2014 MACAA CONFERENCE SCHEDULE Wednesday, October

_2014 MACAA CONFERENCE SCHEDULE_

Wednesday, October 22, 6:30-8:30 pm

_Hometown Artist’s Rodeo: Southwest School of Art_ Organized by Ken Little, The University of Texas at San Antonio, ([email protected])

The Hometown Artist’s Rodeo started in the 1980′s as a party out at the sculpture Building at UTSA. Students and faculty would bring a potluck dish and some talent to share. There were musicians, comedians, storytellers, and performance artists of all ages. During the 2000′s it was moved to a restaurant/bar in San Antonio called The Cove and became a monthly show. The Rodeo is sort of an artist’s cabaret where people sing, recite, and perform with sometimes very elaborate, sometimes quite strange, but always entertaining material.

Thursday, October 23, 8:00-9:30 am

_Seeing is Believing_ Chair: Alex Emmons, Oklahoma City University, ([email protected])

Seeing is Believing, proposes to explore the historical and contemporary trends that continue to promote photographs as factual evidence. Since Photography’s invention, society has observed pictures as authentic because of its chemical roots and incorporation of optical tools. Images can be constructed photographically before, during and after they are made and history informs us that they have been since the beginning of picture- making technology. Photographs are believable. People trust pictures. They communicate objective, authentic meaning to their audience even if they have been altered. The truth surrounding photographs is they are subjective and informed by society’s rules. People believe photographs can convey objective views of our surrounding visual world. Today, the general public takes delight in how quickly they can make an adjustment to their pictures using photo applications such as Instagram. At the same time, society is very critical of photo forgery because of the lack of oversight and the speed with which information reaches social media and seems believable.

The public critiques current digital technologies as leading to rampant photographic manipulations, when photographers have been transforming their pictures since the beginning. Photographers are standing at an interesting set of crossroads because they are incorporating 19th century techniques, analog, and digital as eligible and valid technical options for making. As historians and artists, we need to explore further how photographic images convey authentic meaning by design and medium. There is a diverse amount of resources examining these ideas yet few address the history of photography, contemporary practice, and the range of photographs that convey an essence of fact but are fiction. For this session, I am seeking papers from artists, curators, and art historians that explore a photograph’s believability from a historical and/or contemporary standpoint.

Emmons, Alex; Oklahoma City University, ([email protected]) Convincing Pictures: An overview of Photography’s fictional history

Cash, Micah; University of North Carolina Charlotte, ([email protected]) Changed by Culture and Time: Landscape Photography as Document

Cardinale-Powell, Brian; Oklahoma City University, ([email protected]) What are you trying to prove? The use of photographic evidence in films Session location: DoubleTree , Aztec – A Room

_Loaded Dialogues__ Chair: Mühsam, Armin; Northwest Missouri State University, [email protected]

Painting is not only an art but also a research method. For some painters, it becomes a way to tease out what are thought of as hidden meanings, essences that are obscured by nature’s chaotic and confusing surface appearances-simply put, for these artists painting is a method to understand the world. For others, the perception of nature as chaotic and the painter puts order into it is preposterous; in their view, all one can aspire to is to put some order into oneself, as a way of achieving clarity about one’s individual mindset and psychology.

This panel seeks to bring together painters who stand on opposing sides of this philosophical problem. It is restricted, however, to a kind of representational painting that depends on the world/reality/nature as the trigger for pictorial explorations, with an attitude that is best expressed in a quote by Max Beckmann: “If we wish to grasp the invisible, we must penetrate as deeply as possible into the visible.”

Once this premise is agreed upon, the questions, then, become these: How should one paint – with restraint (analytically) or with abandon (expressively)? Which is the better approach – to accept the visible world and represent it, hoping that the very act of representation will lead to an understanding that transcends mere retinal perception, or to interpret the visible world, not in terms of things but of the dynamic energies that generate them? And finally, which of these approaches lend themselves better to dealing with the philosophical stances described above? Born out of an honest desire to encourage philosophical discussions among painters, this panel invites differing, even opposing views (the stronger held, the better) from professors as well as students, and will also entertain additional questions that may arise from the submitted proposals.

Nelson, Adam; Northwest Missouri State University; [email protected] Realism and the Importance of Legibility

Mühsam, Armin; Northwest Missouri State University, [email protected] Mirroring or Emoting – A Real or False Dichotomy in Painting?

Varland, Joel; Savannah College of Art and Design; ([email protected]); The Legacy of Rudolph Steiner in Post Modern Art Session location: DoubleTree , Alameda Room

Thursday, October 23, 9:45-11:30 am

_Jobs and Careers? Art Education in the Current Educational Climate_ Chair: Dupuy, Edward J.; Dean, Southwest School of Art ([email protected])

When President Obama announced his plans to improve access and affordability in higher education, many of us in the educational arena expressed some skepticism. On the surface, it seems like a good idea to help middle class families afford college, to ask colleges to keep costs down, to strengthen the community college system, and to improve transparency and accountability--the four pillars of the President's plan (see http://www.whitehouse.gov/issues/education/higher-education). But several unquestioned assumptions about higher education seem to be at work there: Is the purpose of higher education primarily for students to land jobs? Can access and completion be reconciled? Can a college "report card" really give a clear sense of the success of colleges or universities? And more to the point of this conference, where and how do higher ed art programs fit into such an educational climate?

This panel hopes to address these issues with papers from various points of view: the community college system, the state system, the private college system, and with a paper by the chair on the Southwest School of Art's decision to open a college BFA program amidst these fermenting (and fomenting) questions. Papers on the "meaning and value of education" generally and on the philosophical underpinnings of art education, in particular, are welcomed. Why is fine art education important? What is the role of the fine artist in the 21st century? What can higher education learn generally from the pedagogical practice of art education? What is the place of the art school in the 21st Century? In short, this panel would like to use the President's plan as a point of departure for a discussion of fundamental questions about education and art. And it hopes to do so from panelists who represent the array of educational institutions mentioned above.

Claunch, Jacqueline; former president of Northwest Vista College, now an independent scholar, ([email protected]), Conflicting Messages: Creativity, Jobs, and Curricula in Community Colleges.

Symula, Jody; Virginia Commonwealth University ([email protected]) What? How? Arts Career Development

Weedman, Matthew; Sam Houston State University ([email protected]) Shifting Perspective: Strategies for Evolving the Conversation of Education and Success.

Pagona, Victor; Southwest School of Art ([email protected]) Art Education as a Petri Dish Session location: DoubleTree, Salon De Gala – A

_The Continuing Democratization of Photography: Smart Phone Media_ Chair: Feagin, Ashley; Visiting Assistant Professor, Albion College, [email protected]

The Brownie camera, invented by Eastman Kodak one hundred and twenty-five years ago, started the democratization of photography with its "you press the button, we do the rest” philosophy. The same evolution is occurring through smart phone media. Today, images are captured, shared, and rarely printed. This new democratization of photography brings new challenges/ opportunities to image-makers and educators. How do we embrace this new form of photography as artists and does it have a place in our photographic curriculum?

Facebook and Twitter were just the beginning. Instagram, Vine, and Snap Chat are now common on any teenager and young adults phone. These images being shared are replacing conversations and exploring a new method of communicating visually with peers. This generation has grown up with this tool for self-expression and it is no wonder the 2013 word of the year was “selfie”.

This panel is a round table discussion, of artist and educators, who are embracing the use of smart phones as a tool for image making within their own work and/or the classroom.

Murray, Jennifer; Instructor of Photography, Loyola University Chicago, [email protected]

McBrayer, Crystal N.; Interim Visiting Assistant Professor, University of Arkansas, [email protected]

Clayborn, Lyndey; MFA, University of Georgia, [email protected]

Fields, Arthur; Adjunct Professor, Brookhaven College,[email protected] Session location: DoubleTree , Salon De Gala – B

_Collaborations: Success Loves Company__ Chair: Smith, Andrew; The University of Mississippi; ([email protected]);

With the contemporary artist becoming a crossbreed of disciplines, utilizing all mediums and processes, this panel will explore current and past projects of artists collaborating together in an interdisciplinary environment. This presentation will examine the importance of this idea within the contemporary art world, and how cooperative ventures of this nature can help explore traditional materials and revitalize processes from the classroom setting to the professional studio.

Turner, Ross; Texas A&M University-Corpus Christi; ([email protected]); Tin Soldier Press and the Cast Aluminum Relief Block

Thompson, Durant; The University of Mississippi; ([email protected]); A Corpse in the Classroom

Fuertes, Eric; Northern Illinois University; ([email protected]); Dumbo Press and Digital Technology Rathert, Stacey; The University of Mississippi; ([email protected]); A Corpse in the Classroom: Student Response

Lindsey Maestri; Tennessee Tech University; ([email protected]); Collaboration at a Distance Session location: DoubleTree, Aztec – A Room

_The Post-Duchampian Object and its Implications__ Chair: Miramontes, Adriana; University of Texas at San Antonio, [email protected] Cimbra: Remembering the Women of Ciudad Juarez.

This panel analyzes contemporary responses to so-called “found objects” and the character of physical objects in alternative approaches in making art. In an interview with Pierre Cabanne, Marcel Duchamp said “[the readymade] was just a distraction. I didn’t have any special reason to do it, or any intention of showing it, or describing anything” (Cabanne Pierre, Dialogues with Marcel Duchamp, 2009, New York, 47). The panel organizes discussion of the role of objects in broader discourses of commodity culture, politics, and contemporary identity.

Burnett, Christopher; The University of Toledo; [email protected]; The Sears Catalog as Object Matter and Visual Culture

Franklin, Julia; Graceland University; [email protected] or [email protected]; Lost and Found: Found Object Art that Preserves and Redeems

Mohr, Patrick; Savannah College of Art and Design, [email protected] A reanalysis of the evolution of kinetica and automata in the work of Dennis Oppenheim, Alice Adcock, Chris Burden, Tim Hawkinson and Patrick Mohr Session location: DoubleTree, Aztec – B Room

_From the Road: Documenting, Drawing, Traveling and Contemporary Collection of Visual Data__ Chair: Olszewski, Christopher; Savannah College of Art and Design, [email protected]

This panel will address how the sketchbook is a vehicle for disseminating visual information, generating ideas, expanding creativity, cultivating curiosity and the foundation for inspiration. Travel journals, traditional and digital sketchbooks are a way to navigate the Red Bull driven, media saturated society. It is difficult to keep up with all the visual information being thrown at you. The rich textures of advertisements, bold colors of junk- food wrappers and the seduction of fast food make it difficult to focus on one thing. Sketchbooks are a way to embrace the madness, contextualize events and allow everything to happen at once. In my personal artwork, I use my sketchbook as a gathering place for wayward ideas, phrases, pictures and drawings that float through my head at any given time. I always have it with me ready to capture what life is throwing at me. This panel seeks unique and creative projects that could include: Traveling, Documenting, Collecting, Migrating, Land, Time, Space, and Motion. Conceptually based projects are especially welcome.

Olszewski, Christopher; Savannah College of Art and Design, [email protected] From the Road

Khalili, Meena; Virginia State University, [email protected] Pens and Motor Oil: Sketchbooks from the Road

Nolan, Rebecca; Savannah College of Art and Design, [email protected] You can't get there from here. You'll have to go somewhere else to get there: Wandering the byways of America. Session location: DoubleTree, Alameda Room

_Open Session: Undergraduate and Graduate Students__ Chair: Rizk, Mysoon; University of Toledo, [email protected]

East, Linda Shrum; University of North Texas, Denton Art That Seems to Have a Life of Its Own

Felty, Tyler S.; Ferris State University, Big Rapids, Michigan Menerva in Etruscan Art: Warrior-hood, Motherhood, and the Role of Women in Ancient Tuscany

Norris, Alison; University of Kansas, [email protected] Reading Primary: Exploring the Visual/Verbal Elements in the Motion Drawings of Lawrence Weiner Session location: DoubleTree, Arneson Room

Thursday, October 23, 11:30-1:15 pm _Lunch (on your own)_

Thursday, October 23, 1:15-3:00 pm

_Verbing Painting_ Chair: Blizard, Christie; University of Texas San Antonio, [email protected]

This panel will be separated into two parts: the first, withdrawal and extension, and the second, the body as marker, and will explore the relationship between painting and performance and the range of artists’ temporal and physical presence in the work. This is both a gesture back to action painting, one of the pivotal inspirations for performance art, but also a gesture forward as a way to reinvigorate contemporary painting more directly. The artists and historian in this panel will offer a range of approaches to this spectrum from exclusive object makers to those that are more clearly linked to performance, sound, video, and installation. As Barry Schwabsky writes: “In particular, the whole phenomenon of “painterliness” has a different value today than it did in the past. It functions less as a signifier of the individual artist’s stylistic signature or as the trace of emotional expression (...) than as a way of allowing the painting to linger in the condition in which things are still unsettled, metamorphic, in transition, (Schwabsky, Barry accompanying text, About Painting, Transition Editions, London, 2011.p. 77). Although Schwabsky refers more specifically to the connective tissues between abstraction and image-based painting, the artists and historian in this panel discuss the idea of the “unsettled painting” as a means to push it to the very edge of its boundary, to discuss at what point these are still paintings and at what point they transition into something else entirely.

_Verbing Painting Panel 1: Withdrawal and extension_ Rushin, Judy; Florida State University, ([email protected]), Independent Artist I Live in a Box of Paints

Chung, Joomi; Miami University, ([email protected]) Independent Artist “Surfaces”, as exploration of Image-space

Valderas, Giovanni; Mountain View College, ([email protected]) Independent Artist Cultural Constructs

Renteria, Andrei; University of Texas, San Antonio, ([email protected]), Graduate Student Session location: DoubleTree, Salon De Gala – A

_The Artist and the Institution__ Chairs: Ostrowski, Zack; DePaul University; ([email protected]) / Adam Schreiber; DePaul University; ([email protected]); session chairs

Reflecting on the framework of “artist and the institution,” this panel will discuss how and why artists and curator-producers are increasingly adopting and developing research methodologies that traverse the classroom and the studio. In a time of increased professionalism in the institutional-art complex, this panel will look at the complex role of the artist as producer, educator and facilitator. With particular focus on the role of the artist as both agent and subject within the larger institutional complex, this panel will introduce provocative questions of personal and political agency. It will also examine artistic production that incorporates other disciplines of study, looking at emergent sets of artistic “research” within an expanded field of cultural production.

How artists survive and act within a variety of institutional contexts presents a unique set of circumstances that often include the complexities of collaboration, civic engagement and public intervention. While many artists corroborate and problematize key principles of the artist studio, many are also active contributors to studio-art programs, large and small. This panel will offer a dynamic assessment and exploration of the relationship between artists and their institutional roles, foregrounding the way artistic production confronts, adopts, or circumvents ambivalent aspects of the larger institutional context, of which they are constitutive.

In recent years some of the most challenging and innovative work has been created outside conventional art venues. At the same time, more artists than ever have become “professional.” This panel will explore the rich paradoxes of this circumstance and the new demands associated with it.

Ostrowski, Zack (aka Beverly Fresh); DePaul University; [email protected]; The Artist and the Institution - An Overture

Lakes Were Rivers; Austin Based Artist Collective; Jessica Mallios, Assistant Professor, School of Art & Design, Texas State University, [email protected]; Mike Osborne, Assistant Professor, Photography, Department of Art and Art History, Georgetown University [email protected]; Adam Schreiber; DePaul University [email protected]; Accidental Research

Galliera, Izabel; McDaniel College; [email protected] Inside and Outside Institutions: Self-Institutionalization as Art Practice in a Post- 1989 European Context

Scott, Greg; DePaul University; [email protected] Big Data Rustla: Hustling Science to Make Art Session location: DoubleTree, Salon De Gala – B

_Fashioning Identity: How Artists use the Depiction of Adornment to Communicate Identity__ Co-Chairs: Mangieri, Anthony F.; Salve Regina University; [email protected] Norwood, Beth Wilson; Arkansas State University at Beebe, [email protected]

Throughout the history of art, artists have used the depiction of adornment, hairstyles, and body modifications (tattoos, body paint, cranial deformation, piercings, etc.) to convey information about their subjects. Adornment can communicate an almost endless supply of information about the wearer playing an important role in the construction of one’s identity. Artists use the depiction of dress and body modification to encode messages pertaining to the identity of their subject and, thus, affect the meanings of a work of art. Papers in the session will address how artists use the depiction of dress jewelry, hairstyles, and body art – such as tattoos, body paint, and other modifications – as a means of communication, and how the depiction of adornment affects the meaning of a work of art or its function. This session welcomes papers that discuss subjects that cover the scope of human history in both the western and non-western world.

Loughmiller-Cardinal, Jennifer; University at Albany; ([email protected]); Painted Faces of the Classic Maya Elite: Body Paint as an Indication of Status in Both Life and Death.

Mangieri, Anthony F.; Salve Regina University; ([email protected]); Cloaks of Fire and Stars: Exekias and the Heroics of Dress in Greek Vase- Painting.

Foulk, Rachel, Ferris State University; ([email protected]) Patron’s Tomb: Fashioning Family Identity in Augustan Rome Session location: DoubleTree, Aztec –A

_Harvest Time: Generating and Cultivating Ideas in this Millennium_ Chair: Johnson, Jerry R; Troy University; ([email protected])

Idea generation and creativity are rapidly expanding as popular subject areas inside academe—and outside of art. What a momentous time for the traditional sector of academia (art and design—long known for cultivating creativity and ideation) to cross pollinate with other disciplines and lead the way. According to Doug Pierce, Internet guru of Blue Fountain Media/NY, "Businesses, too, more than ever, must depend on the creative impulses of their employees to stay on the cutting edge of their industry. From malls to movie theatres, in the struggle for shelf space and screen exposure, companies must stay ahead of the curve by putting forward ever more innovative products or services." If a society is to stay relevant in this millennium, it must kindle the best environment possible to nurture creativity. This panel seeks proposals from those who have explored and practiced effective (old or new) systems for ideation. This presentation will offer a selection of ways in which ideas are germinated, cultivated and perhaps more importantly—harvested.

Moore, Catherine A.; Georgia Gwinnett College & Reinhardt University; ([email protected]) From Verbal to Visual

Powell, Valerie; Sam Houston State University, ([email protected]) Permission to FAIL: Celebrating Risk Taking in the Creative Process

Lykens, Scott; University of Arkansas Monticello, ([email protected]) Reaping and Sowing, the Arts & School Reform

Parker, Todd; Southwestern Oklahoma State University, ([email protected]) Group Work: Generating and Cultivating Ideas as a Collaborative Unit Session location: DoubleTree, Salon De Gala – B _Considering Humor__ Chair: Rowe, Libby; University of Texas at San Antonio, [email protected]

I’ve always been told that humor is hard to use effectively in making artwork. My response has always been, “not if you’re funny”. Long gone is the day in which art forms that employed a sense of humor were considered less that “Fine”. Following in the footsteps of artistic greats like Paul Klee, Marcel Duchamp and Bruce Nauman, contemporary artist are successfully employing humor as a vehicle for presenting challenging concepts as well as a way to lure viewers into their complex conceptual webs. A greater understanding of the power of humor is a necessity in educating the art world and the viewer at large to appreciate the power of humorous art. From the whimsical to the sardonic or subtle, humor can be wielded as a mighty weapon. This panel aims to explore the challenge of using humor in art successfully and the relevancy of artwork that employs the use of humor. Some possible topics include: What is the relationship between humor and art? Does using humor decrease the importance of your art? What are the challenges when using humor? How has humor in fine art changed? How do you know when your humor is working? Who decides what is humorous?

Goldman, Sasha; Boston University, [email protected] Maurizio Cattelan, Laughing at Failure

Kinsman, Patrick; Herron School of Art and Design, [email protected] You Did Not Just Go There: Humor in Abject Art

Hong, Jessica; Institute of Fine Arts, New York University, [email protected] Unmasking the Fool: Jayson Musson's "Art Thoughtz" with Hennessy Youngman

Goodman, Emily Elizabeth; University of California, San Diego, [email protected] I’ll Have What She’s Having: Humor, Empathy and The Waitresses Session location: DoubleTree, Alameda Room

_Open Session: Emerging and Continuing Faculty__ Chair: Rizk, Mysoon; University of Toledo, [email protected]

Anderson, Paul; California State University, Los Angeles, The Universitas Carpentariorum and the “Society of St. Joseph” at San Giuseppe dei Falegnami: The Professional Life of Architects and Artisans in Early Modern Rome

Kaplan, Ann Pegelow; Elon University, Elon, North Carolina, Personal Implications

Robert, Diana; Southwest School of Art, San Antonio, Texas Real Time: Assembling All the Evidence

Meganck, Robert; Virginia Commonwealth University, Richmond Mapping Color Session location: DoubleTree, Arneson Room Thursday, October 23, 3:15-5:00 pm

_Verbing Painting_ Chair: Blizard, Christie; University of Texas San Antonio, [email protected]

_Verbing Painting Panel: The body as marker_ Dubay, Rebecca; Kansas City Art Institute, ([email protected]), Independent Scholar Ana Mendieta: Tracking the Body

Dean, Hannah; Texas Tech University, ([email protected]) Graduate Student De Cadence

Gonzalez, Raul; The University of Texas, San Antonio, ([email protected]) Graduate Student The Canvas Was Just a Suggestion Session location: DoubleTree, Salon De Gala – A

_How can we Nurture Cultural Entrepreneurs in the Arts?_ Chair: Giorgio, Barbara; Ball State University, [email protected]

How has collaboration with artists, art centers, galleries, businesses and/or cities changed in the new millennium? What are the anticipated outcomes for both the artists and partner? The successful blending of arts programing, community events, and performances that enrich and expand upon a cultural network presents many challenges. This session is an opportunity to share ideas and anecdotes about cultural programs and building trust among groups and individuals in the arts.

Cole, Brent; Ball State University ([email protected]) and Breadon, Eoin; University of Wisconsin at River Falls, ([email protected]) Creating Community through Competitive Absurdity

Jasper, Maura; Ball State University, [email protected] Union City Arts Festival

Beaugard, Peter and Deines, Amy; Lawrence Technological University, [email protected], [email protected] DetroitSHOP: A Case Study for Teaching Cultural Entrepreneurship to Designers

Northcutt, Rod; Miami University of Ohio, [email protected] Active-active: MAKETANK's Oxford Kinetics Festival Session location: DoubleTree, Salon De Gala – B

_Drawing and Collaboration as Access to Philosophy__ Chairs: Scoon, Amber; Assistant Professor, Drawing and Theory, Texas A&M Corpus Christi, [email protected] Yates, Christopher; Director of CORE Studio, Columbus College of Art & Design, [email protected]

Drawing is the activity of becoming aware of oneself. It happens while students are busy learning to see, to render, to manipulate mark and explore space. Each time a student makes a mark, she or he makes a choice, thus becoming a conscious observer. Amit Goswami writes, “Apparently, choice is a concomitant of conscious experience but not of unconscious perception. Our subject-consciousness arises when there is a choice made: We choose, therefore we are.”

Drawing is an access point to the questions, ‘Who am I and what do I see? What is the relationship between my being, my observation, my creation and my world?’ These philosophical questions are born out of the sensual: the eye’s process of seeing, the hand’s activity of touch and the body’s awareness of its own form in relation to the space it encompasses.

Now more than ever, contemporary artists rely on collaborative design to drive exploration and discovery. While collaboration is nothing new in and of itself, the method, speed, and availability of collaborative art-making opportunities has raised the bar for arts education. From shared authorship to team projects that cross geographic borders, an educational sea change is well underway. Currently, art schools around the world are re-writing foundations programs to reflect the realities of art education in the 21st century. Confronted by the YouTube and Facebook generation of incoming students, we see an ever-widening and divergent skill set. Digital and lens-based approaches have democratized and evened the creative playing field. Information gathering and information sharing through new technology and social networks has become an essential part of the foundations experience.

This session explores successful and inventive collaborative experiences during the foundations year. How do we foster quality and require students to develop the ability to assess, process and evaluate shared creative resources and activities? Of particular interest are collaborative projects that are interdisciplinary in nature and those that incorporate technology and research.

This panel explores ways to introduce foundations level drawing students to the philosophical questions that will guide and challenge them throughout their careers as artists. This panel asks, ‘How can foundations professors guide students to become aware of larger philosophical questions? How can philosophical questions, which are born in the sensual and physical, be addressed? How can addressing these questions benefit the art student’s overall learning process?’

Scoon, Amber; Assistant Professor, Drawing and Theory, Texas A&M Corpus Christi, [email protected] Drawing as Access to Philosophy

Yates, Christopher; Director of CORE Studio, Columbus College of Art & Design, [email protected] Collaboration and Technology

Abijanac, Julie; Coordinator of CORE Collaboration, Columbus College of Art& Design (Grad Student), Texas A&M Corpus Christi, [email protected] Collaboration Studio: An expression of student’s shared vision.

Cooper, Alex; Texas A & M Corpus Christi, MFA Student Unbound Harmonics Session location: DoubleTree, Aztec –A Room

_Digital Humanities and the Visual Arts__ Chairs: Wiersema, Juliet and Rushing, Amy; University of Texas at San Antonio, juliet.wiersema.utsa.edu and [email protected]

Digital Humanities (DH) is the practice of using emerging digital technologies to support new modes of scholarly inquiry in the humanities. This session will bring together DH practitioners who are engaging digital technologies in the art history classroom and in cultural heritage institutions known as "GLAMs" (galleries, libraries, archives, and museums). Session presenters will showcase innovative projects that incorporate digital tools and technologies to advance the study of the visual arts. GLAMs have a long history of supporting humanities research by preserving and providing access to collections. By presenting the approaches of DH from the perspectives of art historians, as well as archivists, librarians, and gallery/museum professionals, we aim to promote interdisciplinary exchange around emerging areas of digital scholarship and to support the exploration of new models for teaching, learning, and research.

Gregory, Quint; University of Maryland Now You See It: The Michelle Smith Collaboratory for Visual Culture Visualization Space

Kovacs, Claire; Canisius College, [email protected] Mapping Paris: Social and Artistic Networks, 1855-1889

Lovero, Elizabeth and Weil, Rachel; University of Texas at Austin, [email protected], Citizen Scholars: Online Knowledge-Building in the Visual Arts Session location: DoubleTree, Aztec – B Room

_Man-Sized: Performing Masculinity_ Chairs: Kalman, Lauren and Tibbs, Millee Wayne State University, [email protected] and [email protected]

This panel addresses the use of performance as a vehicle to explore constructions of masculinity. We invite proposals addressing the topic through a variety of approaches including artistic performances and academic papers. We encourage unconventional methods of presentation.

In art, femininity has been called into question as a performance – in recent history high profile feminist art exhibitions like Wack! and Global Feminisms have directly addressed this question. Artists including Hannah Wilke, Yoko Ono, Valie Export, Orlan, Cindy Sherman, Catherine Opie, Marina Abramovic, among others have used their bodies to explore the constructs of femininity, and critical theorists like Judith Butler have posed the question of the societal reinforcement of gender through language. However there is another side to this conversation occurring. Male artists are investigating the counterpoint to this idea. In our society the white male is often taken as the standard for normal, when this identity is just as performed as any other. This concept of normal is a place of privilege, and therefore subjective perspectives, expectations, and advantages that are attached to the white male body.

This panel will investigate masculinity as performance through a variety of entry points including but not limited to class, labor, physical fitness, and race. Proposal topics may consider the use of the grotesque, humor, masking and gaming, and moments of failed masculinity, which place into question the assumed privileged status of the dominant gender.

Alkire, Kjellgren; Winona State University; ([email protected]); The Dude Abides": Navigating via Corpulent Maleness

Crasnow, Sascha; University of California San Diego; ([email protected]); Bod"s & Bombs: Masculinity and Homoeroticism in the Israeli Army

Doyle, J. Casey; University of Idaho; ([email protected]); I AM MY OWN MASCOT

Dzenko, Corey; University of North Carolina-Greensboro; ([email protected]); Performing Manhood: Contemporary Performance-Photographer Kerry Skarbakka’s The Struggle to Right Oneself Session location: DoubleTree, Alameda Room

_Where Does Passion Start and How that Desire Evolves through Uncertainty.__ Chairs: Bellisio, Nina; Assistant Professor of Graphic Design at St. Thomas Aquinas College, Sparkville, NY., [email protected] Peña, Joe; Assistant Professor of Painting at Texas A&M University – Corpus Christi, Corpus Christi, TX., [email protected]

While the concept that "artists are born, not made" survives in the romantic tradition of the arts, it is just not pedagogically sound. Art and designs students become artists and designers only if that find that spark from within that compels them to work, fail and learn.

Further more, once that dedication is set, how does that desire progress over the course of the artists’ life? Relationships, family, personal reasons, and professional decisions for example all can alter how the artist approaches their work and in some cases even to the point of total obstruction.

Presented by Nina Bellisio, Assistant Professor of Graphic Design at St. Thomas Aquinas College, and Joe Pena, Assistant Professor of Painting at Texas A&M University – Corpus Christi, this panel will explore this shift from extrinsic to intrinsic motivation for creating. Artists and designers will discuss their first inspirations, what made them think of art as a life pursuit, and how uncertain paths in life can determine the direction of their artistic practice and the resulting consequences beyond the studio.

Reuter, Greg; Professor of Sculpture at Texas A&M University – Corpus Christi, Corpus Christi, TX. Email: [email protected] The Formula for Growth

Reyna, Rolando; Artist/Program Director and Curator, City ArtWorks, Houston, Texas Email: [email protected] The Progression of a Chorizo Scented Ballad

Valdez, J. Marie; Independent Artist and Educator, Houston, TX Marie Valdez Email: [email protected] The Three P’s: Passion, Purpose, and Play Session location: DoubleTree, Arneson Room

Thursday, October 23, 5:30 pm _Buses leave for McNay Art Museum__

Thursday, October 23, 6:00 pm _Reception and Tours at McNay Art Museum__

Thursday, October 23, 7:30-8:30 pm _Keynote Lecture: The Art Guys _

Friday, October 24, 8:00-9:30 am

_Foundation: The original interdisciplinary program_ Chairs: Armstrong, Elissa & Mizer, Sarah; Virginia Commonwealth University; ([email protected]) & ([email protected])

Art Foundation Programs discuss the trials and tribulations of being the original interdisciplinary studies program. We will discuss the myriad of approaches: the good the bad and the outdated.

Presenting a group of panelists representing diverse Foundation programs: discussion surrounding curricula, pedagogy, philosophy and basic execution of ideas will ensue. Focusing on serving the fields of tomorrow we will discuss the grey areas of art and design and bridging craft to concept. We will consider the pros and cons on the first year of study and whether or not our jobs are futile.

At the heart of this lively debate will be serious questions of the foundation program’s ability to develop the skills crucial for any student of art and design. Differing types of programs will come together to openly investigate their core values and how they are being administered through beginning level assignments and various supplemental programming. A hopeful outcome of this panel would be answering bigger picture questions like: What are benefits and drawbacks of a Foundation year? What is the future of first year Programs? How might they evolve to stay relevant?

Who’s right and who’s crazy will be left to debate. By hearing shared and divergent concerns of various programs, we can go back to our schools with a broadened understanding of the current state of Foundation.

Frye, Jenna; Maryland Institute College of Art; ([email protected]); Focused Play

Mulligan, Ryan; University of Cincinnati College of Design, Architecture, Art & Planning; ([email protected]) Students’ Burning Questions: do they know what they want?

Roach, John & Doren, Mariah; Parsons the New School for Design; ([email protected]); Leaving the Island: bringing the first year to the mainland Session location: DoubleTree, Salon De Gala – A

_The Post-Digital Studio: Merging Tradition and Technology in the Studio_ Chair: McFadden, Jonathan; Assistant Professor, Printmaking, University of Kentucky, [email protected]

Post-digital refers media that has emerged in the field after the acceptance of digital processes (inkjet printing, digital photography and video, etc.) which, includes the incorporation of Computer Numeric Control (CNC) routers, laser etchers, water-jets, rapid prototyping software, vinyl cutters, drawing machines, and most recently 3-D printing capabilities. Over the past decade there has been an ever-increasing number of digital and post-digital processes being introduced into the studio ranging from inkjet printers to 3-D printers and laser etchers. As with most new technology over time the equipment becomes more affordable and use of the technology becomes more accessible to the artist and institution.

At the same time post digital processes are being integrated into studio programs there has been a shift towards interdisciplinary practices in studio art. We are seeing dissolution of the silos that contained specific media and an increase and broadening of the interdisciplinary BFA and MFA. This shift creates a debate on how as both artists and professors we integrate these techniques and equipment while not sacrificing traditional techniques. The panel will be consist of studio faculty who have or are currently integrated some of these techniques into their studio practice and curriculum. They will discuss the issues and achievements of how they have approach and undertaken this class. This will include both how they have brought these processes into their curriculum and also how this has affected their studios footprint and the effect this has had on traditional processes in their medium. Members will also be asked to explain issues they see being raised in the future and how they are now planning to address those issues.

Panel 1: Denyer, Alison; Professor of Painting and Drawing, University of Utah, [email protected]

Troffkin, Erik; Assistant Professor, Sculpture, Wayne State University, [email protected]

Alkire, Kjellgren; Instructor, Winona State University, [email protected] Session location: DoubleTree, Salon De Gala – B

_Enhancing Undergraduate Research__ Chair: Powell, Valerie; Assistant Professor of Art, Foundations Coordinator, Sam Houston State University, [email protected]

Getting students in the habit of being professional and engaging in a community beyond the University, is a crucial aspect of learning. As educators, the question is often how to create opportunities for students to begin to expand their own perspective. How can we best prepare students for "real-life", outside of the critiques and the classrooms? Are we actively teaching students practical skills to be successful and perhaps have a passion for research that is not motivated by grades? This session seeks to explore both practical and innovative approaches to encouraging the participation of creative activities beyond the traditional classroom environment. Study abroad programs, community engagement projects, service learning assignments, internships, as well as other activities that further the professional development of undergraduate students will be presented.

Knipp, Tammy; Florida Atlantic University ([email protected]) The Visual Synthesis of Design Education

Strader, Annie; Sam Houston State University ([email protected]) The Real World: Embedding Professional Experiences in Undergraduate Students

Pawlowicz, Elaine; The University of North Texas ([email protected]) Implementing Service Learning in Undergraduate Education Session location: DoubleTree, Aztec Room A

_At the Intersection of Food & Art__ Chair: Mueller, Ellen; West Virginia Weselyan College, [email protected]

This panel seeks submissions that address occurrences at the intersection of food and art. Food, and ideas surrounding the subject, have recently been spotlighted in exhibitions such as "Feast: Radical Hospitality in Contemporary Art (2012) at The University of Chicago, "Sugar, Sugar" (2013) at Brenda May Gallery, or "Consumed: Nourishment and Indulgence" (2013) at Bowling Green State University. This panel will examine this trend by surveying a sampling of the origins, influences, theories, processes, and manifestations of art connected with food, either conceptually or materialistically. Topics of investigation could include, but are not limited to, the physical and emotional sense of taste, epicureanism, plating/presentation/aesthetics, scarcity & abundance, social functions and rituals associated with food, growth & decay, food as comfort, indulgence/restraint, processed food, the physical process of eating and digesting food, sexual associations, economics, and packaging & advertising. Submissions can address these ideas from a variety of standpoints: art historical, artistic practice, curatorial or pedagogical.

Weissberg, Stephanie; Independent Scholar, [email protected], Ichi-go Ichi-e: The Way of Tea in Contemporary Performance Art

National Bitter Melon Council (Kikuchi, Hiroko and Liu, Jeremy), Independent Artists, [email protected], An Appetite for Bitter Hospitality?

Jean Nihoul, University of Connecticut, [email protected], Disputing Taste: Documenta 12, Ferran Adrià, and the Culinary Arts

Summer Zickefoose, Westminster College, [email protected], Visiting (Belfast)

Jeannine Shinoda, University of Wisconsin, [email protected], (m)eat Session location: DoubleTree, Aztec Room B

Graphic Design: Typography, Technique, and Social Practice Chair: Amanda Garcia; Texas A&M University-Corpus Christi; ([email protected])

The purpose of this session is to explore the contemporary role socially responsible design plays in the field of graphic communication. The rise in commercial art, advertising design, and mass media marketing—paired with mounting client demands—leaves little time for socially responsible works both in the classroom and profession. This session invites individuals to explore the role and meaning of socially responsible design in the 21st century as it applies to education, curriculum, and practice.

Garcia, Amanda; Texas A&M University-Corpus Christi; ([email protected]); Graphic Design, The New Curriculum

Lipinski, Marlene, Associate Professor, Columbia College Chicago, [email protected] Teaching Typography: a New Approach?

McClure, Clay, Assistant Professor of Graphic Design, Schreiner University, [email protected] The Medium is the Message Session location: DoubleTree, Alameda Room

An Expanded Dialectic: The Pleasures of Trans-Disciplinary Creative Practice_ Chairs: Joglekar, Shreepad; Kansas State University, [email protected], and Heuer, Nathan; Indiana University of Pennsylvania, [email protected]

This panel will examine the exciting trans-disciplinary roles that visual arts practice can play outside the traditional context of art galleries and museums. Presenting creative research at non-art conferences allows a dialog with practicing professionals who can offer very different insights into the subject matters of contemporary artists. In traditional models the art object is considered the culmination of artistic endeavor, but in the trans- disciplinary realm the art object is often secondary to larger intellectual goals. This panel will discuss the potential advantages of extending the creative process beyond the completion of the art object. In such situations, works of art become vehicles for discussion and continued intellectual pursuit. One of the greatest advantages of this approach is the expanded opportunity for academic peer review. At the moment few venues exist where artists working in the trans-disciplinary realm can interact with one and another and share their experiences. Traditional tenure models for studio art faculty often fail to define the value of such practices. It is the panel’s objective to provide a starting point for discussion in this regard. Artists currently working in collaboration with researchers in other fields are encouraged to contribute to this panel.

Turner, Kimberly; Michigan State University / Indiana University of Bloomington, [email protected] and Alonge, Mattina; University of Chicago / DePaul University, [email protected] Freedom in the Pursuit of Infinite Uncertainty

McCafferty, Daniel; Wayne State University, [email protected] Frictional Fictions Session location: DoubleTree, Arneson Room

Friday, October 24, 9:45-11:15 am

_Next Generation of Artists__ Chair: Gron, Jack Texas A&M University, Corpus Christi, [email protected],

The session offers opportunity for young artists to share their work, make connections, and engage in conversation with their peers. In a limited format, the pace will be fast. Although rapid-fire, the most dynamic works will leave the greatest impact. Session location: DoubleTree, Salon De Gala – A

_The Post-Digital Studio: Merging Tradition and Technology in the Studio_ Chair: McFadden, Jonathan; Assistant Professor, Printmaking, University of Kentucky, [email protected]

Panel 2: Kienke, Christopher; Chair of the Foundations Curriculum, Assistant Professor of Art+Design, University of Illinois at Urbana-Champaign, [email protected]

Anderson, John; Associate Professor of Art, Program Coordinator, Visual Communication, Prince George's Community College, [email protected]

Prete, David; 3D Subject Matter Consultant, Prince George’s Community College, Adjunct Professor, Corcoran College of Art, [email protected] Session location: DoubleTree, Salon De Gala – B

_Identites Concealed and Revealed in Contemporary Portraiture__ Chair: Suescum, Victoria; Austin Community College, [email protected]

This session invites artists and art historians to discuss various approaches in the genre of contemporary portraiture. How do artists approach portraiture today? Specifically, this session seeks to consider how artists present identity while withholding information in the background: the creation of portraits without a visual context, in which the viewer must rely entirely on the figure for narrative. This panel is also interested in its opposite. Thus, conversely, contemporary artists create portraits that present information but withhold identity: in the midst of an abundance of information, the subject’s true identity remains obscure.

How do artists provide clues to engage viewers to present and withhold information about the subject? How do artists negotiate gender, ethnicity or cultural difference? Artists are negotiating a world in which identities and narrative are in flux, in which people change their names to reflect maternal ethnicity or pronounce their names in another language. A world where biographies and geographies which traditionally define identity can be shifted or merged when participating in global citizenship. Strange or ingenuous portraits are among the visual solutions that contemporary artists find to negotiate these malleable identities. Of interest are portraits that underscore the peculiarities and oddities of individuals rather than straightforward representation.

Libby Rowe; University of Texas at San Antonio; ([email protected]); Creating Identity Through Contemporary Portraiture

Lenard Brown; Texas Southern University; ([email protected]); Post-American: A Look at the American Portrait²

Victoria Suescum; Austin Community College; ([email protected]); The Great Identity Exchange Session location: DoubleTree, Aztec Room A

_The Evolution of Graffiti__ Chair: Olton, Elizabeth; The University of New Mexico, [email protected]

Graffiti, which includes informal art, street art and even ancient rock carvings, has recently moved to the fore of Visual Studies. These scratches, scribbles, and swaths of color and imagery are increasingly considered forms of expression that have demarcated spatial boundaries, advanced social and political causes, defined identity, and shifted artistic trajectories, graffiti cannot simply be described as evidence of human presence or vandalism but can be explored as a genre of art that is a witness to contemporary events. With the exception of Popular Culture studies, Anthropology and some areas of Rhetoric Theory, historically academia has largely ignored graffiti. With few exceptions, most writings that do exit are merely descriptive, decontextualized, and uncritical. This session seeks to more formally begin a conversation with this global and historic genre by examining graffiti from many perspectives, ages, and approaches.

Since the 1970’s, graffiti has evolved from moving images on trains, to expansive murals, to walls of commercial galleries. As a visual phenomenon, these expressions both visually assaulted and fascinated mainstream viewers. Writers who were labeled vandals in a number of cases have evolved into famous painters. The works of infamous visual satirists will suddenly boost the value of a building or neighborhood when their imagers appear. Because of the public’s interest in these largely anonymous artists, they have moved from being the Other to being an insider. Consequently, interest in contemporary graffiti has spawned a reexamination of early modern and ancient expressions. For example, scholars are asking about the meaning of Egyptian informal scratches, researching the efficacy of narratives scribbled on walls on Pompeian villas, and how landscapes carved into Mayan palace interiors reveal political commentary.

This session invites papers from a variety of ages, perspectives and approaches, including research that addresses graffiti as a catalyst to change, the transformation from a private expression to a pervasive art form, the phenomenon of “crews”, the writer as gallery star, artist case studies, relationships between text and image, and the context and materiality of graffiti.

Gopinath, Gabrielle; Humboldt State University, [email protected] Ornament as armament: playing defense in wildstyle graffiti

Miller, Alison; PhD Candidate, Art History, University of Kansas, [email protected] Gajin Fujita: Power, Performance and Paint

Keough, Jessica C.; Independent Scholar, [email protected] Graffiti Research Lab: Bridging the Canonical and the Criminal

Kim, Joo; University of Central Florida, [email protected] The influence of graffiti art on American youth culture Session location: DoubleTree, Aztec Room B

_Offsite Collaborations: Engaging the Creative Process beyond the Walls of the Institution__ Chairs: Raynor, Scott and Piperato, Anna; High Point University, [email protected], [email protected]

With many programs emphasizing the importance of experiential learning opportunities for undergraduates, many Art and Design faculty find themselves in unique “studios” that are outside of the traditional academic boundaries of the classroom. Studios and lecture spaces are safe environments for experimentation; the student has time to reflect, evaluate, and reassess in a consistent setting. But what happens when students are invited to work on-site in an unfamiliar context? Do students take greater ownership of the creative and artistic processes in real world scenarios? How does the faculty/student relationship evolve and change outside of the campus environment? Off-site collaborative experiences can be both dynamic and rewarding, but come with their own sets of unique challenges for the instructor.

Piperato, Anna and Raynor, Scott; High Point University, [email protected], [email protected]; The 21st Century Grand Tour of Italy: Sketching, Art History and Experiential Learning Beyond the Classroom

Dyrhaug, Kurt; Lamar University; ([email protected]); Texas Atomic Iron Commission

Yarosz-Ash, Elizabeth; Midwestern State University; ([email protected]); Using Fulbright to Expand Opportunities for Student Cultural Exchange Session location: DoubleTree, Alameda Room

The Sound of Art: from Representation to Medium_ Chair: Johnson, Julie; Department of Art and Art History, University of Texas at San Antonio, [email protected]

With the advent of postmodernism, sound has become a significant mode of expression for artists and institutions traditionally associated with the visual arts. Yves Klein, for example, experimented with symphonic sound to connect to his ideas on the transformation of matter into spirit. Before sound was used as a medium by visual artists, it was invoked in representations. In the early modern period, artists used the inherently silent medium of paint to represent music: otherworldly symphonies of music-playing angels (Grunewald), scenes of torture on musical instruments (Bosch), peasant dances (Bruegel the Elder), or representations of sheet music and instruments in Dutch Baroque still lifes. In Vienna 1900, artists experimented with Cubist and Expressionist modes to depict the time-based elements of music, while Kandinsky worked with abstraction to parallel the effects of music on listeners. From ancient sacred spaces to contemporary performance art and sculpture, this panel invites papers that address the intersections between art and sound. Submissions from art historians, artists, musicologists and anthropologists are especially welcome with the aim to create interdisciplinary dialogue.

Stephen, Drew; Department of Music, UTSA, [email protected] The Liberation of Sound: from Schoenberg’s Pierrot to Kagel’s Ludwig Van.

Brill, Mark; Department of Music, UTSA, [email protected] Representations of Sound and Music among The Ancient Maya

Johnson, Julie; Department of Art and Art History, UTSA, [email protected] The Kunstkammer as a Quodlibet, or Mashup Session location: DoubleTree, Arneson Room

Friday, October 24, 11:30am-12:00pm _MACAA Members General Meeting_

Friday, October 24, 12:00-1:00 pm _Lunch at Ventanas Bistro at the DoubleTree

Friday, October 24, 1:30 pm _Buses leave for UTSA_

Friday, October 24, 2:00-4:00 pm _Artist Demonstrations – Multiple Sessions_

More information soon.

_Museum and Academic Collaborations_ Chair: Clark, Christian; University of Texas at San Antonio’s Institute of Texan Cultures, [email protected]

From innovative modes of academic discourse, to the museum and art history hybrid classroom, to the synonymous pedagogies among museum professionals and educators, the standard role of the museum is being challenged as professors and museum professionals discover greater opportunities to collaborate and push the boundaries of academia.

This session will focus on collaborative efforts and programs that build a symbiotic relationship between universities, communities and museums. Presenters and participants will discuss how museums can provide models for learning, how college and university professors can better incorporate the museum into their teaching, and how museum programs can bridge lay and academic discourse.

De Leon, Alba (Palo Alto College) and McLeod, Nicole (San Antonio Museum of Art), [email protected] and [email protected] Art History: Beyond the Classroom

Carey, Kate and Edwards, Jackie; McNay Art Museum, [email protected] and [email protected] Mining Colleagues for Non-Academic Expertise

Clark, Christian; University of Texas at San Antonio’s Institute of Texan Cultures, [email protected] Symbiotic Relationships between University Communities and Museums

Natalie Phillips, Ball State University, [email protected] Incorporating the Museum into University Teaching Session location: UTSA, Art 3.01.18A

_Integrating Digital Media Arts into Traditional Studio Art Programs__ Chair: McCoin, Mark; University of Texas at San Antonio, [email protected]

The rapid evolution of methods for the production of digitally based new media and sound art into a host of striking and often radically diverse directions directly impacts established studio-art pedagogies. Effective integration of these innovative strategies into traditional conventions for teaching studio art is critical for any educator intent upon providing means by which the real-world student artist of today might extend existing limits to their creative vision, and the medium of expression they imagine most reflective of that vision.

Issues that are often secondary in traditional arts instruction, such as computer literacy, cross-disciplinary integration, collaboration, and alternative presentation venues are often first-order priorities in digital and time-arts. Even the fundamental question “What are digital foundations?” also becomes paramount in the quest to develop workable approaches to the creation of coursework that generates fresh, authentic, and effective new media and sound projects. With the aim of addressing issues specific to updating and expanding the studio-art experience in light of new opportunities provided by the digital advance, our panel of studio-art faculty members will present a lively assortment and exchange of views reflecting their perspective on this especially relevant topic. Together the participants will consider a range of emerging new media and time-based teaching issues, practices and approaches that will investigate a more involved collaboration between art department, teacher, and student as all in their respective roles contribute to the creation of digitally based media arts in the twenty-first century.

Ireland, Chris; Tarleton State University, [email protected] Building Effective Curriculums for Digital Art Degrees

McCoin, Mark; University of Texas at San Antonio, [email protected] Experimental Interdisciplinary Art Practices Vitiello, Stephen; Virginia Commonwealth University, Department of Kinetic Imaging, [email protected] Integrating Sound Art and Sound Design into Fine Arts Teaching

Mc Hardy, Orla; Virginia Commonwealth University, Department of Kinetic Imaging, [email protected] Animation Studies; A Model for Interdisciplinary Teaching Session location: UTSA, Art 1.01.30

Friday, October 24, 4:30-5:30 pm _Members’ Exhibition and Reception at the UTSA Art Gallery_

Friday, October 24, 5:45 pm _Buses leave for San Antonio Museum of Art_

Friday, October 24, 6:30 pm Reception/tours at San Antonio Museum of Art_

Friday, October 24, 7:30-8:30 pm Keynote Lecture: Joe Seipel _

Saturday, October 25, 10:00am-12:00pm

_Option 1: Artpace San Antonio _ Visit Artpace San Antonio for an exclusive tour of the current exhibitions and a behind-the- scenes look into the International Artist-in-Residence program.

Three times a year, Artpace invites a guest curator to choose three artists to live and create art in San Antonio for two months. Each residency cycle includes one international, one national, and one Texas-based artist. Each resident receives a studio space, honoraria, production money, and the support of a full-time staff. The artworks created are exhibited for two months at Artpace and go on to appear in private and public collections worldwide. All art made during the residency belongs to the artist. The mission of the program is to provide artists with unparalleled resources that allow them to experiment with new ideas, take provocative risks, and realize innovative and ambitious new artworks.

Cost: Free. Reservations required. For more information: http://artpace.com/ _Option 2: San Anto Cultural Arts’ Community Mural Project _ San Anto Cultural Arts’ Community Mural Project offers visitors and residents of San Antonio the opportunity to view and learn about the stunning murals and pu storical and cultural documentation and affirmation.blic art pieces created by youth and adult residents of San Antonio’s Westside neighborhoods. Discover the beauty and importance of muralism as it relates to human and community development, and historical and cultural documentation and affirmation.

The San Anto Cultural Arts mural tour will captivate and enlighten you with personal stories of artists and beautiful public art pieces that compliment the organic beauty of one of the oldest and more historic areas of our city – San Antonio’s Westside. The tour begins with an in-depth orientation on the history and programs of San Anto Cultural Arts, and the socio-economic and historical background of the neighborhoods encompassing the mural district. The tour continues through the neighborhoods of San Antonio’s Westside as you view, investigate and learn about the process of the creation of each mural and the people who created these street masterpieces.

Cost: $12 per person. Reservations required/limited capacity.

Take photos, shoot video, ask questions and go away with an experience of a lifetime. Follow us on Twitter or Instagram and share your experience with us! @sananto1997. For more information: www.sananto.org

_Option 3: San Antonio’s Unique Works of Trabajo Rustico/Faux Bois _ San Antonio’s Unique Works of Trabajo Rústico/Faux Bois

This tour presents San Antonio’s rich and unique history of Trabajo Rústico/Faux Bois by viewing some of the major pieces on public display. Trabajo Rústico, or Faux Bois, is the centuries-old tradition of producing sculptural representations of benches, tables, bridges and other architectural elements appearing to made of tree branches and tree trunks but actually made of concrete and iron or steel. Trabajo Rústico—“rustic work”—intrigues viewers with inventive and playful yet accurate representations of trees, vines, cacti, mushrooms; clusters of shells, rocks, and stones; and replicas of straw thatch, wooden benches, woven baskets, tables, palapas, and more. The tour will include significant sites in the city and a visit to the studio of Carlos Cortes in Southtown. The tour includes major works by Dionicio Rodríguez, Máximo Cortés and Carlos Cortés.

The tour will be led by Patsy Pittman Light, author of the award-winning study, Capturing Nature: The Cement Sculpture of Dionicio Rodríguez, and Kent Rush, Professor of Art at UTSA.

Cost: $12 per person. Reservations required/limited capacity