DOCSLIB.ORG

Webforu2 Media Solutions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

A C U L T URAL A R T S I NTER A CTI VE EVENT September 19 - October 1, 2020 visit facebook.com/culturalartsmurfreesboro VIRTUAL GREENWAY ART FESTIVAL Welcome to Cultural Arts, Visualize Murfreesboro’s Virtual Festival. We are so glad you came! Take a trip around our trail by tog- gling through and stopping by each booth or be instantly transported to your desired booth when you click on the number belonging to the artist you want to visit. While you are here, be sure to stop by (click) these other attractions: Children’s Tent Musicians’ Stage Laureate Booths Artist Organizations Current Rec Connect You’ll find printables, videos, musi- cal entertainment and more. Please enjoy your visit and we hope to see you in person next year at Old Fort Park for Greenway Art Festival 2021! BOOTH LOCATIONS 2 — WELCOME!rt Festival 23 — Kendyl Matthews 3 — BOOTH LOCATIONS 24 — Gréti Müller 4 — BOOTH LOCATIONS 25 — Lighthouse Photography 5 — ARTIST BOOTHS 26 — Linda Watson- 7 — $50 Gift Card Drawing!! Artistic Designs 8 — Astral Art Universe 27 — Linda Watson- 9 — Carol Berning Artistic Designs 10 — Chandler’s Dezigns 28 — M Rotellini Art 11 — Cindy Shadrick’s 29 — Mark Mcleod Stained Glass 30 — Miss Hill 12 — Corey Caddell 31 — Painted Hills 13 — Designs by Royce Ceramics 14 — Duncan Originals 32— Pamela Mack Art 15 — Fluff 33 — ShadowLine Originals 16 — Dalia Garcia 34— Steve Patrick Smith 17 — InkPenInk 35— Stones River Quilts 18 — Inlet Treasures 36 — LAUREATES’ BOOTHS 19 — Jadeillystrations 38 — Dawna Magliacano 20— Justice The Artist Photography 39 — Tommy Womack 21— Justyna Kostkowska Art 40 — Amie Whittemore 22— Kaitlin Savage BOOTH LOCATIONS 41 — ARTS ORGANIZATIONS 42 — Bradley Art Museum 43 — Perform Murfreesboro 44 — Poetry in the Boro 46 — Rutherford Arts Alliance 46 — Rutherford 46 — Arts Alliance 46 — Rutherford 46 — Arts Alliance 48 — Smyrna Artist Cooperative 50 — Visualize Murfreesboro 51 — Art in the Rotunda 53 — MUSICIANS’ STAGE 54— GARCIA AND SCOTT 55 — ANDY MAY 56— MTSU SCHOOL OF MUSIC 57 — KIDS TENT 59 — Kids Art Tutorials 60 — REC CONNECT ARTIST BOOTHS Enjoy a virtual stroll along the Greenway Art Festival Trail! Okay. so your fingers will do the walking, but you can still stop by each artist’s booth, where their art will be on display. Contact them, visit their sites and purchase their wares by clicking the links or copying the links into your browser. They are all looking forward to you stopping by! $50 GIFT CARD DRAWING!!! When you spend $50 or more at any one or more of the artist’s booths at this year’s Virtual Greenway Art Festival, your name will be put in a drawing for a free $50 Amazon Gift card. Text your proof of purchase along with the artist(s) booth name and number to 615-801- 2467 to enter your name in the drawing. We will notify the winner after the festival. Good luck and thank you for supporting our local artisan community! 7 Back toTop Astral Art Universe by Wendy Reed ARTIST STATEMENT I am a resin artist and woodworker located in Smyrna, TN. I have been perfecting my craft for the past five years. I specialize in gorgeous home decor, ocean arts, and wall art. I offer individual and family workshops. I also am available for custom orders. ARTIST WEBSITE & CONTACT INFO [email protected] etsy.com/shop/AstralArtUniverse instagram.com/astralartuniverse/ facebook.com/AstralArtUniverse/ 8 Back toTop Carol Berning by Carol Berning ARTIST STATEMENT I am primarily a self-taught artist who paints images of people and things that are important to me. My impressionistic style is peppered with my love of exploring abstract shapes. As a result, my painting style continues to evolve. My paintings recently have reflected my personal life with my mother, as well as my personal, social, and political beliefs. Art should not only bring beauty to our world. It should cause us to think, to discuss, to confirm, and to act on our thoughts, discussions, and confirmations. I am a member of Portrait Society of America, Oil Painters of America, American Women Artists, Allied Artists of America, and American Impressionist Society. ARTIST WEBSITE & CONTACT INFO [email protected] carolberning.com instagram.com/carolberningart/ 9 Back toTop Chandler’s Dezigns by Chandler Williams ARTIST STATEMENT Chandler Williams Cartozzo makes handmade jewelry and specializes in wire-wrapping. She doesn’t use any electric machines or battery powered tools. She makes all of her jewelry with her hands and a pair of pliers. She uses copper and silver wire to create delicate spirals, zig zag patterns and intricate loops. She elegantly wraps gemstones, crystals and colorful glass beads. Each item she creates is different from the last, making them truly one of a kind pieces of wearable art. She also handcrafts blank note cards made with high quality cardstock. ARTIST WEBSITE & CONTACT INFO [email protected] www.chandlersdezigns.etsy.com www.facebook.com/chandlersdezigns www.instagram.com/chandler_dezigns_jewelry 10 Back toTop Cindy Shadrick’s Stained Glass by Cynthia Shadrick ARTIST STATEMENT A graduate from the Art Institute of Fort Lauderdale and the mother of three children. I was born in Twinsburg, Ohio and have twins. I am a member of Northside Baptist Church in Murfreesboro. ARTIST WEBSITE & CONTACT INFO [email protected] https://www.facebook.com/cindy.shadrick.92 11 Back toTop Corey Caddell by Corey Caddell STILL LIFE PENCIL DRAWINGS ARTIST WEBSITE & CONTACT INFO [email protected] facebook.com/corey.william 12 Back toTop Designs by Royce by Royce Vaughn ARTIST STATEMENT My jewelry is an expression of myself. I use different materials and techniques to create a variety of designs. They range from a small cross necklace to the big statement necklaces, and all between. Working with polymer clay, metals, found objects and non tradition- al materials gives my designs the distinctive Designs by Royce look. Thank you for your support. ARTIST WEBSITE & CONTACT INFO [email protected] etsy.com/shop/DesignsbyRoyce 13 Back toTop Duncan Originals by Will Duncan ARTIST STATEMENT Duncan creates art when inspired from dreams or traveling the world. Painting on canvas allows him to express stories within the art. An histo- rian and author, Duncan has worked in the field of archaeology and has spent time on every continent. Completing his first fictional novel, Duncan continues to develop his technique in everything he does. ARTIST WEBSITE & CONTACT INFO [email protected] instagram.com/willduncan007/ 14 Back toTop Fluff by Shelly Lorey ARTIST STATEMENT Saving the world, one sweater at a time. I repurpose sweaters and make them into art. All the sweaters are natural animal fiber (wool, cashmere, alpaca) that I felt, and then cut up. All the patterns are made from my original art. Special orders are always welcome! I enjoy collaborating to put your vision into the Fluff brand. You will find pillows, mobiles, ditty bags, onesies and crossbodies. ARTIST WEBSITE & CONTACT INFO [email protected] instagram.com/fluffknitstn/ 15 Back toTop Dalia Garcia by Dalia Garcia ARTIST STATEMENT For me, bold and vibrant colors are emotional synonyms for happiness and exhila- ration. My inspiration comes from my awe of nature’s endless color combinations, it’s shapes, and the human connection. This magic enkindles my imagination and my soul! I use acrylic paint to create an easy, yet energetic vibe. Combining that with my passion for music, dance and travel, my dream world comes to life. We are bombarded all day long with news and information. I choose to unplug, live in the now, and focus on the serenity of positive energy. Each canvas a stage, presenting a show in full color! ARTIST WEBSITE & CONTACT INFO [email protected] daliagarciaartist.com/ instagram.com/daliagarciaartist 16 Back toTop InkPenInk by Emily Brown ARTIST STATEMENT Creating awakens part of your soul. Ink pen is my medium of choice, I love capturing the detail of the beauty around me. The majority of my work focuses on nature and the human body. I name each piece with intentionality, to evoke thought and appreciation of beauty. The reason I create is to inspire others to do the same. ARTIST WEBSITE & CONTACT INFO [email protected] instagram.com/inkpenink/ etsy.com/shop/InkPenInkShop 17 Back toTop Inlet Treasures by Laura Eckert ARTIST STATEMENT Laura Eckert and Marty Cameron began painting together over 14 years ago. Marty taught Laura the basics of painting and they chose glass as their primary medium. Their styles differ, Marty’s is more realistic, where Laura ‘s style is more whimsical with patterns inspired by their love of the beach. Using a gloss based, heat sealed enamel paint, wine glasses, bowls and other usable items are heat sealed so they may be washed. Enjoy our hand painted treasures! ARTIST WEBSITE & CONTACT INFO www.inlettreasures.com facebook.com/InletTreasures instagram.com/inlettreasuresnsb/ 18 Back toTop Jadeillystrations by Jade Beard ARTIST STATEMENT Jade Beard is a Middle Tennessee native. She attended Savannah Col- lege of Art and Design and graduated in May of 2019 with a BFA in Il- lustration. Jade’s life mantra is Stay In Your Lane. She creates things that make her happy or express her feelings and inner thoughts. She gets her inspiration from the entertainment that she brings into her life: music, television, books, movies, celebrities, politics. Her biggest goal in art is to encourage a diverse range of communities to transform the negativity of the world into something positive with creative outlets. ARTIST WEBSITE & CONTACT INFO [email protected] jadeillystrations.com 19 Back toTop Justice The Artist Photography by Justice Dickson ARTIST STATEMENT I’m Justice Dickson, the owner of Justice The Artist Photography.
Recommended publications
  • New Engines of Growth: Five Roles for Arts, Culture and Design

    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.
  • Annie@Anniefarrar.Com

    [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
  • 4. Organize a Studio Tour 5

    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.
  • International Print Collectors' Societies Newsletter from the Editor

    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.
  • Max Ginsburg at the Salmagundi Club by RAYMOND J

    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.
  • Grass Clippings

    Grass Clippings

    DESERT BLUEGRASS ASSOCIATION GRASS CLIPPINGS Volume 21 Issue 5 December 2015/January 2016 CHRISTMAS PERFORMANCES - 2015 By Doc Simpson Greetings Bluegrass Aficionados: The Christmas season is upon us once again. The Bluegrass Carolers will be singing Christmas songs and bluegrass standards for children and adults in December. Whether you’re a DBA member, a Workshop player, or both; you are warmly invited to join in the festivities. You don’t even have to play an instrument, just come and sing! Invite a family member or friend. You’ll find our songs at our website: (desertbluegrass.org / events / workshops / Monday Night Workshop / link to resource page / Christmas Songs 2012) (http://desertbluegrass.org/images/pdf/christmas%20songs- 2012.pdf.) LUMINARIA NIGHTS, Saturday, Dec. 5th, 6-8 pm. The Luminaria Nights performance is at the Tucson Botanical Gardens, 2150 N. Alvernon Way. Come early and park behind the Fry’s shopping plaza or at Emmanuel Baptist Church. We’ll be performing in the Pavilion. Musicians get in free and the first 20 that show up will get one free ticket for a loved one as well. CATALINA VILLIAGE ASSISTED LIVING, Saturday, Dec. 12th, 2-4 pm. Catalina Village Assisted Living at 5324 E. 1st Street is a state facility with very limited funding. They have no financial resources for Christmas/Hanukah celebrations or gifts for its 104 residents. TUCSON MEDICAL CENTER CHILDREN’S CLINICS, Tues. Dec. 15th, 1-3 pm The Children's Clinics on the TMC campus are having a party for the clinics’ children. They will get gifts and meet Santa.
  • Phone Beats Auto in Ra(E Across State Four Year Old

    Phone Beats Auto in Ra(E Across State Four Year Old

    E«» 'W- T-f. S ir’ ^' ■-'. * ,' ' ' "i -F^f' ' n-. .v’t- r ' v pnUT PRESS BUIQ A.VBBAOE DAIL7 CII^pULATION f:, -iii V-^ d-f r.- /Li'f; OF THE EVBICINQ HERALD for the mopth of March, 1926, 4,736 --------------------- : ; — 5: . , .--- ---------- ;': VOL. XU V ., NO. 169. Claeslfled Advortislng on Page 0 MANCHESTER, CONN.,\ SATURDAY, APRIL 17,19261 FUNEB.AL A FETE AT PHONE BEATS DYING WOMAN’S WISH FOUR YEAR OLD The What and How of Madrid, April 17. ^ "Eat, Haris, April 17.— Paris is not drink and be merry’’ was , the growing in population. The provision made in the will of an INJURY CAUSED New Jersey Labor Row ON IN D inillEN T; 1926 census, which was' pub­ AUTO IN RA(E aged widow of Castella, who ex­ lished today, shows the popula­ pressed the desire that her tion of Paris to be 2,838,416, a funeral be a gay affair. Her decrease of 26,017 since 1921. ACROSS STATE wishes were carried out. A QUACWDEATH By LEON M. SILER. Feels "Jersey Justice” BAH. is SiSOM • dance was organized at the cem­ etery and then the revelers re­ Pa.ssalc, N. J., April 17.— Ten turned to the home of the "^Idow thousand workers matched wits and consumed all *of the wine Autopsy Reveals Old Frac­ and wills with the owners of big Strike Leader Charged With HOPED TOKEEP High Powered Car Hits ^ I left in her cellars. woolen mills of the Passaic district .Us Ex-Officol of Province Con* -<$> early this year, in a strike over a Joseph Prentice, State ture of Skull— May Have difference of ten per cent in wages.
  • Jemf Quarterly

    Jemf Quarterly

    JEMF QUARTERLY JOHN EDWARDS MEMORIAL FOUNDATION VOL. XII SPRING 1976 No. 41 THE JEMF The John Edwards Memorial Foundation is an archive and research center located in the Folklore and Mythology Center of the University of California at Los Angeles. It is chartered as an educational non-profit corporation, supported by gifts and contributions. The purpose of the JEMF is to further the serious study and public recognition of those forms of American folk music disseminated by commercial media such as print, sound recordings, films, radio, and television. These forms include the music referred to as cowboy, western, country & western, old time, hillbilly, bluegrass, mountain, country ,cajun, sacred, gospel, race, blues, rhythm' and blues, soul, and folk rock. The Foundation works toward this goal by: gathering and cataloguing phonograph records, sheet music, song books, photographs, biographical and discographical information, and scholarly works, as well as related artifacts; compiling, publishing, and distributing bibliographical, biographical, discographical, and historical data; reprinting, with permission, pertinent articles originally appearing in books and journals; and reissuing historically significant out-of-print sound recordings. The Friends of the JEMF was organized as a voluntary non-profit association to enable persons to support the Foundation's work. Membership in the Friends is $8.50 (or more) per calendar year; this fee qualifies as a tax deduction. Gifts and contributions to the Foundation qualify as tax deductions. DIRECTORS ADVISORS Eugene W. Earle, President Archie Green, 1st Vice President Ry Cooder Fred Hoeptner, 2nd Vice President David Crisp Ken Griffis, Secretary Harlan Dani'el D. K. Wilgus, Treasurer David Evans John Hammond Wayland D.
  • 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

    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.
  • Thesis. Approved. F.Obrien

    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.
  • 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

    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.
  • The Benefits and Limitations of Artist-Run Organizations in Columbus, Ohio

    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.