getting them registered for general education requirements and defining a set path towards fulfillment of a declared major.

RISD, Rhode Island School of Design, 2008

Sculpture Department Drawing Elective Course: 2D+3D=5D:
Designed an elective course for Undergraduate Seniors and Graduate students, looking at the intersection between sculpture and drawing. Through lectures, readings, discussion and research students discover how both practices have assisted one other throughout history and how they are beginning to merge in contemporary art. Assigned projects are designed to explore overlapping issues, materials and techniques, ranging from performance, video, photography, print making and object-making.

Brown University, Providence, Rhode Island, 2006

Instructor of a Drawing 1 studio course:
Covering fundamental, traditional materials and methods from charcoal, pastel and watercolor to still life, landscape and figure drawing. Experimental projects that illustrate the process of drawing and the realm of visual language are introduced and given as homework assignments. Facilitated group discussions and critiques, as well as organizing field trips and guest lectures from area artists.

RISD Continuing Education, Rhode Island School of Design, 2000–03

Taught courses on Woodworking Fundamentals and Introduction to Sculpture. Introduced adult education students to proper techniques of woodworking, its tools, and guided them through relevant projects which included decorative furniture and sculpture. Provided demonstrations of woodworking machinery and techniques to ensure student’s capabilities.

Students ages 14 to 18 were presented with fundamental 3-D design problems in conjunction with given materials. Explorations varied from figurative clay work to abstract styrofoam sculptures. Appropriate demonstrations on technique were provided.

PROFESSIONAL EXPERIENCE
Artist Assistant to Sol LeWitt and the LeWitt Collection, Chester, Connecticut, 1997-2005

Studio assistant to the artist: responsible for studio procedures such as paper and paint preparation and conveying drafting plans to master printmakers, wall-drawing assistants and maquette and sculpture fabricators. Registrar and caretaking responsibilities to the LeWitt collection: the registration and documentation of incoming and outgoing works; determining the condition of these works and their preparation for exhibition, purchase or donation. Assisting in conservatory duties: shipping, receiving, packaging and storage. Liaison to international museums, galleries, other artists and art handlers. Accountable for the maintenance of on-site equipment, archival supplies, the condition and organization of stored works. I was instrumental in the relocating of the LeWitt Collection to its current warehouse location, maintained the condition and safety of all artwork.

Gallery Director, The Nancy Gallery, Brooklyn, NY, 2001–02

Founded and established a small cooperative gallery in a Williamsburg loft-space. Responsible for managing and delegating gallery duties to artist members; orchestrating and curating group and individual exhibitions; creating public relations with the community and mounting advertisements through postcards, posters and local papers.

GUEST LECTURES/VISITING ARTIST

–Guest lecturer, Communitas, forum of art and ideas, Dixon Place NYC, March 2014
“Sports + Art”, presenting a paper entitled More Brains than Brawn the design of strategy and the art of the game.
–Guest artist/critic, Brown University, Spring 2013
–Judge, Bristol Community College Student Exhibition, Spring 2013
–Visiting artist lecture, Bristol Community College Student Exhibition, Spring 2013 –Visiting artist/critic, University of Massachusetts, Dartmouth, Spring 2011
–Visiting artist lecture, Rhode Island School of Design, Spring 2006

PUBLICATIONS

–Players in Action, a sketchbook of major and minor league Red Sox athletes at McCoy Stadium, December 2013, self published.
–In Their Own Words, a mini comic book created and designed for the use as a supplemental text for Survey of Modern Art course taught at Bristol Community College, made possible through the Ryckebusch Endowment Fund Grant, self published, 2008
–Contemporary, issue 65, pg. 77, review of The Very Rich Hours, Jill Conner, 2004
–Art in New England, October/November 2003, pg. 21, regional reviews Steve Starger

GROUP AND INDIVIDUAL EXHIBITIONS

2014
– Solo Exhibition, “Players in Action” Gallery 66, New Britain, CT. Summer, 2014
– “Blue”, Greater New Britain Arts Alliance, New Britain, CT
– Working from the Figure, Greater New Britain Arts Alliance, New Britain, CT
– Kinsey Institute Juried Exhibition, Bloomington, IN
2013!
– Members Exhibition, New Britain Museum of American Art, Juror: Lexi Lee Sullivan, Assistant Curator at the deCordova Sculpture Park and Museum in Lincoln, Massachusetts
–Society of Illustrators exhibition, CT Chapter, “Orange”, Chester CT
2011-12
–Mattatuck Museum of Art, Waterbury, CT
–Mediations Biennale 2012: The Unknown, Posnan, Poland
2010
–Triennial Exhibition Grimshaw Gudewitz Gallery, Fall River, MA
2009
–All Media Exhibition, Grimshaw Gudewitz Gallery, Fall River, MA
2008
–Happy Days, University Gallery, Central Connecticut State University, New Britain, CT 2007 –Triennial Exhibition Grimshaw Gudewitz Gallery, Fall River, MA
2006
–The Drawing Show, St Rose Center for the Arts, Albany, New York 2005 Where Art Thou? Woods Gerry Gallery, Providence, Rhode Island,
–Between Experience and Understanding, Korn Gallery, Drew University, Madison, New Jersey 2004-2005
–Work from the LeWitt collection, Real Art Ways, Hartford, Connecticut, Juror: Sol LeWitt and Stephen Holmes, visual arts director, RAW
–The Very Rich Hours, Line Gallery, Tribeca, New York
–Redux, University Gallery, Central Connecticut State University, New Britain, CT
2003
–Eyebeam Gallery/Livet–Reichard Company Inc., New York, NY
–Small Works, Chester Gallery, Chester, CT
2002
–All Combinations of 9 Conversations, Gallery 128, New York, NY
–First Triennial Sculpture Exhibition, Woods Gerry Gallery, Providence, Rhode Island Planes, –Trains and Automobiles, South Shore Art Center, Cohassett Massachusetts Juror: Jeffrey Keough, Curator at the Mass College of Art Gallery
–Untitled, Group Exhibition, The Nancy Art Gallery, Brooklyn, NY
2001
–Sight for Sore Eyes, The Phoenix Gallery, New York, NY
1999
–One: Glenn LaVertu, Brenden Mulcahy and Christopher Roman, Bank-space, New Britain, CT 1998
–Connecticut Academy of Fine Arts, 87th Annual Exhibition, Slater Art Museum, Norwich, CT Juror: Gilles Jean Giuntini, Sculptor and professor of art, Hartford University Art School –Connecticut State University Art Exhibition, Real Art Ways, Hartford,CT
Juror: James Rondeau, Assistant Curator of Contemporary Art,
Wadsworth Atheneum, Hartford, CT