The University Galleries at Texas State University will host a variety of art exhibitions during the Fall 2013 and Spring 2014 semesters, including the MFA Showcase, BFA Thesis Exhibitions, and solo exhibitions by artists such as Yumi Janairo Roth, Eric Zimmerman, Laurie Frick and James Sterling Pitt that will explore themes like mental health, identity, hybridity, and the translation of data into visual patterns. The galleries provide opportunities for students and the community to engage with challenging contemporary art and interact with visiting artists.
When is art now? This lecture will focus on definitions of Contemporary Art that focus on the experience of 'time', comparing and contrasting them with theories of contemporary art that hold it to be a (sub)culture, a genre, a period, or a style.
What does it mean to state that art is contemporary rather than to hold that it is modern, prescient, traditional, nostalgic, postmodern, ancient...?
What concepts of time do people need to develop and share in order to understand the contemporary?
Where and how is the temporality of the contemporary situated?
This lecture will outline some of the key ways in which art theory has attempted to approach such questions by introducing a few key concepts such as: supercessionism, presentism, contemporaneity, anachrony, polychrony and chronopolitics.
To illustrate how this works in practice, the lecture will examine the chronopolitics of the 2012 Documenta and 2013 Venice Biennale.
The document provides an overview of the history and funding sources of taxpayer supported public art programs, examples of different types of public art including integrated, situated, and temporary installations, and explains the typical process for public art projects including using requests for qualifications and proposals. It also includes tips for artists interested in public art projects and sample budgets for recent public art installations in various cities.
This document discusses different types of public art including site integrated art that is built into facilities, site specific art designed for a specific location, portable works like sculptures that can be displayed in public spaces, temporary art installations, installation art that transforms spaces, gateways and markers to designate arrivals, transit art for wayfinding, murals, performance art, placemaker art to define community spaces, street furniture, and art incorporated into public transportation, fire stations, parks, and other civic structures. Examples of public art from around the world are provided to illustrate these concepts.
Savona Bailey-McClain is an independent curator and executive director of The West Harlem Art Fund in New York City. She curates public art installations in many NYC neighborhoods, including Times Square, Harlem, DUMBO, and the Bronx. Her practice includes sculpture, drawings, performance art, and mixed media. McClain strives to make art approachable and connect meaningfully with the public. She has a liberal arts degree from the University of Pittsburgh.
This curriculum vitae summarizes the qualifications of Susan Joy Rippberger. She has extensive experience in higher education, including serving as a tenured professor and administrator. She holds a PhD in International & Development Education and Policy Studies as well as an MFA in New Genres. Rippberger has worked as an instructor, curator, and artist. Her areas of professional interest include diversity, community arts, performance, and using art as an educational tool.
The Sundaram Tagore Gallery is presenting an exhibition titled "REV | ACTION: Contemporary Art from Southeast Asia" from October 15 to November 14, 2015. The exhibition features works by 10 emerging and established artists from 6 Southeast Asian countries, including Cambodia, Thailand, the Philippines, Myanmar, Indonesia, and Vietnam. The artists use various mediums like photography, video, painting and installations to examine social, political, and cultural issues in their respective communities and countries.
This document provides teaching materials for an art installation called "whereABOUTS" displayed on an Art Truck. It includes:
- An introduction to the installation by artists Jaime Salvador Castillo and Michael Anthony García, which explores relationships between community, environment and identity through maps.
- Four lesson plans to help students understand concepts addressed in the artwork before and after seeing it on the Art Truck.
- Background on the artists and their collaborative art collective Los Outsiders, which creates opportunities for public engagement and creative place-making.
Sublime Galleria Presents Performance/Interactive Art at The Collection, UB Citymarching_ants
Sublime Galleria showcased performances and interactive art from Srishti School of Art, Design and Technology at The Collection in UB City. Several exhibits were featured for one evening only, attracting many art enthusiasts. A major attraction was the 'Tate: Global Art Space' exhibit, which was a collaboration between Indian and international artists. The exhibits included "Dynamic Geometries", "Performing Systems", "Story of Light", and "Sonic Beams". The director of Sublime Galleria praised Srishti School for their innovative art forms and supporting new artists.
When is art now? This lecture will focus on definitions of Contemporary Art that focus on the experience of 'time', comparing and contrasting them with theories of contemporary art that hold it to be a (sub)culture, a genre, a period, or a style.
What does it mean to state that art is contemporary rather than to hold that it is modern, prescient, traditional, nostalgic, postmodern, ancient...?
What concepts of time do people need to develop and share in order to understand the contemporary?
Where and how is the temporality of the contemporary situated?
This lecture will outline some of the key ways in which art theory has attempted to approach such questions by introducing a few key concepts such as: supercessionism, presentism, contemporaneity, anachrony, polychrony and chronopolitics.
To illustrate how this works in practice, the lecture will examine the chronopolitics of the 2012 Documenta and 2013 Venice Biennale.
The document provides an overview of the history and funding sources of taxpayer supported public art programs, examples of different types of public art including integrated, situated, and temporary installations, and explains the typical process for public art projects including using requests for qualifications and proposals. It also includes tips for artists interested in public art projects and sample budgets for recent public art installations in various cities.
This document discusses different types of public art including site integrated art that is built into facilities, site specific art designed for a specific location, portable works like sculptures that can be displayed in public spaces, temporary art installations, installation art that transforms spaces, gateways and markers to designate arrivals, transit art for wayfinding, murals, performance art, placemaker art to define community spaces, street furniture, and art incorporated into public transportation, fire stations, parks, and other civic structures. Examples of public art from around the world are provided to illustrate these concepts.
Savona Bailey-McClain is an independent curator and executive director of The West Harlem Art Fund in New York City. She curates public art installations in many NYC neighborhoods, including Times Square, Harlem, DUMBO, and the Bronx. Her practice includes sculpture, drawings, performance art, and mixed media. McClain strives to make art approachable and connect meaningfully with the public. She has a liberal arts degree from the University of Pittsburgh.
This curriculum vitae summarizes the qualifications of Susan Joy Rippberger. She has extensive experience in higher education, including serving as a tenured professor and administrator. She holds a PhD in International & Development Education and Policy Studies as well as an MFA in New Genres. Rippberger has worked as an instructor, curator, and artist. Her areas of professional interest include diversity, community arts, performance, and using art as an educational tool.
The Sundaram Tagore Gallery is presenting an exhibition titled "REV | ACTION: Contemporary Art from Southeast Asia" from October 15 to November 14, 2015. The exhibition features works by 10 emerging and established artists from 6 Southeast Asian countries, including Cambodia, Thailand, the Philippines, Myanmar, Indonesia, and Vietnam. The artists use various mediums like photography, video, painting and installations to examine social, political, and cultural issues in their respective communities and countries.
This document provides teaching materials for an art installation called "whereABOUTS" displayed on an Art Truck. It includes:
- An introduction to the installation by artists Jaime Salvador Castillo and Michael Anthony García, which explores relationships between community, environment and identity through maps.
- Four lesson plans to help students understand concepts addressed in the artwork before and after seeing it on the Art Truck.
- Background on the artists and their collaborative art collective Los Outsiders, which creates opportunities for public engagement and creative place-making.
Sublime Galleria Presents Performance/Interactive Art at The Collection, UB Citymarching_ants
Sublime Galleria showcased performances and interactive art from Srishti School of Art, Design and Technology at The Collection in UB City. Several exhibits were featured for one evening only, attracting many art enthusiasts. A major attraction was the 'Tate: Global Art Space' exhibit, which was a collaboration between Indian and international artists. The exhibits included "Dynamic Geometries", "Performing Systems", "Story of Light", and "Sonic Beams". The director of Sublime Galleria praised Srishti School for their innovative art forms and supporting new artists.
This document provides biographical information about Savona Bailey-McClain, the Executive Director and Chief Curator of The West Harlem Art Fund. It discusses her background working as an independent curator across various mediums. It also outlines several public art projects and installations McClain has organized through The West Harlem Art Fund in neighborhoods across New York City from 2011 to 2016, working with over 30 artists on locations like Harlem, Times Square, the Bronx, and Governor's Island. The document concludes with definitions of key terms related to public art.
The document describes a large public art mural called "Read Between the Signs" located in Meadville, Pennsylvania. The mural was created in 2002 through a collaboration between PennDOT and Allegheny College. It features scenes from the local landscape constructed entirely out of recycled and repurposed road signs. Community members continue to be involved by providing ideas for new scenes to add to the expanding mural.
This document outlines the structure and content of a 10-week course on music and art. [It provides an overview of the key topics to be covered each week, including introductions to terminology, the work of art, various artistic movements and genres, ethnographic art, collections, and a final workshop. It also lists course materials and references philosophers like Plato, Aristotle, Hegel, Kant, and Tolstoy to provide context for discussions of aesthetics.]
The document provides information for a mock trial where students will evaluate proposed works of art and vote on which one a city should purchase for a community space. The proposed works are Big Bird and Stegosaurus by Alexander Calder, Block Sculpture by Sol Lewitt, The Gates by Christo, Stone Field Sculpture by Carl Andre, and The Umbrellas by Christo. Students will take on roles like artists, city officials, and residents to debate the works. Their performance will be judged by teachers based on criteria for a successful presentation.
This document discusses popular culture and its relationship to art and music. It covers topics like dancing styles from the early 20th century like foxtrot and jazz that were inspired by African American culture. It also discusses how popular art movements like pop art represented popular culture. The document debates what defines popular versus elite culture and whether certain genres can truly be called "bad" music.
The document discusses the changing nature of sculpture in the 1980s in response to societal trends toward increasing commercialization and consumerism. It focuses on two responses from British and American sculpture of the time. British sculptors like Tony Cragg and Bill Woodrow transformed found objects to critically engage with issues of production and consumption. Meanwhile, American sculptors like Jeff Koons and Haim Steinbach embraced consumerism and appropriated popular culture in ways that were seen as complicit with consumerist values rather than critical of them. Koons in particular provoked debate through his unapologetic celebration of popular culture and embrace of self-promotion.
This document provides a summary of qualifications and experience for Marc David Leviton, including over 15 years of experience as a Fine Arts educator and over 8 years developing a non-profit art education facility. He has an MFA in Studio Sculpture from the University of Arizona and a BFA in Studio Sculpture from Florida International University. His experience includes positions as Director and Curator of The Gallery at Industria art gallery, Founder and Director of Industria Studios non-profit art education organization, and Adjunct Faculty at Prescott College and Pima Community College.
The trucks were designed by the education department of the museum. They worked with an industrial designer to create a space that would be functional for both storage and display of artifacts and interactive elements.
2. How do you decide where to bring the trucks?
We bring the trucks to schools, community events and neighborhoods around the five boroughs. Our goal is to reach underserved communities and bring the museum experience directly to them. We work with community organizations to schedule visits.
3. How do people typically interact with the trucks?
People interact through hands-on activities, viewing artifacts up close with labels that explain them, and asking the educators questions. The most popular activities tend to be things like trying on costumes, using magn
This document discusses evaluating music as an art form. It provides three frameworks for evaluation: 1) Structuring an analysis using description of the music, 2) Applying sociocultural context, and 3) Evaluation. It also discusses what music is, perspectives on listening to music, brief history of music, and different aesthetic theories for understanding and appreciating music.
The Moderns is going to work with various people and parties to connect the dots between composting and packaging; healing our soil through compost; growing biodiverse, nutritious food; and ultimately making people healthier.
This document summarizes a lecture on Impressionism in music and art. It discusses how Impressionism emerged in the 19th century aiming to accurately depict transient effects of light and color. Notable Impressionist artists mentioned include Monet, Renoir, and Pissarro. In music, Impressionism reacted against Romanticism through shorter forms, dissonance, and emphasizing atmosphere and nature. Debussy's piece "La Mer" is analyzed as an example of Impressionist music seeking to represent the sea through its sounds and shapes.
The document provides an exhibition schedule for BRIC Rotunda Gallery from 2012-2013. It includes 6 exhibitions focusing on sculpture, design, photography, painting, and arts education. The first exhibition in September 2012 features emerging artists working in sculpture. Subsequent exhibitions explore design and sustainability in Brooklyn, cross-boundary photography, interactive new media, abstract and representational painting, the role of place in New York City, and celebrating 25 years of the Contemporary Art Student Exhibition.
The document discusses ethnographic art and Alfred Gell's theory of "Vogel's net". It provides examples of ethnographic art from various cultures such as Polynesian fish hooks, Aboriginal Australian iconography, and Tsantsas shrunken heads. It explains Susan Vogel's display of a Zande hunting net in an art gallery to show how artifacts can be interpreted as art through ideas within an art historical tradition rather than just aesthetic qualities. The document advocates an interpretive view of art over an aesthetic view, arguing artifacts can communicate ideas and meanings through their representation of social relationships.
Akili Ron Anderson is an artist based in Washington D.C. who has practiced as a full-time visual artist for over 30 years. He produces stained glass windows, sculptures, paintings, and theater sets. The document provides details on Anderson's education, positions held, public art commissions, exhibitions, and recommendations. It is Anderson's resume and portfolio highlighting his extensive career as an artist specializing in public art installations.
This document summarizes a lecture on symbolism and the avant-garde in music and art. It discusses symbolist poetry and its use of symbolic imagery to represent the poet's soul. It then covers several avant-garde art movements that emerged before and after World War 1, including Expressionism, Futurism, Dadaism, and developments in musical avant-garde styles. Examples of representative works from artists like Munch, Van Gogh, Duchamp, Stravinsky, Xenakis, Eno and others are provided to illustrate different avant-garde styles.
This panel discussion will explore the relationship between curators and artists, moderated by Mitchel Pilnick. The panelists include a studio program director, sculpture guild president, art-in-buildings director, and independent curator. They will discuss what curators look for in artists, how artists can best work with curators, and ways for artists to further their career and exposure. The event will take place on March 22nd at the National Arts Club in New York City.
The document announces the 2016-2017 exhibit schedule for the Rao Musunuru, M.D. Art Gallery located at Pasco-Hernando State College. The exhibits will feature a variety of art forms and artists, including ceramics, illustrations, paintings, photographs, prints, and sculptures. Opening receptions are sponsored by the PHSC Student Government Association. The gallery hours are Monday through Thursday from 9am to 7pm and Friday from 9am to 3:30pm.
This document provides information about relief sculpture and instructions for a student project to create a three dimensional architectural facade in relief. It defines relief sculpture as sculpted motifs raised from but still attached to a two dimensional background. It outlines the basic types of relief sculpture and explains how relief sculpture differs from regular sculpture by remaining attached to its background. The document then provides a six step process for the student project, including researching cultural architectural styles, sketching ideas, experimenting with materials, creating the relief sculpture, revising if needed, and participating in a class critique.
This document discusses contemporary curating practices and the shifting roles of curators. It explores how curators are taking on more creative roles beyond being art herders, taking on metaphors like editors, DJs, and producers. It also examines how curators are moving works out of white cube galleries into public spaces and non-traditional venues. Several examples are provided of artist-led initiatives and projects that further blur the lines between artists, curators, and critics.
Public art can take many forms, including sculptures, murals, and graffiti. It is often funded by governments and created by artists to be displayed in public spaces for educational purposes or to beautify an area. However, public art can also be controversial as not all viewers may appreciate or understand the artwork. It sometimes faces issues regarding its funding source or potential to cause disruption. While temporary or permanent, public art aims to expose more people to art outside of traditional galleries or museums.
The document summarizes upcoming exhibitions at the University Galleries at Texas State University. It describes several exhibitions that will be on display, including Selections from The Bearden Project featuring works influenced by Romare Bearden, installations and drawings by Katrina Moorhead that reference science and human emotion, and paintings by Francesca Fuchs that depict art from her personal collection. It also provides information on related events like artist lectures and opening receptions. The galleries aim to provide engaging exhibitions and educational programming for both students and the community.
Oeuvre of the incomplete Exhibition ReportAyẹni Ọlájídé
Oeuvre of the Incomplete is an exhibition organised by the department of architecture students in the University of Lagos. Curated by Ayẹni Ọlájídé and Ìfẹ́olúwa Ọ̀ṣúnkọ̀yà, the exhibition featured five artists; Yusuf Sanni, Kehinde Balogun, Quadri Sorounke, Philip Fagbeyiro, and Chris Iduma. With visitors from within and outside of the university.
This document provides biographical information about Savona Bailey-McClain, the Executive Director and Chief Curator of The West Harlem Art Fund. It discusses her background working as an independent curator across various mediums. It also outlines several public art projects and installations McClain has organized through The West Harlem Art Fund in neighborhoods across New York City from 2011 to 2016, working with over 30 artists on locations like Harlem, Times Square, the Bronx, and Governor's Island. The document concludes with definitions of key terms related to public art.
The document describes a large public art mural called "Read Between the Signs" located in Meadville, Pennsylvania. The mural was created in 2002 through a collaboration between PennDOT and Allegheny College. It features scenes from the local landscape constructed entirely out of recycled and repurposed road signs. Community members continue to be involved by providing ideas for new scenes to add to the expanding mural.
This document outlines the structure and content of a 10-week course on music and art. [It provides an overview of the key topics to be covered each week, including introductions to terminology, the work of art, various artistic movements and genres, ethnographic art, collections, and a final workshop. It also lists course materials and references philosophers like Plato, Aristotle, Hegel, Kant, and Tolstoy to provide context for discussions of aesthetics.]
The document provides information for a mock trial where students will evaluate proposed works of art and vote on which one a city should purchase for a community space. The proposed works are Big Bird and Stegosaurus by Alexander Calder, Block Sculpture by Sol Lewitt, The Gates by Christo, Stone Field Sculpture by Carl Andre, and The Umbrellas by Christo. Students will take on roles like artists, city officials, and residents to debate the works. Their performance will be judged by teachers based on criteria for a successful presentation.
This document discusses popular culture and its relationship to art and music. It covers topics like dancing styles from the early 20th century like foxtrot and jazz that were inspired by African American culture. It also discusses how popular art movements like pop art represented popular culture. The document debates what defines popular versus elite culture and whether certain genres can truly be called "bad" music.
The document discusses the changing nature of sculpture in the 1980s in response to societal trends toward increasing commercialization and consumerism. It focuses on two responses from British and American sculpture of the time. British sculptors like Tony Cragg and Bill Woodrow transformed found objects to critically engage with issues of production and consumption. Meanwhile, American sculptors like Jeff Koons and Haim Steinbach embraced consumerism and appropriated popular culture in ways that were seen as complicit with consumerist values rather than critical of them. Koons in particular provoked debate through his unapologetic celebration of popular culture and embrace of self-promotion.
This document provides a summary of qualifications and experience for Marc David Leviton, including over 15 years of experience as a Fine Arts educator and over 8 years developing a non-profit art education facility. He has an MFA in Studio Sculpture from the University of Arizona and a BFA in Studio Sculpture from Florida International University. His experience includes positions as Director and Curator of The Gallery at Industria art gallery, Founder and Director of Industria Studios non-profit art education organization, and Adjunct Faculty at Prescott College and Pima Community College.
The trucks were designed by the education department of the museum. They worked with an industrial designer to create a space that would be functional for both storage and display of artifacts and interactive elements.
2. How do you decide where to bring the trucks?
We bring the trucks to schools, community events and neighborhoods around the five boroughs. Our goal is to reach underserved communities and bring the museum experience directly to them. We work with community organizations to schedule visits.
3. How do people typically interact with the trucks?
People interact through hands-on activities, viewing artifacts up close with labels that explain them, and asking the educators questions. The most popular activities tend to be things like trying on costumes, using magn
This document discusses evaluating music as an art form. It provides three frameworks for evaluation: 1) Structuring an analysis using description of the music, 2) Applying sociocultural context, and 3) Evaluation. It also discusses what music is, perspectives on listening to music, brief history of music, and different aesthetic theories for understanding and appreciating music.
The Moderns is going to work with various people and parties to connect the dots between composting and packaging; healing our soil through compost; growing biodiverse, nutritious food; and ultimately making people healthier.
This document summarizes a lecture on Impressionism in music and art. It discusses how Impressionism emerged in the 19th century aiming to accurately depict transient effects of light and color. Notable Impressionist artists mentioned include Monet, Renoir, and Pissarro. In music, Impressionism reacted against Romanticism through shorter forms, dissonance, and emphasizing atmosphere and nature. Debussy's piece "La Mer" is analyzed as an example of Impressionist music seeking to represent the sea through its sounds and shapes.
The document provides an exhibition schedule for BRIC Rotunda Gallery from 2012-2013. It includes 6 exhibitions focusing on sculpture, design, photography, painting, and arts education. The first exhibition in September 2012 features emerging artists working in sculpture. Subsequent exhibitions explore design and sustainability in Brooklyn, cross-boundary photography, interactive new media, abstract and representational painting, the role of place in New York City, and celebrating 25 years of the Contemporary Art Student Exhibition.
The document discusses ethnographic art and Alfred Gell's theory of "Vogel's net". It provides examples of ethnographic art from various cultures such as Polynesian fish hooks, Aboriginal Australian iconography, and Tsantsas shrunken heads. It explains Susan Vogel's display of a Zande hunting net in an art gallery to show how artifacts can be interpreted as art through ideas within an art historical tradition rather than just aesthetic qualities. The document advocates an interpretive view of art over an aesthetic view, arguing artifacts can communicate ideas and meanings through their representation of social relationships.
Akili Ron Anderson is an artist based in Washington D.C. who has practiced as a full-time visual artist for over 30 years. He produces stained glass windows, sculptures, paintings, and theater sets. The document provides details on Anderson's education, positions held, public art commissions, exhibitions, and recommendations. It is Anderson's resume and portfolio highlighting his extensive career as an artist specializing in public art installations.
This document summarizes a lecture on symbolism and the avant-garde in music and art. It discusses symbolist poetry and its use of symbolic imagery to represent the poet's soul. It then covers several avant-garde art movements that emerged before and after World War 1, including Expressionism, Futurism, Dadaism, and developments in musical avant-garde styles. Examples of representative works from artists like Munch, Van Gogh, Duchamp, Stravinsky, Xenakis, Eno and others are provided to illustrate different avant-garde styles.
This panel discussion will explore the relationship between curators and artists, moderated by Mitchel Pilnick. The panelists include a studio program director, sculpture guild president, art-in-buildings director, and independent curator. They will discuss what curators look for in artists, how artists can best work with curators, and ways for artists to further their career and exposure. The event will take place on March 22nd at the National Arts Club in New York City.
The document announces the 2016-2017 exhibit schedule for the Rao Musunuru, M.D. Art Gallery located at Pasco-Hernando State College. The exhibits will feature a variety of art forms and artists, including ceramics, illustrations, paintings, photographs, prints, and sculptures. Opening receptions are sponsored by the PHSC Student Government Association. The gallery hours are Monday through Thursday from 9am to 7pm and Friday from 9am to 3:30pm.
This document provides information about relief sculpture and instructions for a student project to create a three dimensional architectural facade in relief. It defines relief sculpture as sculpted motifs raised from but still attached to a two dimensional background. It outlines the basic types of relief sculpture and explains how relief sculpture differs from regular sculpture by remaining attached to its background. The document then provides a six step process for the student project, including researching cultural architectural styles, sketching ideas, experimenting with materials, creating the relief sculpture, revising if needed, and participating in a class critique.
This document discusses contemporary curating practices and the shifting roles of curators. It explores how curators are taking on more creative roles beyond being art herders, taking on metaphors like editors, DJs, and producers. It also examines how curators are moving works out of white cube galleries into public spaces and non-traditional venues. Several examples are provided of artist-led initiatives and projects that further blur the lines between artists, curators, and critics.
Public art can take many forms, including sculptures, murals, and graffiti. It is often funded by governments and created by artists to be displayed in public spaces for educational purposes or to beautify an area. However, public art can also be controversial as not all viewers may appreciate or understand the artwork. It sometimes faces issues regarding its funding source or potential to cause disruption. While temporary or permanent, public art aims to expose more people to art outside of traditional galleries or museums.
The document summarizes upcoming exhibitions at the University Galleries at Texas State University. It describes several exhibitions that will be on display, including Selections from The Bearden Project featuring works influenced by Romare Bearden, installations and drawings by Katrina Moorhead that reference science and human emotion, and paintings by Francesca Fuchs that depict art from her personal collection. It also provides information on related events like artist lectures and opening receptions. The galleries aim to provide engaging exhibitions and educational programming for both students and the community.
Oeuvre of the incomplete Exhibition ReportAyẹni Ọlájídé
Oeuvre of the Incomplete is an exhibition organised by the department of architecture students in the University of Lagos. Curated by Ayẹni Ọlájídé and Ìfẹ́olúwa Ọ̀ṣúnkọ̀yà, the exhibition featured five artists; Yusuf Sanni, Kehinde Balogun, Quadri Sorounke, Philip Fagbeyiro, and Chris Iduma. With visitors from within and outside of the university.
Just What is it Makes Today's Art Schools So Different So Appealing?Prof Neil Mulholland
The document discusses strategies for developing an integrated 21st century art school. It proposes a holistic model with three main components: specialist discipline-based programs, a common art core curriculum taught jointly across programs, and workshop-based electives combining theory and practice. The goal is to provide an open learning environment that encourages student participation in research and connects students and staff to the wider art world through exhibitions, projects and guest speakers. The model aims to cultivate a continuous cycle of art practice through specialized supervision and a personalized curriculum for each student.
The document discusses an art exhibition titled "jjmwmnl." held at UC Davis in 2015. It features works by 7 Master of Fine Arts students from the UC Davis Art Studio program. The artists use a variety of media like painting, sculpture, drawing and time-based works to create pieces that encourage reflection on everyday life and blur boundaries. Their experimental processes produce works dealing with issues of violence, the environment and identity. The exhibition provides an opportunity to experience different artistic practices and the experimental spirit of the student artists.
The Pulitzer Foundation for the Arts is located in Grand Center, St. Louis. It was completed in 2001 to a design by renowned Japanese architect Tadao Ando. The 27,000 square foot building houses the foundation's permanent collection and hosts temporary exhibitions, with the goal of furthering appreciation and understanding of the visual arts. It focuses on community outreach and educational programming through partnerships with local schools and organizations.
Benefits of a Community Based Exhibition ProjectMelissa Hempel
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, Hidden Voices exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Benefits of a Community-Based Exhibition ProjectWest Muse
Listening to all voices in a community allows art organizations to offer a safe outlet for expression through art projects, developing skills and building community. Placing ultimate importance on the process of creating art and community partnerships, 'Hidden Voices' exhibition participants have ranged from teenage graffiti offenders to women who have experienced domestic violence to senior citizens. Art Access connects lives through making art that shares experiences. This session examines the lasting benefits of community-based projects for both the organizations and the selected participants.
Moderator: Rebekah Monahan, Registrar, Woodbury Art Museum
Presenters: Antonio Castillo, Gang Prevention Specialist, Provo School District
Carlyn Barrus, Community Artist
Melissa Hempel, Interim Director/Curator, Woodbury Art Museum
Sheryl Gillilan, Director, Art Access
This article provides summaries of two current exhibitions at the Fuller Craft Museum - the 2014 Biennial Members Exhibition and Crafting A Collection, which highlights recent acquisitions. The Members Exhibition, juried by Arthur Dion, features works by 47 artists using various media including woodworking, fiber arts, metalsmithing, ceramics, painting, drawing, photography and kinetic sculpture. A few works are described in more detail, including Alan Weinstein's marble sculpture "Kong" and David A. Lang's kinetic piece "Knockabout". The acquisitions exhibition highlights the museum's growing collection and importance of collecting to a non-profit institution.
Toby Fifield is an artist based in San Francisco who creates engaging art that promotes social interaction. His artworks have been exhibited internationally, including in major art museums in Asia, international children's museums, galleries, and universities. He holds a BFA from California College of the Arts and an MA in Education from UC Santa Cruz. His work documents people through experiences traveling in Asia over 10 years and aims to portray interdependence between individuals and their environments through bodily interactions.
1) Several students from the University of Dayton's Department of Art and Design presented redesigns of the Nutella brand for different global territories in collaboration with branding consultancy Interbrand.
2) Photography majors presented their senior capstone thesis projects touching on themes of environmental sustainability, personal memory, and narrative photography.
3) A student analyzed the works of Chinese artists Ai Weiwei and Zhan Wang who incorporate political beliefs and classic Chinese painting styles to address concepts of national and cultural identity in modern China.
This document provides information about an exhibition titled "Against Reason: Anti/Enlightenment Prints by Callot, Hogarth, Piranesi, and Goya" curated by students at Grinnell College under the direction of Professor J. Vanessa Lyon. The exhibition features etchings and engravings from the 17th-19th centuries focused on themes of nationalism, order, aesthetics, and religion from the featured artists. It includes background on the curators and exhibition, as well as descriptions of works and acknowledgements.
"Bearing Witness: Work by Bradley McCallum & Jacqueline Tarry" is a multi-venue survey of more than 10 years of work by the husband-and-wife collaborative team Bradley McCallum and Jacqueline Tarry organized by the Contemporary Museum and the Maryland Institute College of Art’s (MICA) 2009/2010 Exhibition Development Seminar (EDS)
This document outlines a plan to provide art appreciation opportunities for students in the Chester-Upland School District. The plan involves monthly field trips to the Widener University art gallery for 5th and 6th grade students. Students would view and discuss the artwork, focusing on Japanese ceramics and Asian art. They would then create their own watercolor paintings or ceramic pieces reflecting Asian influences. Finally, the student artwork would be exhibited on the sidewalks of Media during a public event. The goal is to sustain students' access to visual arts and cultural experiences.
The document outlines an agenda for a public art practice workshop held in Dublin. It includes sessions on current commissioning approaches, case studies, and proposals. Artists will present on considering audience and context in proposals. There will be discussions on realizing commissions and navigating organizational relationships. The workshop aims to explore public art practices and challenges in Ireland.
The document is a teacher resource packet for an exhibition at the Museum of Arts and Design titled "New Territories: Laboratories for Design, Craft and Art in Latin America." It includes introductory information about the exhibition's themes of navigating space, repurposing objects, developing new markets, cultivating experimentation, craft legacy, and experimenting with materials. The packet provides discussion topics, hands-on activities, and lessons to help students explore the key concepts and ideas from the exhibition both before and after their visit.
The document provides an overview of the "Clear Picture" art exhibit curated by students from Marquette University's Spanish and Journalism classes. It introduces the original curators of the exhibit, Eugenia Afinoguenova and Pamela Hill Nettleton, and the Haggerty Museum director who supported the project. It then shares personal statements from several students describing their experiences working on the exhibit and lessons learned. These statements highlight the challenges of deciding which artworks to include to best represent the theme of "community" and bringing together diverse viewpoints. The document aims to provide context and reactions to the collaborative student-curated exhibit.
An overview of the program, participants, residency process and projects behind AFFECT I Edition, 2014.
A program for collaborative artistic practices in Berlin initiated by Agora Collective e.V.
Extended Context/Extended Media - Class 01 - 2015Bryan Chung
This document provides information about the VASE7200 Extended Context/Extended Media course, including the course website, teachers, schedule, assignments, evaluation criteria, and list of potential secondary supervisors and guest speakers. It discusses the course format, activities, and examples of past student artworks. It also provides an overview of topics that will be covered in the course, such as relational aesthetics, participatory art, information visualization, and tactical media. The document emphasizes exploring art through both its formal qualities and broader contexts.
2. This fall, we celebrate our move of a decade ago when the
University Galleries, along with the School of Art & Design,
relocated to a new state-of-the-art facility providing for the
galleries’ 4,600 square feet of exhibition spaces. Since that time,
we have honed our contemporary art focus by hosting an average
of twenty exhibitions a year, growing our Permanent Collection
through significant donations, and providing Public Programming
that includes visiting artists’ lectures, performances, panel
discussions, symposia, films, critiques, and workshops.
The University Galleries and Visiting Artist Program are integral to the
learning process for students, as well as a source of enrichment for
the entire community. Alongside the aspiring mission of mounting
exhibitions that are challenging and engaging, the gallery has dual
roles: providing an access point to the university for the community,
while also educating and engaging the students for whom the
galleries ultimately exist. So it is with much anticipation that we look
forward to the 2013 – 14 exhibition season and the varied ideas and
disciplines that are represented within the exhibitions offered.
Galleries [1] & [2] – located in the Joann Cole Mitte building, within
the School of Art & Design at Texas State University – are used
separately for individual exhibitions and in tandem for combined
exhibitions. We continue our commitment to programming that
fosters discourse among artists, art & design professionals, students,
and the community by providing a diverse schedule throughout the
academic year. We look forward to seeing you here!
Mary Mikel Stump
Gallery Director | Curator
The University Galleries, Texas State University
Directions to the Galleries:
The University Galleries [1] & [2] and lecture hall are
located inside the Joann Cole Mitte Complex (JCM) at
the corner of West Sessom Drive and North Comanche
Street on the campus of Texas State University.
Parking is available at the LBJ Parking Garage located
on Student Center Drive. Limited parking is available
for receptions in front of JCM on Sessom Drive.
txstgalleries.org/visit/
The University Galleries
at Texas State University
LBJ PARKING
GARAGE
LBJ STUDENT
CENTER
JCM
COMPLEX
HEALTH
CENTER
– TEXAS STATE CAMPUS
– UNIVERSITY GALLERIES
– PARKING
CONTENTS
03
07
09
11
13
15
19
21
23
24
25
27
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31
Director’s Note
M PATH
13th Annual Alumni Invitational
MODIFICATIONS AND ADAPTIONS: Recent work by Yumi Janairo Roth
Eric Zimmerman: WEST OF THE HUDSON
Fall BFA Thesis Exhibitions
MFA Showcase 2014 / MFA Thesis Exhibition
Deb Sokolow: All your vulnerabilities will be assessed
Laurie Frick & James Sterling Pitt: Pattern Language
100-4-100: Silent & Live Auction Scholarship Fundraiser
All Student Juried Exhibition
Lauren E. Simonutti: The Devil’s Alphabet
Richard Martinez: ¡PAINTINGSFORNOW!
Spring BFA Thesis Exhibitions
In an attempt to cut down on the amount of our
paper waste, we ask you to please log-on to our
website: txstgalleries.org, and answer a quick
survey to let us know how you would like to receive
future exhibition information.
going green
Thank you,
Cover: [Front] Briana Purser, Kate and Cavan, After the Fire, Bastrop State Park, 2012, archival inkjet print, 20 x 30 inches
[Back] Eric Zimmerman, Mars, As Viking Sees It (Black & White), 2013, collage on paper, 15.5 x 12.5 inches 03Emilio Villarruel, for Ars Ipsa installation, Resurfaced, 2006
txstgalleries.org
Texas State University is a tobacco-free campus.
3. Fall 2013 Exhibitions
M PATH: Angela Fraleigh, I Believe In You, 2011, porcelain, sculpey, mirror, 7 x 10 x 10 inches
4. M PATH
Empath: One who is capable of feeling the emotions of
others, despite the fact that their circumstance is not the same.
This exhibition seeks to create an empathic gaze on the
part of the viewer to the artist’s work and the ideas contained
therein. Empathy—defined as the action of understanding, being
aware of, being sensitive to, and vicariously experiencing the
feelings and thoughts of another without having the feelings,
thoughts communicated explicitly—is the focus of this group
exhibition, which creates an emotional architecture for the
viewer to react to the work. Offered in support of the university’s
Common Experience, Minds Matter: Exploring Mental Health and
Illness, the exhibition explores the nature of emotional dissonance,
unease, and evaluation. As such, identity—or lack thereof—is used
as a standard for and a path to the viewer’s responses.
M PATH features works by the following artists:
08.28
–
09.28
Opening Reception: Wednesday, August 28 | 5 – 7 p.m.
Performances:
Comfort Sessions by Katelena Hernandez
Daytime: Tuesday, September 17 | Noon – 2 p.m., Gallery 1
Evening: Thursday, September 19 | 7 – 10 p.m., Gallery 1
Artist’s Lecture: Katelena Hernandez
Monday, September 16 | 2 p.m.
JCM, Room 2121
07
Clockwise from large image:
Ewan Gibbs, Arlington, 2012, Graphite on paper,
17 7/8 x 12 inches
Kerry Skarbakka, Trestle, 2003, photograph,
60 x 72 inches
“You call round to borrow chairs for your party; I spend the night
sitting on the floor.”
Nigel Grimmer, Baskerville Family Album / Minor Monuments,
2013, Screenprint / Found Objects
Caleb Cole, First Communion, 2010, altered photograph,
11 x 11 inches
Ryan Everson, Long Lost, 2013, wood, lights, map, binoculars,
dimensions variable
Vera Barnett***
Caleb Cole
Ryan Everson
Angela Fraleigh*
Heyd Fontenot*
Ewan Gibbs**
Nigel Grimmer
Sean Hathaway / Carlos Severe Marcelin
Katelena Hernandez
Katy Horan
JunCheng Liu***
Mads Lynnerup**
Kristin Musgnug*
Kerry Skarbakka
Hadar Sobol
Happy Valentine
Courtesy of:
*Inman Gallery, Houston
**Lora Reynolds Gallery, Austin
***Valley House Gallery, Dallas
5. 08.28
–
09.2813th Annual Alumni Invitational*
Each year, the School of Art and Design at Texas State University
extends an invitation to selected alumni to exhibit works that
reflect their current creative practice. The resulting survey
exhibition celebrates the creativity of School of Art & Design
alumni across disciplines. The exhibition also provides an
opportunity to see how the artists and their practices continue
to mature after they leave our hallowed halls. While these
exhibited works are diverse, they have one thing in common: each
represent an intersection of concept and process, resulting in
compelling works that we are proud to have the opportunity to
exhibit in the University Galleries.
The 13th Annual Alumni Invitational participants are:
*The 2013 Texas Biennial is proud to recognize this independently
curated exhibition.
Opening Reception: Wednesday, August 28 | 5 – 7 p.m.
09
Rebekah Frank, San Francisco
Yuko Fukuzumi, Yokohama, Japan
Dieter Geisler, Austin
Briana Purser, Austin
Clifton Riley, San Antonio
Josh Rios & Anthony Romero, Chicago
Kyle White, Seguin
Joshua Y'Barbo, London, UK
Left to right, top to bottom:
Josh Rios & Anthony Romero, Selections from Rewriting
O’Keeffe, 2013, altered photograph
Briana Purser, Dagney, 2012, photograph, 20 x 30 inches
Dieter Geisler, Transformation Part I, 2013, mixed media,
30 x 20 inches
Joshua Y’Barbo, still from Soap-Oil-Water installation, 2010,
dimensions variable
Rebekah Frank, Collection of Four Necklaces, 2012, steel.
Photo credit: Edgar Mosa, Courtesy of Cranbrook Art Museum
Kyle White, Teapot, 2012, ceramic
Yuko Fukuzumi, Summer Set, 2011, screenprint on paper,
11 x 19 inches
Clifton Riley, the rising 3, 2013, intaglio, relief, 22.25 x 29.5 inches
6. Modifications and Adaptations:
Recent Work by Yumi Janairo Roth
Modifications and Adaptations—a collection of recent projects by
Colorado based artist, Yumi Janairo Roth—explores immigration,
hybridity, and displacement through a number of reimagined
objects. Roth matches fine workmanship and labor-intensive
processes such as mother-of-pearl inlay and silversmithing with
mundane objects such as pallets, fencing, and trailer beds. In so
doing, Roth aims to suppress normally foregrounded attributes
associated with these processes, and by extension, perhaps the
trappings of conventional “beauty.” Faced with this work, the
viewer is forced to reconcile disparate visual languages found
in the same object. The works in Modifications and Adaptations
function as both natives and interlopers to their environments,
simultaneously recognizable and unfamiliar to their users.
Yumi Janairo Roth currently lives and works in Boulder, CO,
where she is a Professor of Sculpture at the University of
Colorado-Boulder. Roth's oeuvre includes discrete objects
and site-responsive installations, solo projects as well as
collaborations. She has exhibited her work and participated in
residencies nationally and internationally, including New York,
Houston, Boston, Denver, Minneapolis, Santa Fe, Mexico, the
Philippines, Colombia, the Czech Republic, and Germany. Roth’s
work appears courtesy of the artist.
Opening Reception: Tuesday, October 8 | 5 – 7 p.m.
Artist’s Lecture: Monday, October 7 | 2 p.m.
JCM, Room 2121
Yumi Janairo Roth| From top to bottom:
Cargo Cult, 2009, temporary, site-responsive installation,
mother-of-pearl, found shipping pallet
10,000dwt (pennyweights), 2011, handmade, sterling silver
chain link fence
10.08
–
11.14
11
7. 10.08
–
11.14
Eric Zimmerman:
WEST OF THE HUDSON*
Eric Zimmerman’s work is focused on the search for and creation
of objects, symbols, and images that intersect with one another
and when taken together, act as a form of visual evidence. Through
drawings, sculptural objects, publications, diagrams, writing, and
collage, Zimmerman reaches multiple points where empirical
data is displaced and the viewer is instead met with a series of
fragmented narratives and overlapping meanings. At the core of this
investigation lie questions revolving around the nature of evidence,
the process though which meaning is created, and the systems of
knowledge upon which each is built. Longing for the unknown, and
crafting objects that embody it, while striving to come to terms with
our place and actions within this world are distinctly human qualities,
which the work hopes to address.
For his exhibition at The University Galleries, Eric Zimmerman
utilizes the Native American myth of the bobcat (fog) and the
coyote (wind) as his specific point of departure. Within this narrative
framework is the theme of duality, opposites, contradiction and
his interest in establishing a series of open meanings, rather
than closed propositions. As such, Zimmerman also references
in a variety of ways something from another time—something
potentially romantic—and a specific point in North American history,
which precedes industrialization and Western Capitalism.
Zimmerman has been a Resident at the Bemis Center for
Contemporary Art and his work has been shown in solo
exhibitions at Art Palace in Houston, The Old Jail Art Center in
Albany, TX, and the Austin Museum of Art, and as part of group
exhibitions in New York, Philadelphia and Chicago. He lives
and works in Houston, Texas. Eric Zimmerman’s work appears
courtesy of the artist and Art Palace in Houston, Texas.
*The 2013 Texas Biennial is proud to recognize this independently
curated exhibition.
Opening Reception: Tuesday, October 8 | 5 – 7 p.m.
Artist’s Lecture: Wednesday, October 9 | 2 p.m.
JCM, Room 2121
13
Eric Zimmerman | From larger image, clockwise:
Hungry Like The Wolf, 2013, graphite on paper,
15.5 x 12.5 inches
Mars, As Viking Sees It (Black & White), 2013, collage on paper,
15.5 x 12.5 inches
The Logger, 2013, graphite on paper
15.5 x 12.5 inches
Mars, As Viking Sees It (Color), 2013, collage on paper,
15.5 x 12.5 inches
8. FALL BFA THESIS EXHIBITIONS
Each student who earns a Bachelor of Fine Arts (BFA) from the
School of Art and Design Studio curriculum is required to exhibit
artworks that are generated in their final two Thesis semesters.
Entirely conceived, designed, and installed by the Thesis
students, this exhibition highlights selections from those bodies
of work.
The BFA exhibitions are exciting for our students, as they signal
at once both the completion of a major life’s accomplishment,
while prompting the start of an independent creative practice.
As students in the School of Art & Design at Texas State prepare
to graduate, their BFA Thesis Exhibitions act as a fulcrum of
sorts—a point of transition.
In the Fall semester, Thesis students will exhibit their works
in three shows over a three week period, featuring a survey of
works from all of the School of Art & Design’s Studio disciplines:
painting, drawing, sculpture, printmaking, metals, ceramics,
photography, new media, and art education.
FPO
Reception: Monday, November 18 | 5 – 7 p.m.
EXHIBITION I
Reception: Monday, December 2 | 5 – 7 p.m.
EXHIBITION II
Reception: TBA
EXHIBITION III
15
11.18
–
11.22
12.02
–
12.06
12.09
–
12.13
Misa Rodriguez Valenzuela, Equal Efforts (from the series
Never Stops), 2013, digital print, 19 x 13 inches
9. Spring 2014 Exhibitions
Deb Sokolow, All Your Vulnerabilities Will be Assessed, 2012-2013, graphite, charcoal, acrylic, ink, tape, adhesive and collage on paper, 18 x 325 (height variable to 44 inches)
10. 01.13
–
01.17
MFA
SHOWCASE [2014]
Connect. Collaborate. Create.
This exhibition provides an opportunity
for the MFA program in Communication
Design to showcase work by award-winning
students who are part of a new generation
of design education.
MFA
Thesis Exhibition
Reception: Monday, January 13 | 6 – 8 p.m.
Awards Announced: 7 p.m.
19
01.13
–
01.17
Clockwise from large image:
Andrea Weissenbuehler, Stronger, 2012, paper, 24 x 36 inches
Jonathan Pliego, TabCloud, iPhone App, 2012
Alexa Goldberg, Letters from Camp, iPhone App, 2012
Maria Beane, The Wizard of Oz, Presentation of Gifts, 2013, paper,
5 x 5 inches
Duncan Robertson, New Alphabet Typeface Design Exploration,
2012, 42 type cuts
Letters from Camp
Screenshots
Launch Welcome
Letters
from
Camp
AT&T 12:34 PM
Letters
from
Camp
Sign In
Create an Account
Welcome!
email
password
QQ WW EE RR TT YY UU II OO
AA SS DD FF GG HH JJ
ZZ XX
spacespace @@ .. returnreturn.?123.?123
CC VV BB NN MM
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AT&T 12:34 PM
Typography: Assignment 2: Experiment with Typography: Creative Brief | Duncan Robertson 24
New Alphabet 13 Expanded Italic
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Reception: Monday, January 13 | 5 – 7 p.m.
MFA students share their research in
the MFA Communication Design program
with this thesis exhibition.
11. 21
Laurie Frick & James Sterling Pitt:
PATTERN LANGUAGE
Translating the data of daily living and observation, artists
Laurie Frick [Austin] and James Sterling Pitt [San Francisco]
each utilize a framework of visual languages that straddles
neuroscience, data, and art, while also residing in the place of
visually stunning aesthetics.
While Frick’s constructions—intricately hand-built works and
installations that investigate the nature of pattern and the
mind—relate to personal data collection and observations
made over time, James Sterling Pitt uses pattern as a means
of personal communication and as a tool for making sense of
his world. Pitt’s drawings act as a visual diary, helping him to
understand his changed perception of the world after a 2007
accident that left him struggling with short-term memory loss
and everyday tasks.
Laurie Frick’s work has been exhibited at the Oklahoma Contemporary, Real
Art Ways, Marfa Contemporary, and Robert Steele Gallery in New York City.
She has been awarded residencies by the Neuroscience Research Center
University of Texas, the Headlands, Yaddo, as well as the Bemis Center for the
Contemporary Arts and her lectures include a 2013 TED talk at TEDxAustin.
James Sterling Pitt's work has been exhibited at Eli Ridgway Gallery, Steven
Zevitas Gallery (Boston), SF Parklife, Headlands Center for the Arts, Sight
School, The Lab, Richard Levy Gallery (New Mexico) and Gallerie Axel Obiger
(Berlin). He has been the recipient of the Djerassi Foundation Artist Residency
and the Kala Art Institute Fellowship in Berkeley, California.
Laurie Frick’s work appears courtesy of the artist and Edward Cella Gallery, Los
Angeles. James Sterling Pitt’s work appears courtesy of the artist.
01.27
–
02.22
Opening Reception: Monday, January 27 | 5 – 7 p.m.
Artists' Lecture:
Laurie Frick – Tuesday, January 21 | 12:30 p.m.
JCM, Room 2121
James Sterling Pitt – Monday, January 27 | 2 p.m.
JCM, Room 2121
Collaborative Musical Performance:
James Sterling Pitt & J D Emmanuel
Tuesday, January 28 | 7 p.m., Gallery 1
Clockwise from large image:
Laurie Frick, Sleeping in Pink (detail), 2013, watercolor and ink on
paper, cut and folded, 11 x 12 inches
James Sterling Pitt:
Untitled (August 14 - September 16, 2012), ink, graphite on paper,
8.5 x 11 inches
Untitled (The Ocean in Four Parts), 2013, acrylic on wood,
22.5 x 17.5 x 2.5 inches
Untitled (In the Waves at Night), 2012, acrylic on wood, wire,
18.5 x 13.5 x 2.5 inches
Untitled (Wind Shimmer), 2013, acrylic on wood, colored pencil,
18.5 x 13.5 x 2.5 inches
12. 23
01.27
–
02.22
Deb Sokolow:
ALL YOUR VULNERABILITIES
WILL BE ASSESSED
For this exhibition, Chicago based Chicago based artist Deb Sokolow
exhibits her 28 foot-long, text-and-image drawing, plus tangentially
related items inspired by a recent two-month stay at the mountaintop
artist residency, Nordisk Kunstnarsenter Dalsåsen, in Norway.
All Your Vulnerabilities Will Be Assessed is a panoramic narrative
on multiple papers consisting of handwritten texts, erasure marks,
blocked out information, photocopies, diagrams and architectural
floor plans with flap-like walls protruding from the papers’ surfaces.
The story is narrated with the voice of Sokolow’s ubiquitous
protagonist, also known as “you”, a somewhat unreliable individual,
who, in this particular story, exists as an artist and disgruntled
security guard on staff at the Art Institute of Chicago.
This narrator—along with other artists from various countries—has
been invited to spend two months at a retreat on a mountaintop in
rural Norway with the premise that a quiet, secluded environment
will be provided for making art. Unbeknownst to those invited, the
retreat is actually a recruitment center for an international art theft
organization called “The Association” and the selection process
is neither based on artistic merit nor exhibition credentials, but
rather on the sole qualification that each artist selected must also
be an unhappy security guard working at an art museum with a
weak security system and vulnerable masterpieces. During the
two months at the retreat, the artists are slowly brainwashed into
believing that The Association has the connections and power to
make each of them famous in exchange for staging art thefts inside
the museums at which they work. Along the way, each artist is put
through a series of mental and physical tests as part of the art thief
recruiting process.
Deb Sokolow’s work has been exhibited at the Wadsworth
Atheneum Museum of Art [Hartford, CT], Western Exhibitions
[Chicago, IL], Abrons Art Center [New York], the Kemper Museum
of Contemporary Art [Kansas City, MO], The Drawing Center [New
York], and Museum für Gegenwartskunst [Siegen, Germany].
Sokolow’s work appears courtesy of Western Exhibitions, Chicago.
Opening Reception: Monday, January 27 | 5 – 7 p.m.
Artist’s Lecture: Monday, January 27 | 11 a.m.
JCM, Room 2121
Deb Sokolow | From larger image, clockwise:
The Mountain (2012-2013), graphite, charcoal, acrylic, ink, tape,
adhesive and collage on 4 sheets of paper,
hung 2 x 2, 60 x 44 x 1 inches
Smaller images: details from
All Your Vulnerabilities Will be Assessed (2012-2013), graphite,
charcoal, acrylic, ink, tape, adhesive and collage on paper,
18 x 325 (height variable to 44 inches)
13. The premise is simple: a scholarship fundraiser featuring 100 works
by 100 artists—friends, faculty, alumni and students of the School
of Art & Design at Texas State University. Each work, starting at
100 dollars, will be offered in a silent auction format that will raise
money for scholarships. The evening’s party will culminate in a live
auction where three selected works will be offered in an active
bidding format with a surprise Guest Auctioneer.
This silent and live auction is a biannual fundraiser to raise
money for student scholarships. Our goal is to exceed our last
event’s result of almost 20,000 dollars.
Complimentary hors d’oeuvres & cash bar.
For more information, go to txstgalleries.org
6 p.m. | Pre-Registration
7 p.m. | Silent Auction bidding opens
9 p.m. | Live Auction
10 p.m. | Silent Auction Closes / Checkout Begins
100-4-100
Silent & Live Auction Scholarship Fundraiser
All Student Juried Exhibition
Juror: Arturo Palacios, Art Palace, Houston
This annual competition for students who have been enrolled
in classes within the School of Art and Design is a means of
highlighting and celebrating the art works generated within
our curriculum. This year, guest juror Arturo Palacios, Director
and Owner of Art Palace in Houston, will select from over
350 entries.
The selected works will also be highlighted on the University
Galleries’ website, at txstgalleries.org.
Opening Reception: Monday, March 3 | 5 – 7 p.m.
Awards Announced: 5:45 p.m.
25
02.28
03.03
–
03.07
Michelle Clements, Vel, 2013, brass, grandfather’s
military pendant, Iraq war commemorative coin,
cogs and arrow from broken scale, aluminum,
3 x 1.5 x .5 inches
14. Lauren E. Simonutti:
The Devil’s Alphabet
“Over three and one half years I have spent alone amidst these 8
rooms, 7 mirrors, 6 clocks, 2 minds and 199 panes of glass. And this
is what I saw here. This is what I learned.”
—Lauren E. Simonutti
In 2002, photographer Lauren E. Simonutti (1968-2012) acquired
a house that was in a certain state of disrepair. In 2006, after
she was diagnosed with rapid cycling, mixed-state bipolar with
schizoaffective disorder, she turned her camera on herself and
the space in which she lived to beautifully chronicle the mental
illness that would eventually take her life. Of her decision to
record the struggle, Simonutti said, “I could document my
ascension from madness to as much a level of sanity for which
one of my composition could hope or I could leave a document
of it all in the case that I should lose.” It was through this
documentation that the house became the model for her first
comprehensive large format project and, in her words, “in turn,
became my backdrop, my setting, my refuge and, eventually, a
collaborator, as I began to bleed myself into the frame.”
The beauty of Simonutti’s work makes a place for itself not only
in the personal story chronicled within it, but also in the way the
artist made the images. “100% digital free,” Simonutti proudly
claimed, as she gained the visual effects in the images either from
the camera via gestures and movement accompanied by exposures
that range from two minutes to eight hours or through the artful
approach that she took in the darkroom, often timing exposures by
the length of songs.
The Devil’s Alphabet contains 26 images, taken with a 5x7 View
Camera, each corresponding to a different letter in the alphabet.
The images fulfill Simonutti’s goal of giving each letter its own
personality while offering a glimpse into a life in which, “nothing is
real but everything is true.”
This exhibition is presented courtesy of Catherine Edelman Gallery
in Chicago and in support of the university’s Common Experience,
Minds Matter: Exploring Mental Health and Illness.
03.17
–
04.11
Opening Reception: Monday, March 17 | 5 – 7 p.m.
27
Lauren E. Simonutti | From larger image, clockwise:
The Devil’s Alphabet: N (2007)
The Devil’s Alphabet: E (2007)
The Devil’s Alphabet: R (2007)
The Devil’s Alphabet: T (2007)
The Devil’s Alphabet: W (2007)
15. 03.17
–
04.11
Drawing from many sources—Baroque sensibilities in Mexican
and earlier European art & architecture, marine painting, and
Modernist work from the 1950s and 60s—the works of Richard
Martinez are visual hybrids that are at once personal as well as art
historical while acting as references that seek to re-contextualize
familiar elements to introduce new ways of looking at and
considering painting. The resulting forms are visual statements
that are unusual and ambiguous and also hold a certain familiarity.
Says Martinez, “I’m interested in how, when combined, these
unlikely and often oppositional elements bump up against each other,
often in awkward ways, to create a new visual language.” Martinez
works with shaped stretched canvases complete with curvilinear
edges that pit ornate sensuality against a modernist austerity of
color fields and flat silhouettes; the canvas shapes are informed by
references to ornate Rococo mirrors, decoration, and architecture.
Subsequently, Martinez creates a statement on how the canvases are
at once objects and windows that create optical space, while never
fully giving in to or becoming either.
A recent resident of Texas where he took part in the 2011 Texas
Biennial and the Texas National, Martinez now lives and works in Walla
Walla, Washington, where he is on the faculty at Whitman College.
The works of Richard Martinez appear courtesy of the artist.
Opening Reception: Monday, March 17 | 5 – 7 p.m.
Artist’s Lecture: Monday, March 17 | 2 p.m.
JCM, Room 2121
Richard Martinez, HEATMACHINE, 2013, oil, alkyd,
on shaped, stretched canvas, 42 x 37 x 2 inches 29
Richard Martinez:
¡PAINTINGSFORNOW!
16. SPRING BFA THESIS EXHIBITIONS
This exhibition highlights the depth and range of School of
Art & Design students and their creative practices. Each
student who earns a Bachelor of Fine Arts degree in Studio
Art from the School of Art and Design Studio curriculum is
required to exhibit artworks that are generated in their Thesis
semesters. In the Spring semester, Thesis students will
exhibit their works in four shows over a four week period,
featuring a survey of works from all of the School of Art &
Design’s Studio disciplines: painting, drawing, sculpture,
printmaking, metals, ceramics, photography, new media and
art education.
These BFA Thesis Exhibitions serve as the capstone for
a rigorous studio education, and the exhibitions, entirely
conceived and executed by the Thesis students, are the
perfect way to end the semester and academic year.
Reception: Monday, April 14 | 5 – 7 p.m.
EXHIBITION I
Reception: Monday, April 21 | 5 – 7 p.m.
EXHIBITION II
Reception: Monday, April 28 | 5 – 7 p.m.
EXHIBITION III
Reception: TBA
EXHIBITION IV
Darby Rose Hillman, Assembly Lines: Dirty Social, 2012,
industrial filament thread, dimensions variable 31
04.14
–
04.18
04.21
–
04.25
04.28
–
05.02
05.05
–
05.09