SITAC IX Teoría Y Práctica De La Catástrofe Primera Edición / First Edition, 2013 D.R

Total Page:16

File Type:pdf, Size:1020Kb

SITAC IX Teoría Y Práctica De La Catástrofe Primera Edición / First Edition, 2013 D.R SITAC IX Teoría y práctica de la catástrofe Primera edición / First edition, 2013 D.R. ® Patronato de Arte Contemporáneo A.C. Palmas 820 Piso 3. Lomas de Chapultepec México D.F., 11000 © De imágenes y textos: sus autores Todos los derechos reservados. Queda prohibida la reproducción parcial o total de esta obra por cualquier medio o procedimiento, comprendidos la reproducción y el tratamiento informático, fotoco- pia o grabación, sin previa autorización por escrito de los titulares de los derechos. All rights reserved. No part of this book may be reproduced or copied in any form or by any means —graphic, electronic or mechanical, in - cluding photocopyng, taping, or information storage and retrieval sys- tems— without the prior given authorization of the legal propietor of the rights of this publication. SITAC IX Teoría y práctica de la catástrofe ÍNDICE Teoría y práctica de la catástrofe 9 EDUARDO ABAROA DÍA 1. Muestrario provisional de eventos catastróficos 14 DÍA 2. Tecnociencia, desastre y panacea 84 Escuela de accidentes. “Favor de empujar: la puerta abre hacia dentro” 16 Eventos críticos 86 JUAN VILLORO MANUEL DELANDA Under Discussion (2005) 34 Real Remnants of Fictive Wars (2004) 93 JENNIFER ALLORA & GUILLERMO CALZADILLA CYPRIEN GAILLARD Respuesta al desastre por los medios, métodos y materiales necesarios 35 Superflex y Patrick Charpenel – Conversación 94 CONVERSACIÓN MEL CHIN Y CHRISTIAN VIVEROS-FAUNÉ Finales 103 A Map is not the Territory 48 PABLO VARGAS LUGO JOSÉ JIMÉNEZ ORTIZ Panel 2 Panel 1 SARINA BASTA, DR. AMY SARA CARROL & RICARDO DOMÍNGUEZ Y PAULA SIBLILA ANA MARÍA MILLÁN, WILSON DÍAZ, CLAUDIA PATRICIA SARRIA-MACÍAS MODERADOR: TOM VANDERBILT (HELENA PRODUCCIONES), GEORGE OSODI Y RUBÉN ORTIZ TORRES Oceanomanía. Gestionando lo desconocido, de la sorpresa al agotamiento 117 Catástrofe, proteccionismo y explotación. O eso mismo pero en otro orden 50 SARINA BASTA HELENA PRODUCCIONES (ANA MARÍA MILLÁN, WILSON DÍAZ, CLAUDIA PATRICIA SARRIA-MACÍAS) Media dislocativa, una historia de fantasmas (o como frotar piedras en el nombre de trans-cuerpos por convertir-se) 124 71 DR. AMY SARA CARROLL Y RICARDO DOMÍNGUEZ GEORGE OSODI Sueños de reprogramación corporal (¿Para doblegar técnicamente Terremoto 85. Arte, arquitectura y desastre 76 a la catástrofe… o quizás para provocarla?) 142 RUBÉN ORTIZ TORRES PAULA SIBILIA DÍA 3. La imaginación estética frente al caos 158 Clínicas SITAC IX 228 DIRECTORA SOL HENARO Minerva Cuevas y TJ Demos – Conversación 160 Panel 3 Clínica 1 “Corporalidad y catástrofe” 232 JULIETA GONZÁLEZ, JOSÉ ROCA, ITALA SCHMELZ Y FELIPE EHRENBERG FABIÁN GIMÉNEZ GATTO MODERADOR: EDUARDO ABAROA Del arte autodestructivo a la diáspora del libre comercio 175 Clínica 2 JULIETA GONZÁLEZ “Narrativas apocalípticas y el futuro feo” 237 GONZALO SOLTERO Ceci n’est pas une biennale 183 JOSÉ ROCA Clínica 3 La visión del último hombre… HEDAS: herramientas de diseño adaptativo 240 El paisaje apocalíptico en la obra de David Alfaro Siqueiros 187 TOA / TALLER DE OPERACIONES AMBIENTALES ITALA SCHMELZ La imaginación estética frente al caos 195 ENGLISH VERSION 247 FELIPE EHRENBERG AGRADECIMIENTOS 451 Dial H-I-S-T-O-R-Y (1997) 203 JOHAN GRIMONPREZ “Tal vez el cielo en realidad es verde, y nosotros somos daltónicos”: sobre el zapping, los encuentros cercanos y el corte comercial 204 JOHAN GRIMONPREZ Teoría y práctica de la catástrofe EDUARDO ABAROA Quiero agradecer al Patronato de Arte Contemporáneo A.C., La frase “Teoría y práctica de la catástrofe” es nuestro punto de partida. Me pareció a su mesa directiva y al comité del SITAC: Aimée Servitje, un poco irónica. Podríamos entender que exista una teoría cientifica que estudie las Patricia Sloane, Osvaldo Sánchez, Mariana Munguía, Ery Camara catástrofes. Como pronto aprenderemos, la hay, y es muy importante. Pero que alguien y Sol Henaro por su labor indispensable a favor de un mayor concienzudamente se propusiera una práctica de la catástrofe, no tiene un sentido alcance del diálogo en torno al arte actual. Gracias, evidente más que en un tono irónico, absurdo o profundamente destructivo. Sin también, por haberme dado la oportunidad de colaborar embargo, en un segundo momento de reflexión acerca del mundo y de nuestra con ustedes en este evento de la vida cultural en la ciudad de México. situación actual, acabé por encontrar atinado el título. Expreso mi admiración y agradezco muy especialmente a todos Al terminar el 2010, tan lleno de desastres de todo tipo, pensar sobre este tema los artistas, escritores, filósofos y curadores que, con su trabajo y talento, tiene cierta pertinencia, especialmente en lugares como México, que hoy se ve conforman esta novena versión del SITAC y su programa de clínicas, inmerso en una serie importante de problemas, cuya solución se percibe cada vez tan brillantemente organizadas por Sol Henaro. Quiero mencionar más lejana. Es a partir de aquí y de una manera heterodoxa, casi afectiva, que pre- la gran labor de María Bostock y el equipo del SITAC, que han trabajado tendo generar una discusión que será muy productiva, porque este evento cuenta intensamente para coordinar y dar forma a este evento. También a Taller con magníficos participantes. de comunicación gráfica por su exclente trabajo de diseño. Primero es preciso y necesario definir un campo de acción. Una catástrofe Durante los próximos tres días se cristalizará el esfuerzo realizado implica, a grandes rasgos, un cambio, una crisis o un desastre, a partir del cual ya durante un año por personas extraordinarias; a todas ellas nada es lo mismo, un evento de la mayor trascendencia para la vida o el sistema expreso mi reconocimiento y gratitud. Finalmente, de manera especial, al que se refiere, ya que significa su transformación inevitable e irreversible. A partir quiero agradecer a nombre del SITAC, y a título personal, la amplia de esa definición simple, surge una gran variedad de connotaciones, las que nos generosidad de las personas, empresas e instituciones permiten abordar en conjunto ámbitos que quizá, en otro contexto que no sea el patrocinadoras y facilitadoras de este valioso esfuerzo colectivo. artístico, deberían estar separados. Con ello busco una pluralidad de enfoques y temáticas, un efecto de dispersión que, estoy seguro, dará cabida a discursos dife- rentes e, incluso, a estados de ánimo contrastantes. A este simposio hemos invitado a filósofos, artistas, curadores y escritores a dis- cutir las posibilidades de un vocablo antiguo y elusivo, que en su historia, desde Aristóteles, denota un elemento dramático o trágico, es decir, teatral. Lo catastrófico es, en primer lugar, imaginario. Los desastres proliferaban en el pensamiento mítico de muchas culturas. Hasta hoy no ha menguado la potencia simbólica de epidemias, diluvios, plagas y devastaciones naturales, más arrasadoras que la muerte misma. SITAC IX | Teoría y práctica de la catástrofe 8 9 Por más empirista que parezca nuestra época, hemos constatado el poder de las inmediato, pero pretendemos conocer la situación de Haití por el terremoto, la de narrativas cataclísmicas en el surgimiento de nuevas variantes religiosas, en su gran Bangladesh por sus inundaciones, la de Colombia y México por sus problemas con valor para la industria del entretenimiento y, por último, en su efectividad como el narcotráfico. Todo eso se puede procesar tranquilamente en la mañana, leyendo el herramienta de control ideológico y político. periódico durante el desayuno. La indiferencia característica de muchas sociedades Las catástrofes imaginarias pueden llegar a ser tan terribles como las reales. post-industriales contrasta con la intensidad de la violencia presente en todo tipo de Es conocido el papel que el Apocalipsis de San Juan ha tenido en la historia de medios masivos: televisión, periódicos, internet, etcétera. Es debatible la afirmación Occidente. Si bien el texto es terrible en su descripción de la destrucción del mundo, de que la violencia representada pueda instigar a las personas que la consumen a el desenlace es una promesa de salvación cuya potencia ha definido enormemente perpetrar actos de violencia real, como es el caso de los videojuegos. Pero no deja de nuestra cultura. Los historiadores han descrito el milenarismo de Cristóbal Colón, ser inquietante que las bandas de narcotraficantes tomen como modelos a los per- quien, entre otras cosas, buscaba una nueva ruta para rescatar Jerusalén al zarpar sonajes de Francis Ford Coppola, dándose a sí mismas nombres como La Familia, hacia el Occidente. No pudo haber imaginado que su expedición abriría paso a la a la usanza de las mafias cinematográficas clásicas. La frontera entre la cruda pulsión destrucción de las civilizaciones de todo un continente. mórbida y la contemplación sentimental del dolor ajeno suele ser borrosa en cual- El cataclismo total, como requisito de una salvación ulterior, es un esquema que quier contexto. Pero es en el incesante consumo masivo de imágenes donde la puede encontrarse incluso en Marx, quien avizoró el necesario derrumbe del sis- banalización del sufrimiento y la violencia parecen alcanzar su punto más alto. El tema capitalista para ceder paso al comunismo. Como ha demostrado Naomi Klein análisis crítico de los medios de comunicación es un terreno que el arte de las últi- acerca de la historia reciente: la fabricación del miedo como estrategia disuasiva de mas décadas ha ejecutado singularmente bien, y tendremos en este simposio los sistemas sociopolíticos es una práctica que puede tener consecuencias a nivel muestras de ello. Por otro lado, algunos de los participantes de este SITAC han global. Al inicio de este milenio conocemos varias versiones del juicio final que sirven contrarrestado efectivamente la indiferencia y han sido parte de esfuerzos de res- como coartada para ocultar calamidades tangibles causadas por la inercia gene- cate en desastres naturales, llegando incluso a proponer esta acción como obra ralizada. Es por esta razón que la reflexión sobre la potencia que tiene la catástrofe artística. En otros casos han elaborado programas de interacción colectiva que en nuestra imaginación es ahora no sólo válida sino imprescindible.
Recommended publications
  • New Engines of Growth: Five Roles for Arts, Culture and Design
    New Engines of Growth Five Roles for Arts, Culture and Design THE NATIONAL GOVERNORS ASSOCIATION (NGA), founded in 1908, is the instrument through which the nation’s governors collectively influence the development and implementation of national policy and apply creative leadership to state issues. Its members are the governors of the 55 states, three territories and two commonwealths. The NGA Center for Best Practices is the nation’s only dedicated consulting firm for governors and their key policy staff. The NGA Center’s mission is to develop and implement innovative solutions to public policy challenges. Through the staff of the NGA Center, governors and their policy advisors can: I Quickly learn about what works, what doesn’t and what lessons can be learned from other governors grappling with the same problems; I Obtain specialized assistance in designing and implementing new programs or improving the effectiveness of current programs; I Receive up-to-date, comprehensive information about what is happening in other state capitals and in Washington, D.C., so governors are aware of cutting-edge policies; and I Learn about emerging national trends and their implications for states, so governors can prepare to meet future demands. For more information about NGA and the Center for Best Practices, please visit www.nga.org. ACKNOWLEDGEMENTS This report was prepared by Erin Sparks and Mary Jo Waits at the NGA Center for Best Practices, in collaboration with Bill Fulton of Solomar Research Group. The National Assembly of State Arts Agencies contributed significant background research to this project. The NGA Center for Best Practices wishes to thank the National Endowment for the Arts (NEA) for its generous support of this report.
    [Show full text]
  • [email protected]
    Annie Farrar www.anniefarrar.com [email protected] Education 2009, MA, Museum Studies, George Washington University 2004, BFA, Painting, Maryland Institute College of Art Solo & Two-Person Exhibitions 2019 Apparitions, Hamilton Gallery, Baltimore, MD 2018 Wasted, The World Bank Art Program, Washington, DC Inner Labyrinths, Towle Hill Studios, Corinth, VT The Other Side of Existence, Georgetown College, Lexington, KY 2017 Haunted by Quiet Places, Margaret W. & Joseph L. Fisher Gallery, Alexandria, VA 2015 Vanitas, VisArts, Rockville, MD Annie Farrar & Mike Shaffer, 8000 Towers Crescent, Tysons Corner, VA 2014 Dark Matter, Charmed Life Gallery, Baltimore, MD 2013 Paint as Object, Hillyer Art Space, Washington, DC 2005 Annie Farrar, Creative Alliance, Baltimore, MD 2004 Gravity, Spirit Gallery, Frederick, MD Group Exhibitions 2022 Suspended Inter-Space, VisArts, Rockville, MD 2021 Fleeting, Fled, Glen Echo Galleries, Glen Echo, MD 2020 Out of Order, Maryland Art Place, Baltimore, MD Special Delivery, Ruby Projects, Fairfax, VA That Group Show Part I, Ruby Projects, Fairfax, VA International Women’s Day Exhibition, 5333 Connecticut, Washington, DC Perspective, Lowe House, Annapolis, MD 2019 Reflections of Self, Montpelier Art Center, Laurel, MD Hambidge Art Auction, Ballard Designs, Atlanta, GA Potluck, Georgetown College, Lexington, KY Notes of Color, The Athenaeum, Alexandria, VA Back Pay, The Lemon Collective, Washington, DC Sculpture Now 2019, Brentwood Arts Exchange, Brentwood, MD 2018 Prince George’s County Juried Exhibition, Harmony
    [Show full text]
  • 4. Organize a Studio Tour 5
    Toolkits for the Arts TOOLKIT 4: ORGANIZE A STUDIO TOUR Studio tours offer a fun way to bring artists and the community together. By bringing the public into the studio, these events promote the local arts community and can offer an intimate and meaningful purchasing experience. This toolkit is designed to: • provide an overview of the logistics and benefits of studio tours, and • offer practical steps for organizing a studio tour and helping artists prepare and participate. OTHER TOOLKIT TOPICS This document is the fourth installment in a six-part series of toolkits published by the Tamarack Foundation for the Arts. Funded by an “Our Town” grant from the National Endowment for the Arts, this series provides straightforward guidance to help individuals, communities, arts councils, and other creative entities implement local initiatives for the visual arts. Other installments in this series include: 1. Create an arts organization 2. Form an artist cooperative 3. Host a pop-up art shop 4. Organize a studio tour 5. Arrange an art walk 6. Lead a public mural project About the Tamarack Foundation for the Arts The Tamarack Foundation for the Arts (TFA) is a nonprofit organization dedicated to cultivating an empowering ecosystem that provides artists, businesses, and communities the tools and support needed to learn, connect, and thrive. TFA convenes a range of initiatives and programming that aim to help West Virginia artists prosper from their creative practice and make meaningful contributions to the well-being of our communities. More information is available at tamarackfoundation.org. WHY ORGANIZE A STUDIO TOUR? A studio tour is a coordinated event in which local artists in a region open up their studios to the public.
    [Show full text]
  • International Print Collectors' Societies Newsletter from the Editor
    International Print Collectors’ Societies Newsletter Vol. XIV, No. 1 January 2017 From the Editor Those of you with eagle eyes may notice changes and a new addition to our roster. I am pleased to welcome The Print Club of Rochester as they join us here among the IPCS at the beginning of 2017. Heather Swenson will be providing their updates while also serving as the Vice President of their Club. I know I am happy to extend our reach and have them as part of our group. Coincidentally, in addition to Rochester, I was also recently contacted by another group in Iowa, so my hope is that we’ll have yet another addition before the year is up. I’d also like to welcome a new contributor on behalf of the Print Club of Cleveland, Samantha Mishe. With some new faces and perspectives, I am sure we can look forward to some good reading ahead. In this issue, I’d like to call out some encouraging community-building efforts with long- term impact. The Montreal Print Society has established a scholarship fund with Concordia University to give $1000 to a senior BFA student over the next five years. And the Washington Print Club has instituted a new initiative of gifting $1000 to a student enrolled in a printmaking program at one of the local institutions. This year the gift will go to a student at the Maryland College of Fine Art in Baltimore. Kudos to each of your groups for supporting up-and-coming printmakers in the next generation. Primarily I enjoy reading through the different gallery talks, studio visits, and other sorts of membership gatherings among the different societies.
    [Show full text]
  • Max Ginsburg at the Salmagundi Club by RAYMOND J
    Raleigh on Film; Bethune on Theatre; Behrens on Music; Seckel on the Cultural Scene; Critique: Max Ginsburg; Lille on René Blum; Wersal ‘Speaks Out’ on Art; Trevens on Dance Styles; New Art Books; Short Fiction & Poetry; Extensive Calendar of Events…and more! ART TIMES Vol. 28 No. 2 September/October 2011 Max Ginsburg at The Salmagundi Club By RAYMOND J. STEINER vening ‘social comment’ — “Caretak- JUST WHEN I begin to despair about ers”, for example, or “Theresa Study” the waning quality of American art, — mostly he chooses to depict them in along comes The Salmagundi Club extremities — “War Pieta”, “The Beg- to raise me out of my doldrums and gar”, “Blind Beggar”. His images have lighten my spirits with a spectacular an almost blinding clarity, a “there- retrospective showing of Max Gins- ness” that fairly overwhelms the burg’s paintings*. Sixty-plus works viewer. Whether it be a single visage — early as well as late, illustrations or a throng of humanity captured en as well as paintings — comprise the masse, Ginsburg penetrates into the show and one would be hard-pressed very essence of his subject matter — to find a single work unworthy of what the Germans refer to as the ding Ginsburg’s masterful skill at classical an sich, the very ur-ground of a thing representation. To be sure, the Sal- — to turn it “inside-out”, so to speak, magundi has a long history of exhib- so that there can be no mistaking his iting world-class art, but Ginsburg’s vision or intent. It is to a Ginsburg work is something a bit special.
    [Show full text]
  • Thesis. Approved. F.Obrien
    GROWTH AND EVOLUTION IN THREE PHILADELPHIA ARTIST COLLECTIVES: THE CLAY STUDIO, NEXUS/FOUNDATION FOR TODAY’S ART, VOX POPULI PRESENTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE MASTER OF SCIENCE IN ARTS ADMINISTRATION DREXEL UNIVERSITY BY FILIZ S. O’BRIEN, B.F.A., B.A. * * * * * DREXEL UNIVERSITY 2012 APPROVED BY _______________________________ THORA JACOBSON ADVISOR GRADUATE PROGRAM IN ARTS ADMINISTRATION Copyright by Filiz S. O’Brien 2012 ABSTRACT Three collectives located in Philadelphia, Pennsylvania are examined to uncover the critical issues affecting the success and direction of artist collectives. The purpose of this study is to better understand the Artist Cooperative movement as a visual art organizational model and to unveil the key aspects or components that allow the artist cooperative to grow and transform successfully throughout its life cycle. Through investigation of the histories of The Clay Studio, Nexus/Foundation for Today’s Art, and Vox Populi, critical issues and trends are discovered contributing to these collectives success, including the necessity of artists as stakeholders, artists involvement in governance, and the availability of long-term affordable physical space. ii ACKNOWLEDGEMENTS Thank you to the many people who supported me through this process: Amy Adams, Nick Cassway, Jimmy Clark, Suzanne Horvitz, Kathryn Narrow, and Amy Sarner Williams, for sharing their knowledge and personal memories of the collectives examined. My advisor, Thora Jacobson, for her patience and encouragement throughout.
    [Show full text]
  • Hickory Museum of Art Page 14 - Mouse House / Susan Lenz & One Eared Cow Glass Page 18 - Hickory Museum of Art Cont., Blue Moon Gallery & Asheville Gallery of Art
    ABSOLUTELY FREE Vol. 23, No. 1 January 2019 You Can’t Buy It Happy New Year! Artwork, Buffoon, is by Luis Ardila and is part of the exhibit ARTE LATINO NOW 2019 on view at the Max L. Jackson Gallery, Watkins building, Queens University of Charlotte, Charlotte, NC. This is the eighth annual exhibition featuring the exciting cultural and artistic contributions of Latinos in the United States. A reception will be held on January 17, 2019 from 5:30 - 7:30pm. Article is on Page 17. ARTICLE INDEX Advertising Directory This index has active links, just click on the Page number and it will take you to that page. Listed in order in which they appear in the paper. Page 1 - Cover - Queens University of Charlotte - Luis Ardila Page 3 - Karen Burnette Garner & Wells Gallery at the Sanctuary Page 2 - Article Index, Advertising Directory, Contact Info, Links to blogs, and Carolina Arts site Page 4 - Halsey-McCallum Studio & Whimsy Joy by Roz Page 3 - City of North Charleston Page 5 - Emerge SC Page 4 - Editorial Commentary & City of North Charleston cont. Page 5 - Editorial Commentary cont. Page 6 - Avondale Therapy / Susan Irish Page 6 - Charleston Artist Guild & Gibbes Museum of Art Page 7 - Helena Fox Fine Art, Corrigan Gallery, Halsey-McCallum Studio, Rhett Thurman, Page 8 - Coastal Discovery Museum Page 9 - Art League of Hilton Head x 2 & University of SC - Upstate Anglin Smith Fine Art, Spencer Art Galleries, The Wells Gallery at the Sanctuary, Page 11 - University of SC - Upstate cont. & West Main Artists Co-op & Saul Alexander Foundation Gallery Page 12 - West Main Artists Co-op, Converse College & Page 8 - Art League of Hilton Head USC-Upstate / UPSTATE Gallery on Main Page 13 - USC-Upstate / UPSTATE Gallery on Main cont.
    [Show full text]
  • The Benefits and Limitations of Artist-Run Organizations in Columbus, Ohio
    THE BENEFITS AND LIMITATIONS OF ARTIST-RUN ORGANIZATIONS IN COLUMBUS, OHIO A Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in the Graduate School of The Ohio State University By Melissa Ann Keeley, B.A. The Ohio State University 2008 Masters Examination Committee: Approved by: Dr. Wayne Lawson, Adviser Dr. Margaret J. Wyszomirski ____________________________________ Adviser Graduate Program in Arts Policy & Administration Copyright by Melissa Ann Keeley 2008 ABSTRACT The creative sector of any community provides important economic and social benefits. Research has shown that supporting a thriving arts and culture sector provides not only monetary returns on public investment but also helps create a positive image of a city that is in turn attractive to new businesses and a talented workforce. Furthermore, researchers have found that the presence of artists within a city is a good judge of a community’s cultural vitality and that cities should look to attract and retain artists to create new and innovative arts experiences while enhancing and building the creative capital within the community. However, attracting and retaining artists is not always easy. Artists are highly mobile and frequently leave “second tier” cities to move to the premier art cities of New York and Los Angeles. In order to attract and retain artists to a community like Columbus, Ohio the city needs to support organizations and groups that help develop a hospitable environment for artists. A hospitable environment includes access to studio space and equipment, peer support, ability to gain exposure and exhibit work, and also a high quality of life at a reasonable cost.
    [Show full text]
  • The University of Tennessee, Knoxville – Printmaking News – Fall 2017
    THE UNIVERSITY OF TENNESSEE, KNOXVILLE – PRINTMAKING NEWS – FALL 2017 The past year printmaking students, faculty and alumni from the University of Tennessee, Knoxville have continued to pursue creative work as artists and designers, to teach and to make connections in their local communities, and beyond. We are proud of this record of US News and World Report creative work, and grateful to have our graduate program recognized as #2 by . This newsletter serves to tell Printmaking Program _____________________________________________________ our story, celebrating the work of our students, alumni and faculty. School of Art, 1715 Volunteer Blvd. The University of Tennessee, Knoxville Looking back, we are also mindful of looking forward, excited about Knoxville, TN 37996-2410 our current students, as well as our recent graduates who make their Phone: 865-974-3408 way into the world to create work that has meaning and purpose. Website: art.utk.edu/printmaking ALUMNI NEWS B. J. Alumbaugh (MFA 2016) launched Cryptic Press in January of 2017, specializing in design and printing, along with traditional sign- writing and gilding on glass. He has exhibited his work in “Spectrum” at Blue Spiral in Asheville, North Carolina, and at the “Prints Gone Wild 2016” event in Brooklyn, New York. He presented his work in July at The Art Terrarium, Des Moines, Iowa. He has been undertak- ing an ongoing project to archive and digitize chromatic typefaces of the late 1800’s. After spending the last year restoring a Vandercook bjalumbaugh.berta.me Universal I letterpress, he’s happy to report that it is now operation- al. Laura Atkins (BFA 1996) has started a new position as marketing and graphics manager under Windermere Motion and Mega Motion with Pride Mobility Products Corporation based in Exeter, Pennsylva- MASTHEAD: Emily and Josh Minnie of Pattern Farm, “Cat nia.
    [Show full text]
  • Toolkits for the Arts
    Toolkits for the Arts TOOLKIT 1: CREATE AN ARTS ORGANIZATION Arts organizations can be effective platforms for developing, supporting, promoting, and coordinating the arts within a community, region, or even state. While big cities are often home to numerous established arts groups, many of our small, rural communities in West Virginia lack an organized voice promoting the arts at the local level. As a result, this toolkit is designed to: • provide an overview of different types of arts advocacy organizations, and • offer practical steps for starting an arts organization in your community. OTHER TOOLKIT TOPICS This document is the first installment in a six-part series of toolkits published by the Tamarack Foundation for the Arts. Funded by an “Our Town” grant from the National Endowment for the Arts, this series provides straightforward guidance to help individuals, communities, arts councils, and other creative entities implement local initiatives for the visual arts. Other installments in this series include: 1. Create an arts organization 2. Form an artist cooperative 3. Host a pop-up art shop 4. Organize a studio tour 5. Arrange an art walk 6. Lead a public mural project About the Tamarack Foundation for the Arts The Tamarack Foundation for the Arts (TFA) is a nonprofit organization dedicated to cultivating an empowering ecosystem that provides artists, businesses, and communities the tools and support needed to learn, connect, and thrive. TFA convenes a range of initiatives and programming that aim to help West Virginia artists prosper from their creative practice and make meaningful contributions to the well-being of our communities.
    [Show full text]
  • The Artist-Run Space of the Future
    1ST EDITION THE ARTIST-RUN SPACE OF THE FUTURE MYCELLIAL NETWORK The Artist-Run Space of the Future is a compendium of THE ARTIST-RUN resources and ephemera on artist-run culture, gathered by the Institute for Applied Aesthetics. Inside is a SPACE OF THE collection of resources, essays and ideas concerning the FUTURE future of artist-run spaces and their evolving models of operation and connectivity. Institute for Applied Aesthetics www.applied-aesthetics.org 1ST EDITION THE ARTIST-RUN SPACE OF THE FUTURE Institute for Applied Aesthetics Contents ORGANIZATIONAL MODELS FIELD RESEARCH CASE STUDY EPHEMERA REFERENCES FUNDING MODELS THE ARTIST-RUN SPACE OF THE FUTURE Artist-Run Space (n.) Artist-run spaces fit all kinds of models. They are testing grounds and springboards to the commercial art world, intimate gatherings in apartments, and places for reading groups and shared meals. They are little pockets of activity that serve particular audiences at particular times, filling gaps and holes for all that the art-world fails to provide. Sometimes they are meant to be temporary, and other times they can grow to become professionalized institutions that a later generation of artists define themselves against. InCUBATE. “Making-do: a pragmatist approach,” Artist-run Chicago Digest, Copyright threewalls/Green Lantern press, Chicago, IL: forthcoming October 2009 The Artist-Run Space of the Future The artist-run space of the alternative modes of cultural he artist-run space of T future is many things: a production. A movement the future is a mushroom, space for people, a space that is best characterized as delicate yet deadly, and able for production, a space for patternless, while at the same to eat oil spills.
    [Show full text]
  • Professional Self-Structuration in the Arts: Sustaining Creative Careers in the 21St Century
    sustainability Article Professional Self-Structuration in the Arts: Sustaining Creative Careers in the 21st Century Margaret J. Wyszomirski 1 and WoongJo Chang 2,* 1 Department of Arts Administration, Education and Policy, The Ohio State University, Columbus, OH 43210, USA; [email protected] 2 Department of Arts and Cultural Management, Hongik University, Seoul 04066, Korea * Correspondence: [email protected]; Tel.: +82-2-320-1968 Received: 28 March 2017; Accepted: 12 June 2017; Published: 16 June 2017 Abstract: In this paper, we investigate the ongoing, self-motivated activity called freelancing or self-employment, and explore ideas about the entrepreneurial competencies needed to conduct a sustainable work life in the arts. We present the findings of a comparative concept analysis of three concept clusters concerning working in the arts and creative sector: Portfolio of jobs, Portfolio of hybrid practices, and the Portfolio/Protean career. We relate these concept clusters to ideas about arts entrepreneurship and professionalism in the arts in order to investigate our research questions: How do cultural workers/artists in today’s social context create economically and creatively sustainable careers? What can we learn from their experiences about broader questions of the cultural value of art, the ongoing trend toward professionalization, and the changing roles of the worker and the entrepreneur in 21st-century economic life? To begin to answer these questions, we undertake a conceptual literature review and use conceptual mapping as a primary tool. We draw on a critical analysis of research, practice, and policy, as well as numerous discussions and interviews with creative professionals and the authors’ own experiences with educating students who aim to become cultural workers in the creative sector.
    [Show full text]