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This Month in the Arts
This Month in the Arts THE ART AND ART HISTORY DEPARTMENT JANUARY 2016 LOCAL AND REGIONAL EVENTS Visiting Artist Lecture Series, Hrag Vartanian January 14, 2016 Hrag Vartanian is the co-founder and editor-in-chief 4:30 pm of Hyperallergic, the award-winning art blogazine based in Art Annex, Room 107 Brooklyn, NY. His work has appeared in countless publica- tions, and he has been invited as a guest commentator on Al Jazeera, WNYC, KCRW, and other national and international media outlets. In addition to his writing and commentary, he has curated numerous exhibitions, including “#TheSocialGraph” which was the first exploration of the evolving landscape of social media art back in 2010. He regularly writes and lectures about performance art, the online art world, street art, and multicul- turalism. Free and open to the public Annual Templeton Colloquium, Convergent Cultures/Convergent Images January 29, 2016 Convergent Cultures/Convergent Images will look at 4:00-7:00 pm communication through the visual arts from a global per- Conference Center spective. Bridging the arts of Europe, Latin America, and Ballroom B the Middle East, the three colloquium speakers will address 550 Alumni Lane the cross-cultural and cross-regional nature of visual herit- UC Davis age and consider how contemporary responses to visual culture and identity are centered in their historical roots. Speakers Glaire Anderson, Professor, Art Department, University of North Carolina at Chapel Hill Glaire D. Anderson is an historian of medieval Islamic art, architecture and civiliza- tion. Her research focuses on the intersection of art, architecture, and court culture in early Islamic Iberia, the western Mediterranean, and the wider Islamic lands during the caliphal period. -
Manifestopdf Cover2
A Manifesto for the Book Sarah Bodman and Tom Sowden A Manifesto for the Book Sarah Bodman and Tom Sowden with an edited selection of interviews, essays and case studies from the project What will be the canon for the artist’s book in the 21st Century? 1 A Manifesto for the Book Published by Impact Press at The Centre for Fine Print Research University of the West of England, Bristol February 2010 Free download from: http://www.bookarts.uwe.ac.uk/canon.htm This publication is a result of a project funded by the Arts and Humanities Research Council from March 2008 - February 2010: What will be the canon for the artist’s book in the 21st Century? The AHRC funds postgraduate training and research in the arts and humanities, from archaeology and English literature to design and dance. The quality and range of research supported not only provides social and cultural benefits but also contributes to the economic success of the UK. For further information on the AHRC, please see the website www.ahrc.ac.uk ISBN 978-1-906501-04-4 © 2010 Publication, Impact Press © 2010 Images, individual artists © 2010 Texts, individual authors Editors Sarah Bodman and Tom Sowden The views expressed within A Manifesto for the Book are not necessarily those of the editors or publisher. Impact Press, Centre for Fine Print Research UWE, Bristol School of Creative Arts Kennel Lodge Road, Bristol BS3 2JT United Kingdom Tel: +44 (0) 117 32 84915 Fax: +44 (0) 117 32 85865 www.bookarts.uwe.ac.uk [email protected] [email protected] 2 Contents Interview with Eriko Hirashima founder of LA LIBRERIA artists’ bookshop in Singapore 109 A Manifesto for the Book Sarah Bodman and Tom Sowden 5 Interview with John Risseeuw, proprietor of his own Cabbagehead Press and Director of ASU’s Pyracantha Interview with Radoslaw Nowakowski on publishing his own Press, Arizona State University, USA 113 books and artists’ books “non-describing the world” since the 70s in Dabrowa Dolna, Poland. -
Open Engagement, Art + Social Practice
Friday, May 17 PUBLICS PROGRAMMING LUNCHTIME PROGRAMING Panel Exhibition Workshop Panel Open Platform For OE 2013 Lexa Walsh has collaborated with the curatorial teams to bring conference goers a selection of SOCIOLOGY (OF AND) FOR ALUMS AFRICAN SOLUTION TO AMERICAN PROBLEM: CARE AND RADICAL PEDAGOGY ARTIST TALK lunch time, food-related, programming. SOCIALLY ENGAGED ART PRACTICE A sampling of past, and current works made by alumni of PSU’s READ THE QUR’AN People take supplies from an abandoned school after hurricane For the last four years, Laurenn McCubbin has been working with If we understand the sociological imagination as one which MFA in Art and Social Practice program. Featured artists include Ghana ThinkTank will host a group reading and interactive dis- Katrina and start their own school in a grocery store. Teens and a group of sex workers, interviewing them about their lives in and FOODPHREAKING PDX searches out, designs and reveals interconnections between Katherine Ball, Varinthorm Christopher, Parallel University, Ar- cussion of the Qur’an with members from the community. This adults gather in a museum and lead 10-minute workshops on out of the industry. McCubbin asked them to send her an object FoodPhreaking PDX is a pop-up food hack lab that will be run- personal troubles and social issues, between biography and his- iana Jacob, Zach Springer, Hannah Jickling, Eric Steen, Lexa session will be used as an intercultural workspace, classroom, topics that they are passionate about. Adults with mental diver- that they associate with sex work, so that she could investigate ning in Portland, Oregon in May and June 2013. -
Christine Hill
CHRISTINE HILL 1968 Born in Binghamton, New York 1991 Bachelor of Fine Arts, Maryland Institute, College of Art, Baltimore, MD 2004 Guest Professorship, Bauhaus University Weimar 2007 Full Professorship with tenure. Bauhaus University Weimar. Lives and works in Berlin, Germany. SOLO EXHIBITIONS 2019 Galerie EIGEN+Art, Leipzig, Germany, Attention Economy, February 23 – March 3. 2017 Kunstraum Innsbruck, Innsbruck, Austria, Assets, February 17 – April 15. 2014 Galerie EIGEN + ART Berlin, Berlin, Germany, Sliding Scale, October 30 – December 13. 2012 GFZK (Museum of Contemporary Art, Leipzig, Germany, Hotel Volksboutique: A Project by Christine Hill, a long-term installation opening in November. Ronald Feldman Fine Arts, New York, Small Business, November 17-December 22, 2012. 2011 Galerie EIGEN+ART, Leipzig, Germany, Shop/Like, September.(catalogue) 2009 Ronald Feldman Fine Arts, New York, NY, Solo presentation at The Armory Show: The Volksboutique Armory Apothecary, March 5 – 8. Martin-Gropius-Bau, Berlin, Germany. Do-It-Yourself Bauhaus, Commissioned within Modell Bauhaus/Bauhaus: A Contemporary Model. July 22 – October 4. 2008 Galerie EIGEN+ART, Berlin, Germany. Revolution Flea Market. March 15 – April 19. 2007 IFA Galerie, Berlin. Volksboutique Collected Templates 1998-2007, November 2, 2007 - January 27 2008. 2006 Galerie EIGEN+ART, Berlin. Keep Shop. May 20 – June 24. Neue Gesellschaft für bildende Kunst: U2 Alexanderplatz. Welt der Weisheit. September 27 – October 28. 2005 Times Square Alliance, New York, NY. A Consumer's Guide to Times Square Advertising. Commissioned by Creative Time, Inc. January 19 – April 21. 2003 Museum of Contemporary Art, Cleveland, OH. Christine Hill: Pilot: Cleveland. February 21 – May 4. (catalogue) Ronald Feldman Fine Arts, New York, NY, Home Office. -
Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer
Bios of Arts Professionals for Panelist Pool FY 2014/15 Regina Almaguer Regina Almaguer heads a Public Art Consulting Service based in Orinda, California. She has worked on numerous public art projects for the San Francisco Arts Commission, Bay Area Rapid Transit, and other City agencies. She has over 20 years’ experience in public art planning, project management, contract administration and producing public art ordinances and program guidelines. She has extensive experience in working with government agencies as well as private developers and architects on complex projects. She has specialized experience and interest in art in transit programs. Michael Arcega Michael Arcega is an interdisciplinary artist working primarily in sculpture and installation. Though visual, his art revolves largely around language. Directly informed by Historic events, material significance, and the format of jokes, his subject matter deals with sociopolitical circumstances where power relations are unbalanced. As a naturalized American, there is a geographic dimension to Michael’s investigation of cultural markers. These markers are embedded in objects, food, architecture, visual lexicons, and vernacular languages. For instance, vernacular Tagalog, is infused with Spanish and English words, lending itself to verbal mutation. This malleability result in wordplay and jokes that transform words like Persuading to First wedding, Tenacious to Tennis Shoes, Devastation to The Bus Station, and Masturbation to Mass Starvation. His practice draws from the sensibility -
Sustainability
Queens Museum 2018 SUSTAINABILITY Open Engagement Table of Contents A note about this program: This document, just like the conference itself, is a Front and back cover: 4 Director’s Welcome Jökulsárlón Glacial Lagoon, Iceland, 2017 labor of love split between a tiny part-time staff and a Program Design: 5 Acknowledgments few interns. Please be kind and gentle with us if Lauren Meranda, Andrés Alejandro Chavez, 6 Curatorial Statement you see an error, omission, typo, or any other human Kate Heard mistake while reading this document. 7 OE 2018 Team 8 Locations Social Media 10 Queens Info Follow us on Instagram, Twitter and Facebook Schedule @openengagement 12 Overviews Share your posts from this year with #OE2018 18 Featured Presentations #OpenEngagement 19 Pre-Conference Find further details at 20 Open House www.openengagement.info 23 Saturday Parallel Sessions 26 Conversational Dinners OEHQ 28 Sunday Parallel Sessions OEHQ (information and registration) is our conference 31 Parties & Projects hub! OEHQ is the place for the most up-to-date 33 Open Platform information about the conference throughout the weekend, including any schedule or location changes. 36 Trainings Bronx Museum of the Arts Friday, May 11th: 6:00pm - 7:30pm 37 Featured Presenters 38 Contributor Bios Werwaiss Family Gallery, 2nd Floor, Queens Museum Saturday, May 12th: 9:00am – 5:00pm 42 Schedule at a Glance Sunday, May 13th: 9:00am – 4:00pm 2 3 Director’s Welcome Acknowledgements It is 6:12am and I have been in bed thinking about writing this I wish I could talk to Ted about where we are now. -
YBCA Presents Tania Bruguera
FOR IMMEDIATE RELEASE Media Contacts: Voleine Amilcar, 415.978.2700; [email protected] Lainya Magana, 347.395.4155; [email protected] Yerba Buena Center for the Arts Presents Tania Bruguera: Talking to Power / Hablándole al Poder An Unprecedented Collaboration with World-Renowned Cuban Political Artist Tania Bruguera Tania Bruguera reading from Hannah Arendt’s book The Origins of Totalitarianism during the opening session of the Hannah Arendt International Institute of Artivism, Havana, May 20-24, 2015. Courtesy Studio Bruguera and Yo También Exijo Platform. Photo Pablo León de la Barra. Friday, June 16, 2017 through Sunday, October 29, 2017 Opening Night Party: Friday, June 16, 2017, 7 pm Yerba Buena Center for the Arts, 701 Mission Street, San Francisco CA 94103 SAN FRANCISCO - (April 26, 2017) Yerba Buena Center for the Arts (YBCA) presents Tania Bruguera: Talking to Power / Hablándole al Poder a survey of long-term artworks by the political artist Tania Bruguera. For more than 30 years Bruguera has worked at the intersection of activism and performance art to address structures of power, devise new utopian models of authority, and create alternative structures that aim to transform and redistribute power. This has resulted in art projects that take the form of social movements, newspapers, and schools—and even Bruguera’s own provocative self-nomination for the 2018 Cuban presidential election. Organized by YBCA and curated by Lucía Sanromán, director of visual arts, and Susie Kantor, curatorial associate, Tania Bruguera: Talking to Power / Hablándole al Poder will present together for the first time Bruguera’s long-term projects initiated between 1985 and 2017 that have sought to transform the emotional and symbolic affect of art into political effectiveness. -
STAFF REPORT DATE: July 17, 2013 TO: Honorable Members of The
STAFF REPORT DATE: July 17, 2013 TO: Honorable Members of the Visual Arts Committee FROM: Zoë Taleporos RE: Artist Selection Panelists Our current procedure for selecting arts professionals for public art selection panels is to seek approval from the Arts Commission of a group of individuals on a per-project basis. The intent was to match the expertise of arts professionals with each particular public art opportunity. The proposed procedural change to selecting arts professionals as panelists is to create one large pool with an array of individuals with varying cultural emphasis from a range of art institutions. Public Art staff will draw from this pool for all selection panels in the Fiscal Year 2013/14. This will eliminate the need to repeatedly agenize the approval of panelists on the Visual Arts Committee (VAC) agenda and will reduce staff administration time. If Public Art Staff would like to add an arts professional to the pool, s/he may do so at any time. Additional arts professionals will presented to the VAC for approval. Bios of Arts Professionals for Panelist Pool FY 2013/14 Regina Almaguer Regina Almaguer heads a Public Art Consulting Service based in Orinda, California. She has worked on numerous public art projects for the San Francisco Arts Commission, Bay Area Rapid Transit, and other City agencies. She has over 20 years experience in public art planning, project management, contract administration and producing public art ordinances and program guidelines. She has extensive experience in working with government agencies as well as private developers and architects on complex projects. -
A Case Study of Project Space by Tracy Ann Stefanucci Bachelor Of
Making Space for Publication: A Case Study of Project Space by Tracy Ann Stefanucci Bachelor of Education, University of British Columbia, 2009 Bachelor of Fine Arts, University of British Columbia, 2008 PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF PUBLISHING in the Publishing Program Faculty of Communication Art and Technology © Tracy Ann Stefanucci 2016 SIMON FRASER UNIVERSITY Summer 2016 This work is licensed under a Creative Commons Attribution-4.0 International License. You are free to share—copy and redistribute the material in any medium or format—and adapt— remix, transform, and build upon the material. Approval Name: Tracy Ann Stefanucci Degree: Master of Publishing Title of Project: Making Space for Publication: A Case Study of Project Space Dr John W Maxwell Associate Professor, Publishing Program, Senior Supervisor Mauve Page Lecturer, Publishing Program, Supervisor Leanne Johnson Gave and Took Publishing, Vancouver BC Industry Supervisor Brian McBay Director, 221A, Vancouver, BC Industry Supervisor Date Approved: May 18, 2016 ii Abstract The proliferation of digital technologies has initiated a need for radical changes to publishing business models, while simultaneously laying the foundation for a renaissance of the print book akin to that which occurred in the 1960s and 70s. This “second wave of self-publishing” has come about as a widespread surge, particularly in the realm of contemporary art and graphic design, but also in literary and DIY circles. As was the case in the “first wave,” this expansion has resulted in the development of brick-and-mortar spaces that house and nurture the activities of this niche, particularly the production of publications, exhibitions and additional programming (such as lectures and workshops). -
BOOK ARTS NEWSLETTER ISSN 1754-9086 No
BOOK ARTS NEWSLETTER ISSN 1754-9086 No. 76 September - October 2012 Published by Impact Press at the Centre for Fine Print Research, UWE Bristol, UK ARTIST’S COVER PAGE: LONDON CENTRE FOR BOOK ARTS (SEE PAGE 19!) IN THIS ISSUE: NATIONAL AND INTERNATIONAL ARTISTS’ BOOKS EXHIBITIONS PAGES 1 - 19 ANNOUNCEMENTS PAGES 19 - 20 COURSES, LECTURES & WORKSHOPS PAGES 20 - 26 OPPORTUNITIES PAGES 26 - 28 ARTIST’S BOOK FAIRS PAGES 28 - 30 INTERNET NEWS PAGES 30 - 32 NEW ARTISTS’ PUBLICATIONS PAGES 32 - 45 REPORTS & REVIEWS PAGES 45 - 49 STOP PRESS! PAGES 49 - 51 Artists’ Books Exhibition, UWE, Bristol, UK technology and science. The advantage of image over text Tom Trusky Exhibition Cases, Bower Ashton Library is that all layers of meaning can be seen simultaneously, and don’t have to be read one after the other in a linear Otto fashion. Furthermore, different ways of constructing the 3rd September - 30th October 2012 book as an object can encourage and offer different ways of Otto is a graphic artist who practices as an illustrator, reading. Alternative folding techniques allow for non-linear screenprinter and book artist. narratives that develop laterally. Since graduating in 1991 from Bristol Polytechnic with a BA Hons in Graphic Design he has been working as freelance illustrator and has been illustrating political, social and economic subjects for international newspapers and magazines. Otto’s image-making is influenced by Russian Constructivist designs, Polish poster art and Renaissance painting. Alien invasion, Otto, 2012 Solo and Visa, Otto 2011 Faced with the challenges presented by digital media and During his MA studies in Illustration at Kingston University its inherent ‘non-reality’, Otto believes in the continued in 1996 he discovered screenprinting. -
Caroline Woolard CV 2021 References Included
CV: Caroline Woolard CAROLINE WOOLARD Email [email protected] Portfolio https://art21.org/artist/caroline-woolard/ Phone XXX XXX XXXX TEACHING AND PROFESSIONAL EXPERIENCE ACADEMIC APPOINTMENTS 2017–present Assistant Professor of Fine Art, tenure-track, Hartford Art School, University of Hartford, Hartford, CT 2018-2020 Lecturer, Center for Public Action, Bennington College, Bennington, VT 2015–2018 Lecturer, MFA Fine Arts, School of Visual Arts, New York, NY 2011–2016 Lecturer, School of Design Strategies, The New School, New York, NY 2013–2014 Lecturer, BFA Sculpture, The Cooper Union for the Advancement of Science and Art, New York, NY 2013–2014 Lecturer, MFA Graduate Studies, Rhode Island School of Design, Providence, RI 2011 Lecturer, Art, Media, and Technology, The New School, New York, NY 2010 Part-Time Research Faculty, Steinhardt School, New York University, New York, NY 2009 Teaching Assistant, Steinhardt School of Art, New York University, New York, NY SELECTED ACADEMIC VISITING ARTIST APPOINTMENTS 2021 Finalist, Fulbright Scholar Program, (application, not awarded) Arnhem, Netherlands Finalist, The Marva and John Warnock Artist-in-Residence, (nominated, not received, $40,000) University of Utah, Salt Lake City, UT 2020 Harlan Boss Visiting Artist for Art, Participatory Culture, Social Practice, and Critical Theory at the University of Minnesota, Minneapolis, MN 2018–2020 Visiting Artist, Inaugural Walentas Fellow, Moore College of Art and Design, Philadelphia, PA 2019 Ruth Ann and Nathan Perlmutter Artist-in-Residence -
Kelly Rogers Thesis
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE Post-Digital Publishing Practices in Contemporary Arts Publishing A THESIS SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the Degree of Master of Arts in Art History By Kelly Rogers Norman, Oklahoma 2019 Post-Digital Publishing Practices in Contemporary Arts Publishing A THESIS APPROVED FOR THE SCHOOL OF VISUAL ARTS BY THE COMMITTEE CONSISTING OF Dr. Robert Bailey, Chair Dr. Alison Fields Dr. Erin Duncan-O’Neill © Copyright by Kelly Rogers 2019 All Rights Reserved. !iv TABLE OF CONTENTS ABSTRACT …………………………………………………………………………… v INTRODUCTION……………………………………………………………………… 1 CHAPTER 1: POST-DIGITAL PUBLISHING……..………………………………….. 12 CHAPTER 2: POST-DIGITAL PUBLISHERS..……………………………………….. 29 CHAPTER 3: POST-DIGITAL PUBLICATIONS…..…………………………………. 43 CONCLUSION…………………………………………………………………………. 54 BIBLIOGRAPHY………………………………………………………………………. 57 APPENDIX………………………………………………………………………………61 !v ABSTRACT A consideration of the ways in which post-digital influence impacts visual culture, and specifically arts publishing. The post-digital moment creates a unique opportunity for analog/digital crossover, which manifests in publishing practices and publications. This thesis aims to dedicate a space for discourse concerning these contemporary practices. Focusing on self-reflexive sources about arts publishing, this study analyzes the hybridization of media, pointing to mediatization as a result of our contemporary moment and its integrated digital influences. I address design and object composition of publications and artistic publishing practices using visual analysis to evaluate the tangible (or non-tangible) aspects of the publication and assess the multidisciplinary reach of arts publishing. This type of analysis supports the ideas of arts publishing as artistic practice, and allows us to develop a literary and aesthetic commentary about contemporary arts publishing and the latest developments in this field.