JULIA HECHTMAN • [email protected] Curriculum Vitae • 5 Sylvia Street, Boston, MA 02130
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Summer 2015 School of Art & Artists' Residency
School of Art & Artists’ Residency Summer 2015 1 Contents Welcome 2 Courses 2 Course Calendar 4 Ceramics to Ox- B ow 6 Glass 9 Printmaking Over the 11 weeks of summer programming the Ox-Bow 13 Painting & Drawing campus lights up with the energy of hundreds of artists 17 Sculpture & Metals learning new processes and creating new work across 19 Fiber 20 Other Studio Areas a wide range of studios. The frenetic creative energy combined with the pristine natural backdrop, and the A1 Life at Ox-Bow scarce access to wireless signals, all add up to make for what feels like a time out of time experience. Ox-Bow 22 Special Programs 22 Fellowship Program is not the ordinary, or everyday. It’s an environment 23 Artist Residencies designed to provide the ideal conditions for creativity. 25 Pre-College Program Within this environment one encounters a totally different approach to thinking, making, and socializing. It’s 4 Faculty & 26 Visiting Artists an experience that is almost impossible to describe, 4-21 Faculty Biographies so we hope that as you look through the 2015 course 26 Visiting Artist offerings, that you are inspired to take one of the classes Biographies and to experience it for yourself. 30 Registration & Financial Aid Information Elizabeth Chodos, Executive & Creative Director 30 Registration Details 32 Scholarships & Financial Aid 35 Registration Form Featured Cover Artist: Paula Wilson Front cover: NEW DEVELOPMENT Intaglio with screen print Produced and editioned at MassArt’s Master Print Series, Massachusetts, MA 30"x15", 2012 Back -
Madrid, Spain, 1961. Lives and Works in Chicago. Professor, University of Illinois, Chicago
IÑIGO MANGLANO-OVALLE Born: Madrid, Spain, 1961. Lives and works in Chicago. Professor, University of Illinois, Chicago EDUCATION 1989 M.F.A. Sculpture, The School of the Art Institute of Chicago, Chicago, Illinois 1983 B.A. Art and Art History, B.A. in Latin American and Spanish Literature, Williams College, Williamstown, Massachusetts SELECTED AWARDS & FELLOWSHIPS 2009 John Simon Guggenheim Memorial Foundation Fellowship 2008 The Richard H. Driehaus Foundation’s Individual Artist Award, Chicago, IL 2007 Medium Award in Fine Arts, Material ConneXion, New York, NY 2005 Award for Excellence in Design, The Art Commission of the City of New York 2005 Bicentennial Medal, Williams College, Williamstown, Massachusetts 2001 John D. and Catherine T. MacArthur Foundation Fellow 2001 - 2004 University Scholar, University of Illinois at Chicago 1997 - 2001 Media Arts Award, Wexner Center for the Arts, Columbus, Ohio 1998 - 2000 Media Arts Residency, Henry Art Gallery, University of Washington, Seattle 1997 ArtPace Foundation, International Artist Residency Fellowship, San Antonio, Texas 1995 National Endowment for the Arts Visual Artist Fellowship 1995 Orion Fellow, University of Victoria, British Columbia, Canada 1995 Great Cities Fellowship, College Urban Planning, University of Illinois at Chicago, Illinois 1994 Neighborhood Arts Program Grant, City of Chicago Dept. of Cultural Affairs, Illinois 1992 Illinois Arts Council Artist Fellowship Award SOLO EXHIBITIONS 2010 Happiness is a state of inertia. Max Protetch Gallery, New York, New York Iñigo -
Art, Activism, and Technoscience Edited by Beatriz Da Costa and Kavita Philip
Tactical Biopolitics Art, Activism, and Technoscience edited by Beatriz da Costa and Kavita Philip Popular culture in this “biological century” seems to feed on proliferating representations of the fears, anxieties, and hopes around the life sciences, at a time when such basic concepts as scientific truth, race and da Costa and Philip, Philip, Costada and Tactical Biopolitics gender identity, and the human itself are destabilized Beatriz da Costa does interventionist art using new media/biology/art in the public eye. Public and expert discourses have computing and biotechnologies, and Kavita Philip converged to grapple with the ethical and creative studies colonialism, neoliberalism, and technoscience “Scientists and engineers, if they care for a better world, must more fully understand Tactical Biopolitics challenges that lie at the intersections of life, science, using history and critical theory. Both are Associate the consequences of their actions. Artists must learn more about science and take up and art. What do inquiring, curious, or anxious publics Professors at the University of California, Irvine. the challenge of illuminating our technological world to those who are shaping it. Both need to understand about biology and its current communities, in making their work more accessible to the other, will benefit. Not everyone Art, Activism, and Technoscience research frontiers? How might scientists assess myriad A Leonardo Book will agree with the politics argued here—but that is fine. The need for dialogue has now and often contradictory -
Critical Art Ensemble, Tactical Media, and the Audience Thesis Presented in Partial Fulfillment Of
Resisting the Body Invasion: Critical Art Ensemble, Tactical Media, and the Audience Thesis Presented in Partial Fulfillment of the Requirements for the Degree Master of Arts in the Graduate School of The Ohio State University By Shelby Elizabeth Brewster, B.F.A. Graduate Program in Theatre The Ohio State University 2015 Thesis Committee: Jennifer Schlueter, Advisor. Shilarna Stokes Copyright by Shelby Elizabeth Brewster 2015 Abstract “BioCom: building a better organic platform;” “BioCom: growing to meet your needs;” “BioCom: creating superior labor one worker at a time.”1 Though these catchy advertising slogans seem genuine, the company they advertise does not exist. BioCom is a fictional construct created by Critical Art Ensemble (CAE) as a part of their performance Flesh Machine (1998). CAE, a semi-anonymous group of five tactical media practitioners, have focused on the exploration of the intersections between art, critical theory, technology, and political activism since the collective’s creation in 1986. In response to the increasing impact of the biotechnology industry, from 1998 to 2004 CAE created seven projects focusing on issues ranging from reproductive technologies to genetically modified organisms. Through audience participation, the disruption of the traditional relationship between audience and performer, the use of actual scientific knowledge and processes, and digital performance techniques, CAE strove to create a space for critical dialogue surrounding these issues. Drawing on CAE’s own published material and scholarly analysis of their work, this thesis explores the specific performance strategies employed by CAE, places CAE’s work in the theatrical legacy of the avant-garde, and contextualizes it in its own historical moment, marked by debate surrounding the possibilities of biotechnologies.