Brave: Reimagining Teen Arts Education
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Lava Thomas [email protected] B
Lava Thomas www.lavathomas.com [email protected] b. Los Angeles, CA Selected Solo Exhibitions 2018 Mugshot Portraits: Women of the Montgomery Bus Boycott, Rena Bransten Gallery, San Francisco, CA 2015 Looking Back and Seeing Now, Berkeley Art Center, Berkeley, CA 2014 Lava Thomas: Beyond, Museum of the African Diaspora, San Francisco, CA Selected Group Exhibitions 2020 New Time: Art and Feminisms in the 21st Century, Berkeley Art Museum & Pacific Film Archive, Berkeley, CA The Black Index, Leubsdorf Gallery, Hunter College, New York City, NY UNTITLED, ART, Rena Bransten Gallery, San Francisco, CA 2019 UNTITLED, ART, Rena Bransten Gallery, Miami, FL To Reflect Us, Rena Bransten Gallery, San Francisco, CA Adjust Yo’ Eyes For This Darkness, Ashara Ekundayo Gallery, Oakland, CA The Outwin 2019: American Portraiture Today, National Portrait Gallery, Washington, DC Women to Watch 2020 Nominee, Surfacing Histories, Sculpting Memories, Hubble Galleries, California College of the Arts, San Francisco, CA Plumb Line: Charles White and the Contemporary, California African American Museum, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Las Cruces Museum of Art, NM Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Gallery 360, Northeastern University, Boston, MA Spring Auction Exhibition, Kala Art Institute, Berkeley, CA 2018 PULSE Miami Beach, Rena Bransten Gallery, Miami, FL My Silences Had Not Protected Me, For Freedoms and Fort Gansevoort, New York, NY EXPO Chicago, Rena Bransten Gallery, Chicago, IL Pretty Big Things, Walter Maciel Gallery, Los Angeles, CA Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press, Krasl Art Center, St. -
MINUTES of PUBLIC MEETING Thursday, June 16, 2016 9:00 A.M. to 4:30 P.M
MINUTES OF PUBLIC MEETING Thursday, June 16, 2016 9:00 a.m. to 4:30 p.m. East Bay Center for the Performing Arts 339 11th St. Richmond, CA 94801 (510) 234-5624 PRESENT: Council Members Donn K. Harris, Chair Nashormeh Lindo, Vice Chair Phoebe Beasley Christopher Coppola Juan Devis Kathleen Gallegos Jaime Galli Louise McGuinness Steve Oliver Council members absent: Larry Baza, Rosalind Wyman Arts Council Staff Craig Watson, Director Ayanna Kiburi, Deputy Director Shelly Gilbride, Programs Officer Kristin Margolis, Legislative Director Caitlin Fitzwater, Communications Director Mary Beth Barber, Special Projects and Initiatives Associate Josy Miller, Arts Program Specialist John Seto, Arts Program Specialist Jaren Bonillo, Arts Program Specialist Invited Attendees Diane Golling, novelist Denise Pate, City of Oakland, Cultural Arts Steven Dilley, Veterans Art Project Ben Frandzel, Stanford Live Minutes: 2 June 16, 2016 Miko Lee, Youth in Arts Other Attendees / Members of the Public Laurie Brooks, William James Association Roger Renn, Arts and Culture Commission of Contra Costa County Amana Harris, Attitudinal Healing Connection Ada Chan, SoMa Pilipinas Thomas Simpson, AfroSolo Theatre Company Silvia Ledezma, Richmond Arts & Culture Commission Mildred Howard, independent artist Robbin Henderson, artist Debbie Hill-Houston Bill Golling Leslie Fay Marks, Oakland Symphony Brandi Brandes, Ashkenzz Music and Dance Community Center Eliza Tudor, Yuba Sutter Arts Council David Read, Yuba Sutter Arts Council MINUTES I. Call to Order, Roll Call and Establishment of a Quorum The Chair called the meeting to order at 9:00 a.m. Barber took the roll at 9:01 a.m. and a quorum is established. (Lindo arrives at 9:30 a.m.) II. -
Mediating Internet Art Curatorial Modes in Tangible and Virtual Domains
MEDIATING INTERNET ART CURATORIAL MODES IN TANGIBLE AND VIRTUAL DOMAINS Jonathon Austin Lourenço Pereira Dissertação de Mestrado em Estudos Artísticos apresentada à Faculdade de Belas Artes da Universidade do Porto Orientadora: Profª. Doutora Catarina Carneiro de Sousa Porto, 2018 MEDIATING INTERNET ART CURATORIAL MODES IN TANGIBLE AND VIRTUAL DOMAINS by Jonathon Austin Lourenço Pereira A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art Studies at the Faculty of Fine Arts of the University of Porto Supervised by Catarina Carneiro de Sousa Porto, 2018 ABSTRACT This dissertation examines Internet Art and its mediation efforts. As a practice with now more than 20 years of existence, Internet Art is still greatly marginalized from art institutional settings for its inferior status in comparison with tangible auratic artworks. The curatorial field of knowledge has been hardly handling the discussion of how technology has been transforming modes of production and mediation of art. The central aim here is to understand how Internet Art has been and can be mediated in online and tangible settings. The Literature Review has surveyed a broad range of writings about New Media Art and Internet Art in combination with direct engagement with artworks. This had the purpose of gaining insight into what Internet Art consists in, its behaviors and construction. To explore how Internet Art has been exhibited, preserved, and distributed, the research followed a multiple case studies method. It delved into five cases of mediation efforts related to Internet Art in both online and tangible settings. These have been surveyed qualitatively based on direct observation and engagement and secondary sources, such as exhibition reviews, curator statements, and audience input. -
Parrasch Heijnen Gallery, Los Angeles, CA 2019 Mildred Howard, Fred Jones Jr
parrasch heijnen Mildred Howard b. 1945, San Francisco, CA Lives and works in Oakland, CA Education 1985 MFA, Fiberworks Center for the Textile Arts, John F. Kennedy University, Berkeley, CA 1977 Associates of Arts Degree & Certificate in Fashion Art, College of Alameda, Alameda, CA Solo Exhibitions 2021 In the Line of Fire, Shirley Fitterman Art Center, Borough of Manhattan Community College, CUNY New York, NY 2020 The House That Will Not Pass for Any Color Than Its Own, Battery Park City, NYC, NY (until 2022) Mildred Howard: A Survey, 1978 - 2020, Parrasch Heijnen Gallery, Los Angeles, CA 2019 Mildred Howard, Fred Jones Jr. Museum of Art, University of Oklahoma, Norman, OK 2018 Mildred Howard, Roll Up Project, Oakland, CA 2016 Mildred Howard: Parenthetically Speaking, Anglim Gilbert Gallery, San Francisco, CA 2015 Mildred Howard: Spirit and Matter, Richmond Art Center, Richmond, CA 2014 Mildred Howard: Collective Memory, Fresno Art Museum, Fresno, CA 2011-12 Parenthetically Speaking: It’s Only a Figure of Speech, Museum of Glass, Tacoma, WA 2010 New Work, Gallery Paule Anglim San Francisco, CA Moeller Fine Art, Berlin, Germany 2008 Mildred Howard: That Was Then and Here Was Now, Nevada Museum of Art, NV, Reno Nielsen Gallery, Boston, MA To Honor Teaching, Solano Community College, Fairfield, CA 2007 New Works 2007, Gallery Paule Anglim, San Francisco, CA Drawings: Visions, Surfaces, and Beyond, Triton Museum of Art, Santa Clara, CA 2006 In the Line of Fire/Crossings, University of Texas, San Marcos, TX Nielsen Gallery, Boston, MA Santa -
FALL 2016 JORDAN SCHNITZER MUSEUM of ART Robert Rauschenberg (American, 1925– SCRIMMAGE: 2008)
FALL 2016 JORDAN SCHNITZER MUSEUM OF ART Robert Rauschenberg (American, 1925– SCRIMMAGE: 2008). Junction, 1963. Oil and silkscreen on canvas and metal, 45 1/2 x 61 1/2 inches. Football in American Art from the Civil War to the Present Collection of Christopher Rauschenberg. Art © Robert Rauschenberg Foundation/ Licensed by VAGA, New York, NY. Barker Gallery | Through December 31 What do Winslow Homer, George Bellows, at the youth and high school levels) in which the Laura Gilpin, John Steuart Curry, Andy Warhol, artist, serving as the “matador,” is surrounded by Wayne Thiebaud, Catherine Opie, and Diego a revolving circle of semi-pro players who charge Romero all have in common? They, and nearly without warning from all sides. Leonardo experienced fifty other artists whose works are on view in this the drill as a football player at Bowdoin College in the special exhibition, have depicted football and the late 1990s, and in a 2008 interview at his alma mater he explained that “my intention is to perform an public culture surrounding the sport. Scrimmage— Curator’s Gallery Tour Native American Studies, in issues of brain trauma, he organized by Linny Frickman, director of the Gregory aesthetically scripted yet actual Bull in the Ring with Wednesday, September 14, Native American Student turned his attention to the Allicar Museum of Art at Colorado State University, an undetermined outcome [where] I, as the center 5:30 p.m. Union, and Native American history of images and how and Danielle Knapp, McCosh Associate Curator at participant, will either affirm my virility or fail; in Danielle Knapp, McCosh Law Student Association. -
MATTHEW RITCHIE Born 1964 Lives and Works
MATTHEW RITCHIE Born 1964 Lives and works in New York City EDUCATION 1986 BFA, Camberwell School of Art, London 1982 Boston University, Boston, Massachusetts SOLO EXHIBITIONS 2016 Montserrat College of Art, Beverly, MA, ”Matthew Ritchie,” April 28 – June 18 2014 Food and Drug Administration, Silver Springs, MD, “The Garden at This Hour,” October 1 – ongoing Andrea Rosen Gallery, New York, NY, “Ten Possible Links,” September 12 – October 22 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, long- term exhibition of commissioned sound works Institute of Contemporary Art, Boston, MA, “Remanence/Remonstrance,” February 28 – March 1, 2015 (catalogue) 2013 ZKM – Zentrum für Kunst und Medientechnologie Karlsruhe, Karlsruhe, Germany, “The Morning Line,” September 15 – present Baldwin Gallery, Aspen, CO, “Slow Light,” July 26 – September 2 2012 Barbican Theatre, London, UK, “The Long Count,” February 2 – 4 2011 L&M Arts, Los Angeles, CA, November 2 – December 10 Thyssen-Bornemisza Contemporary Art Foundation, Vienna, Austria, “The Morning Line,” June 7 – November 20 (catalogue) Holland Festival, Amsterdam, “The Long Count,” June 1 – 2 2010 Thyssen-Bornemisza Art Contemporary, Istanbul, Turkey, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, May 22 – September 19 (catalogue) 2009 Andrea Rosen Gallery, New York, NY, “Line Shot,” October 23 – December 2 Southbank Centre, London, UK, "Paradise Lost,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, June c/o - Atle Gerhardsen, Berlin, Germany, "The Need Fire,” May 1 – July 2008 Centro Andaluz de Arte Contemporáneo, Seville, Spain, “The Morning Line,” Matthew Ritchie with Aranda\ Lasch and Arup AGU, October 2 – January 11, 2009 (catalogue) White Cube, London, UK, “Ghost Operator,” May 20 – June 28 2007 St. -
Mildred Howard Ned Smyth
MILDRED HOWARD INTERIN THE LINE OF FIRE NED SMYTH VENMOMENTS OF MATTER AND LIFE TIONS SHIRLEY FITERMAN ART CENTER BOROUGH OF MANHATTAN COMMUNITY COLLEGE, CUNY INTER VEN TIONS INTERVENTIONS JUNE 3 – SEPTEMBER 25, 2021 MILDRED HOWARD IN THE LINE OF FIRE NED SMYTH MOMENTS OF MATTER AND LIFE Mildred Howard, In the Line of Fire, 1996, (installation view, 2021, Shirley Fiterman Art Center). © Mildred Howard. Photo Jason Mandella. James Holl, Elizabeth Diller, Kaylynn Sullivan, Civic Plots 2, Art on the Beach 5, 1983, presented by Creative Time. Courtesy of Creative Time. Photo by Thomas Griesel. INTERVENTIONS is a project organized in partnership with Battery Park City Authority that focuses on parallel exhibitions of the work of Mildred Howard and Ned Smyth. Both are noted artists who have created distinguished bodies of work and have extensive histories of creating public art works, and each currently have works on view in the public parks and open spaces of Battery Park City. The role of public art in New York City has evolved dramatically from early state- sanctioned monuments. The 1960s and 70s saw a fundamental rethinking of the role of public art as New York began to adopt its use as a way to reshape urban spaces. John Lindsay (who became mayor of New York City in 1966) and members of his administration played a critical role as proponents of public art, embracing the free and democratic exhibition of artworks throughout the city’s parks and civic spaces. They felt that sculpture played a crucial role in revitalizing streets and plazas and promoting public spaces as inviting and safe. -
Matthew Ritchie's Universal Quest
Matthew Ritchie with Aranda\ Lasch Arup AGU: The Morning Line , 2008-2009. Commissioned by Thyssen-Bornemisza Art Contemporary. Installation view: Schwarzenbergplatz, Vienna June 7, 2011 - June 1, 2012. Photo by Jakob Polacsek at its worst at the beginning and at Matthew Ritchie’s Universal Quest the end. In his apocalyptic video “Monstrance” at L & M Arts, Los Angeles, Venice Beach and “The Morning Line” in Vienna, Austria, organized projections, like Augur (L & M Arts, by Thyssen-Bornemisza Art Contemporary 2011), we see the sun from the deepness of the murky water, then by Emese Krunák-Hajagos closer to the surface a single cell outline. Later creatures emerge out of How would God, if he were an artist about the beginning and about the the water and start to move. Then a and a scientist, see our universe from particles from which the universe came tremendous wind whips over the beginning to end in fast-forward? We into being, “Since it is almost impos- landscape. Fires burn living things into can see the artistic/scientific answer to sible to understand them as they were metal sculptural skeletons while a huge that question in Matthew Ritchie’s then; as infinite points, bound in an wire ball – an atomic model of some multimedia works. The objects he indecomposable continuum, let’s look chemical – rolls over everything. In this creates are monumental and extremely at them as they would become. They vision the world remains, but without exciting. were so many and they had waited for humans, a very sad conclusion. Ritchie started to think about the so long. -
OLLI @Berkeley OLLI @Berkeley Is an Educational Program Community Has Grown to More Than 600 Members
F a l l 2 0 0 8 OLLI Berkeleyuniversity of california Osher Lifelong Learning Institute October 1 – November 18 Classes olli.berkeley.edu Lecture Series An educational program for older adults Learning Community who are learning for the joy of it. Director’s Greeting Who We Are We are delighted that in just one year, the OLLI @Berkeley OLLI @Berkeley is an educational program community has grown to more than 600 members. We are for lifelong learners age 50 and up who are even prouder of the fact that many of you take more than one eager to explore traditional and new areas class per session — a powerful tribute to our goal of making of knowledge — without exams or grades. learning a way of life. Distinguished Berkeley faculty members and other Bay Area teachers enjoy sharing their expertise with members whose life Nearly half of this session’s faculty — including David Presti, William Drummond, experience and intelligence enrich the and Harry Kreisler — teach at UC Berkeley and are eager to share their exchange of ideas. knowledge with you. We are also offering an array of experimental courses. Membership in OLLI @Berkeley is required Celebrated writer Susan Griffin will teach a course on remembering and creating to participate in the full range of offerings. history. The two driving forces behind the San Francisco Mime Troupe, Joan Joining OLLI @Berkeley means discovering Holden and R. G. Davis, will trace the company’s long and colorful history. new friends, new knowledge, and new ways to bring meaning and enjoyment to our lives. -
MILDRED HOWARD SOLO EXHIBITIONS 2016 Parenthetically Speaking
MILDRED HOWARD SOLO EXHIBITIONS 2016 Parenthetically Speaking. Anglim Gilbert Gallery, San Francisco, CA. 2015 Mildred Howard: Spirit and Matter. Richmond Art Center, Richmond, CA. 2014 Prospect 3 at Xavier University, New Orleans, LA. Distinguished Artist Award Exhibition, Fresno Museum of Art, CA. 2011-2012 Clear Story. Palo Alto Cultural Center, Palo Alto, CA. Parenthetically Speaking . It’s Only a Figure of Speech. International Museum of Glass, Tacoma, WA. 2010 New Work. Gallery Paule Anglim, San Francisco, CA. 2008 Nielsen Gallery, Boston, MA. To Honor Teaching. Solano Community College, Fairfield, CA. 2007 New Works 2007. Gallery Paule Anglim, San Francisco, CA. 2006 In the Line of Fire/Crossings. University of Texas, San Marcos, TX. Nielsen Gallery, Boston, MA. Santa Rosa Junior College, Santa Rosa, CA. 2004 Crossings. Townhouse Gallery, Cairo, Egypt. Private Eye, Public Me. Gallery Paule Anglim, San Francisco, CA. 2003 Switchin’ in the Kitchen. Margaret Porter Troupe Literary & Visual Arts Salon, New York, NY. Walcot Chapel, Bath, England. 2002 Do We Have the Right to Remain Silent. Nielsen Gallery, Boston, MA. 2001 Mildred Howard: installations, constructions, assemblages. Gallery Paule Anglim, San Francisco, CA. 2000 Open Sentence: installation and constructions. Louis Stern Gallery, Los Angeles, CA. 1999 In the Line of Fire (installation). Gallery II, University of Bradford, England. In the Line of Fire (installation). City Gallery, Leicester, England. Mildred Howard: constructions. Piedmont Community College, Charlotte, NC. 1998 In the Line of Fire (installation). African American Cultural Center, Charlotte, NC. Mildred Howard: installation, constructions and collages. Porter Troupe Gallery, San Diego, CA. Nielsen Gallery, Boston, MA. S.S. (slave stealer) (installation). -
The Art Show at the Armory: Blue-Chip Brands Show Their Best This Year’S ADAA Fair Has an Impressive Roundup of Work by Lesser-Known Art- Ists and Female Trailblazers
The Art Show at the Armory: Blue-Chip Brands Show Their Best This year’s ADAA fair has an impressive roundup of work by lesser-known art- ists and female trailblazers. By Martha Schwendener Published 2/27/20 Visitors at the gala preview of the Art Show, the annual fair sponsored by the Art Dealers Association of America in the Park Avenue Armory.Credit...Rebecca Smeyne for The New York Times Trust me, even if you’ve been looking at art for a long, long time (or even longer than that), you will see work at the Art Show at the Park Avenue Armory you have not seen before, by artists you may never have heard of. This is not because the Art Show, organized by the Art Dealers Association of America to benefit Henry Street Settlement, is dedicated to showing the young and hip. Quite the opposite, ADAA represents blue- chip galleries that show high-quality work. But it has a terrific roundup of art by lesser-known artists, many dead or left out of art history for all the ordinary reasons (gender, geographical location or the idiosyncrasies of their work at a given moment). And despite the density, the fair is very manageable compared with other mega-fairs in New York. 600 Washington Square South Philadelphia PA 19106 tel 215.629.1000 fax 215.629.3868 [email protected] www.locksgallery.com Other strains running through the 72 exhibitors at ADAA this year, the fair’s 32nd edition, are a focus on geometric abstraction and craft and a high percentage of female artists — 19 exhibitions are dedicated to them. -
Download the War on to Our Ipodstm and Cell Phones, Which We Carry in Our Pockets Or Attach to Our Bodies Wherever We Go
ART EDUCATION AND NEW MEDIA: UNDERSTANDING THE ROLES OF ARTISTS AND EDUCATORS IN THE AGE OF IMMEDIACY by Anna Ryoo B.F.A., The University of British Columbia, 2004 B.Ed., The University of British Columbia, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES (Art Education) The University of British Columbia (Vancouver) August 2014 © Anna Ryoo, 2014 ABSTRACT This thesis is an act of inquiry into the entangled relationship between new media and art and how art education should re-position itself towards the cultural, political, and social shifts brought on by new media. By positioning new media as an entity yet-to-be-understood, I drew upon Marshall McLuhan’s writings as well as diverse and intersecting views of new media from debates and discussions occurring in multiple fields of studies. These are offered in the hopes of providing various spaces in which we may think about what art and art education is and can be as well as to expose the complexity behind thinking about the relationships among the following terms: contemporary, new, media, art, and education. Questions raised in this study do not stem from a mode of resistance nor celebration, but rather from the positions of being an educator, an artist, and a researcher who seeks to critically and reflexively examine and make sense of her role and that of others in this creative ecology. Toward the end of this journey, it became more evident that new media indeed needs to be embraced and its potentials recognized if art education is to revitalize its curricula and pedagogies.