DOCSLIB.ORG

29Th International Sculpture Conference the Multifaceted Maker

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

29th International Sculpture Conference The Multifaceted Maker October 12-15, 2019 / Portland, OR Presented by the International Sculpture Center. Partners & Sponsors: Arts Council of Lake Oswego, Art Research Enterprises, Art Work Fine Art Services, Inc., Bullseye Glass Company, Ed Carpenter, Eichinger Sculpture Studio, Form 3D, Jordan Schnitzer Family Foundation, King School Museum of Contemporary Art, Leland Iron Works, Littman and White Galleries, Michael Curry Design, Mudshark Studios, Pacific Northwest College of Art, Pacific Northwest Sculptors, Portland Art Dealers Association, Portland Art Museum, Portland Community College, Portland Open Studios, Portland State University, Profile Laser LLC, Reed College, Regional Arts & Culture Council, and Savoy Studios. This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts. 29th International Sculpture Conference The Multifaceted Maker October 12-15, 2019 / Portland, OR Presented by the International Sculpture Center. Partners & Sponsors: Arts Council of Lake Oswego, Art Research Enterprises, Art Work Fine Art Services, Inc., Bullseye Glass Company, Ed Carpenter, Eichinger Sculpture Studio, Form 3D, Jordan Schnitzer Family Foundation, King School Museum of Contemporary Art, Leland Iron Works, Littman and White Galleries, Michael Curry Design, Mudshark Studios, Pacifi c Northwest College of Art, Pacifi c Northwest Sculptors, Portland Art Dealers Association, Portland Art Museum, Portland Community College, Portland Open Studios, Portland State University, Profi le Laser LLC, Reed College, Regional Arts & Culture Council, and Savoy Studios. This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts and by funds from the National Endowment for the Arts. Support provided by: Go Join the More Mobile Conversation Information Use our mobile Share your photos For additional assistance, conference app and comments with us contact Alissa Maldonado, for updates, on Facebook, Twitter, Conference and Events directions, maps, and Instagram! Coordinator, while in Art. Science. Nature. and more! Portland. #sculpturecon Denver Botanic Gardens showcases world-class art in its gardens and galleries, creating dynamic environments for art, artists and 1.3 million visitors. @IntSculptureCtr [email protected] /ISCsculpturecon (609) 575-7852 Lights (detail), cast iron and glass, 2009, each piece 72” H x 19” W x 15” D. Artwork © Steinunn Thórarinsdóttir. @IntSculptureCtr Collection of Craig Ponzio. Photo by Scott Dressel-Martin. WITH SUPPORT FROM 10th & York Street botanicgardens.org Cover Photo Credit: Portland Blooming Tattoo. Courtesy of Travel Portland. Welcome Table of Contents On behalf of the Board of Trustees of the International Sculpture Center (ISC), it is my pleasure to welcome you to Portland and the ISC’s 29th International Sculpture ISC Board of Trustees and Staff 6 Conference – The Multifaceted Maker. It is an exciting time for the ISC community, as Sculpture Magazine’s new look has Conference Committee and Acknowledgments 7 been active for almost a year now, with more detailed imagery as well as penetrating interviews with emerging and internationally renowned artists. Along with the Conference Information 8 redesign, Sculpture Magazine acquired its own website, sculpturemagazine.art, that features exclusive articles and projects. The ISC website is also in the process of a · Who’s Who?: Badge Color Codes remodel with a new design that will make navigating through the website a breeze. · Conference Locations We are focusing on diversifying our conference with unique tours, hands-on demos, · Getting Around and inspiring panel speakers. The conference promises to be rich in educational and · Marketplace social activities with plenty of networking opportunities for participants and presenters alike. This is an occasion for learning and cultivating your skills through engaging panel discussions and the sharing of ideas with your peers and colleagues. This year’s Panels and Events: Detailed Schedule 16 conference is sure to be a memorable experience, with events in collaboration with some of Portland’s most influential and unique art venues. Visual Schedule 30 We would like to thank the city of Portland, as well as the local arts community, for embracing this event and welcoming us to The City of Roses. We would like to Learn About the Keynote Speaker 44 express deep appreciation to our sponsors, especially Art Research Enterprises, Jordan Schnitzer Family Foundation, Pacific Northwest College of Art, Portland Art Learn About the Panel Speakers 46 Museum, Portland Community College, Portland State University, Reed College, and the New Jersey State Council on the Arts. Thank you also to our keynote speakers, Leonardo Drew, and Lead Pencil Studio, and to all of the panelists and moderators who have donated their time and knowledge to come together for this inspiring conference. In addition, thank you to the numerous local artists and galleries that have opened their doors to us. A big thank you goes to Bullseye Glass Company , Ed Carpenter, Eichinger Sculpture Studio, Form 3D, King School Museum of Contemporary Art, Leland Iron Works, Littman and White Galleries, Michael Curry Design, Mudshark Studios, Pacific Northwest Sculptors, Portland Art Dealers Association, Portland Open Studios, Regional Arts & Culture Council, and Savoy Studios for organizing trips and highlighting art in such a wonderful city. A special acknowledgement to the Conference Committee, listed on page 7, whose dedication and expertise were essential to the planning of the program. Thank you also to the ISC Board of Trustees for their continued support of this amazing conference and all of our programs. We invite you to enjoy the 29th International Sculpture Conference – Accessibility The Multifaceted Maker, and the events we have planned, and hope that you find For accessibility of activities and venues, please refer to the Detailed Schedule some time in the midst of the conference excitement to explore some of Portland’s on pages 16-39. If you have any questions about accessibility or further creative community on your own. accommodations, please contact Alissa Maldonado, Conference & Events Coordinator, at (609)575-7852 or [email protected]. The International Sculpture Center is committed to ensuring that all events are accessible to all of our patrons. If you are unable to read this program, large print copies are available. See any volunteer with a Robert Duncan volunteer badge who will be happy to assist you. Chair of Board of Trustees International Sculpture Center 4 *All information correct at the time of printing. Information subject to change. 5 ISC Board & Staff Conference Committee International A special thanks to the Portland 2019 Conference Committee who helped International put together an outstanding program: Sculpture Center Sculpture Center Board of Trustees Staff • Kristin Calhoun • Gary Kulak • Kelly Cave • Alireza Lahijanian Nan Curtis Alissa Maldonado Robert Duncan, Chair Johannah Hutchison • • Executive Director & Publisher • Jeannette Darr • Selinda Martinez George Tobolowsky, Treasurer • Robert Duncan • Carole Murphy Doug Schatz, Secretary Jeannette Darr Martin Eichinger Joshua Reiman Associate Director • • Jack Becker • Devin Field • Crimson Rose Carole Feuerman Maria Apodaca • Jennifer Galarza • Doug Schatz Office Manager Carla Hanzal • Erik Geschke • Julian Voss-Andreae George Heath Aparajita Jain Jennifer Galarza • Conference & Events Manager • Johannah Hutchison Josh Kanter • Midori Hirose Nanci Lanni Alissa Maldonado Conference & Events Coordinator George McLendon Andrew Rogers Manju Philip Membership & Subscription Manager Norie Sato Gina Totaro Acknowledgements Vicki Scuri Community Engagement Manager Frank Sippel Karin Jervert A special thanks to the following individuals and organizations who Fisher Stolz Web Manager contributed to making this event possible: Raymond Tymas-Jones Connie Wimer • Mark Baris • Sara Krajewski Nadine Witkin Sculpture • Brett Binford • Willow Lanchester • Elizabeth Burger • Dan Legree Magazine Staff • Kristin Calhoun • Amanda Leigh Evans Ed Carpenter Mack McFarland Chair Emeritus • • Daniel Kunitz • Michele Collier • Mazey Moon John Henry Editor in Chief • Christina Conant • Nancy Morales Peter Hobart Twylene Moyer • Michael Curry • Carole Murphy J. Seward Johnson Editor • Nan Curtis • Darcy Neal Shaun de Rooy Gerri Ondrizek Ree Kaneko Maura Thomas • • Maryann Deffenbaugh Daniel Peabody Marc LeBaron Editorial Assistant • • • Martin Eichinger • Bruce Polone Arianna Stenson Devin Field Sholeh Regna Publishing Coordinator • • Founder • Alenna Fouts • Emma Riley Elden Tefft Kate Shanley • Charles Froelick • Stephanie Robison Business Development Director • Erik Geschke • Jeff Schnabel Penny Blatt • Steve Hansen • Jordan Schnitzer Creative Director • George Heath • Ron Simmer • Midori Hirose • Jessica Stroia • Rocky Jaeger • Alisha Sullivan • Lori Kay • Lyn Terry • Lee Kelly • Kirista Trask • Jeremy Kester • Julian Voss-Andreae • Leah Kohlenberg 6 *All information correct at the time of printing. Information subject to change. *All information correct at the time of printing. Information subject to change. 7 Conference Information Getting Around Local Taxi Companies Who’s Who: Badge
Recommended publications
  • THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi

    THE MYTH of ORPHEUS and EURYDICE in WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., Universi

    THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN LITERATURE by MARK OWEN LEE, C.S.B. B.A., University of Toronto, 1953 M.A., University of Toronto, 1957 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OP PHILOSOPHY in the Department of- Classics We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, i960 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada. ©he Pttttrerstt^ of ^riitsl} (Eolimtbta FACULTY OF GRADUATE STUDIES PROGRAMME OF THE FINAL ORAL EXAMINATION FOR THE DEGREE OF DOCTOR OF PHILOSOPHY of MARK OWEN LEE, C.S.B. B.A. University of Toronto, 1953 M.A. University of Toronto, 1957 S.T.B. University of Toronto, 1957 WEDNESDAY, SEPTEMBER 21, 1960 AT 3:00 P.M. IN ROOM 256, BUCHANAN BUILDING COMMITTEE IN CHARGE DEAN G. M. SHRUM, Chairman M. F. MCGREGOR G. B. RIDDEHOUGH W. L. GRANT P. C. F. GUTHRIE C. W. J. ELIOT B. SAVERY G. W. MARQUIS A. E. BIRNEY External Examiner: T. G. ROSENMEYER University of Washington THE MYTH OF ORPHEUS AND EURYDICE IN WESTERN Myth sometimes evolves art-forms in which to express itself: LITERATURE Politian's Orfeo, a secular subject, which used music to tell its story, is seen to be the forerunner of the opera (Chapter IV); later, the ABSTRACT myth of Orpheus and Eurydice evolved the opera, in the works of the Florentine Camerata and Monteverdi, and served as the pattern This dissertion traces the course of the myth of Orpheus and for its reform, in Gluck (Chapter V).
  • The Politics of Urban Cultural Policy Global

    The Politics of Urban Cultural Policy Global

    THE POLITICS OF URBAN CULTURAL POLICY GLOBAL PERSPECTIVES Carl Grodach and Daniel Silver 2012 CONTENTS List of Figures and Tables iv Contributors v Acknowledgements viii INTRODUCTION Urbanizing Cultural Policy 1 Carl Grodach and Daniel Silver Part I URBAN CULTURAL POLICY AS AN OBJECT OF GOVERNANCE 20 1. A Different Class: Politics and Culture in London 21 Kate Oakley 2. Chicago from the Political Machine to the Entertainment Machine 42 Terry Nichols Clark and Daniel Silver 3. Brecht in Bogotá: How Cultural Policy Transformed a Clientist Political Culture 66 Eleonora Pasotti 4. Notes of Discord: Urban Cultural Policy in the Confrontational City 86 Arie Romein and Jan Jacob Trip 5. Cultural Policy and the State of Urban Development in the Capital of South Korea 111 Jong Youl Lee and Chad Anderson Part II REWRITING THE CREATIVE CITY SCRIPT 130 6. Creativity and Urban Regeneration: The Role of La Tohu and the Cirque du Soleil in the Saint-Michel Neighborhood in Montreal 131 Deborah Leslie and Norma Rantisi 7. City Image and the Politics of Music Policy in the “Live Music Capital of the World” 156 Carl Grodach ii 8. “To Have and to Need”: Reorganizing Cultural Policy as Panacea for 176 Berlin’s Urban and Economic Woes Doreen Jakob 9. Urban Cultural Policy, City Size, and Proximity 195 Chris Gibson and Gordon Waitt Part III THE IMPLICATIONS OF URBAN CULTURAL POLICY AGENDAS FOR CREATIVE PRODUCTION 221 10. The New Cultural Economy and its Discontents: Governance Innovation and Policy Disjuncture in Vancouver 222 Tom Hutton and Catherine Murray 11. Creating Urban Spaces for Culture, Heritage, and the Arts in Singapore: Balancing Policy-Led Development and Organic Growth 245 Lily Kong 12.
  • Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm

    Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm

    capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en).
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600

    Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600

    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
  • Exhibition Guide Haptic

    Exhibition Guide Haptic

    Alexander Gray Associates 510 West 26 Street New York NY 10001 United States Tel: +1 212 399 2636 www.alexandergray.com Haptic July 7 – August 12, 2016 Haptic: of or relating to the sense of touch, in particular relating to the perception and manipulation of objects using the senses of touch and proprioception. Alexander Gray Associates presents Haptic, featuring work by artists Polly Apfelbaum, Amy Bessone, Alexandre da Cunha, Leonardo Drew, Melvin Edwards, Ann Hamilton, Harmony Hammond, Sheila Hicks, William J. O’Brien, Howardena Pindell, Norbert Prangenberg, Jacolby Satterwhite, Hassan Sharif, and Betty Woodman. Together, they simultaneously expand and question traditional craft practices within the context of contemporary art. Ground Floor Gallery In Number 177, Leonardo Drew employs paint and small pieces of wood to create a totemic sculpture with irregular edges. Drew regularly uses cotton, rope, charred wood, and industrial waste materials to construct pieces that display themes of decay, rebirth, and evolution. His work is tied to the history of assemblage practiced by a number of black artists and activists in Los Angeles in the 1950s and 60s, which curator Naima Keith explains as a strategy “to aesthetically redress conflict and destruction through artistic forms that bring together fragments from the communities around [the artists].” For Drew, his interest in weathered looking materials is tied to his upbringing near the landfill in Bridgeport, CT, though importantly he buys all new materials, and subjects them to aging Leonardo Drew processes in his studio before assembling them. As the critic Michael O’Sullivan Number 177, 2015 Wood, paint commented on Drew’s solo-exhibition in the Hirshhorn Museum and Sculpture Garden in 100h x 6.5w x 5d in 2000, “on the one hand, his trash can be viewed as a profoundly sad commentary on wastefulness, poverty, classism and decay, while on the other hand, it also comes across as a joyful celebration of life's textures.” In JI, Amy Bessone considers the female form as a vessel and venerated object.
  • 2. Leonardo Drew

    2. Leonardo Drew

    New York’s best public art installations this season Get outside to check out some of the best art in New York City this fall By Ameena Walker and Valeria Ricciulli Updated Sep 5, 2019, 11:56am EDT Fall is almost here, and with that comes the arrival of dozens of new temporary public art installations, which enliven the urban landscape with abstract pieces, selfie-worthy moments, and more. Here, we’ve collected more than a dozen worth scouting in the next few months; as more cool projects come to light, we’ll update the map—and as always, if you know of anything that we may have missed, let us know in the comments. 1. Carmen Herrera: “Estructuras Monumentales” Broadway & Chambers St New York, NY 10007 (212) 639-9675 Visit Website In City Hall Park, Cuban-born artist Carmen Herrera presents “Estructuras Monumentales,” a set of large-scale monochromatic sculptures that “create a distinctive and iconic clarity by emphasizing what she sees as ‘the beauty of the straight line,’” according to the installation description. Curated by the Public Art Fund, the installation will be on view until November 8, 2019. OPEN IN GOOGLE MAPS 2. Leonardo Drew: “City in the Grass” 11 Madison Ave New York, NY 10010 (212) 520-7600 Visit Website On view in Madison Square Park until December 15, “City in the Grass” by Leonardo Drew is a more than 100-foot-long installation featuring a view of an abstract cityscape on top of a patterned surface that resembles Persian carpet design. The installation invites visitor to walk on its surface and brings together “domestic and urban motifs” that reflect the artist’s interest in global design and East Asian decorative traditions, the description says.
  • LEONARDO DREW Born in Tallahassee

    LEONARDO DREW Born in Tallahassee

    LEONARDO DREW Born in Tallahassee, Florida, 1961; lives and works in Brooklyn, New York Education 1985 BFA, The Cooper Union for the Advancement of Science and Art, New York, NY 1981-82 Parsons School of Design, New York, NY Solo Exhibitions 2017 Leonardo Drew, Talley Dunn Gallery, Dallas, TX Number 197, de Young Museum, San Francisco, CA CAM Raleigh, Raleigh, NC Recent Acquistion: Leonardo Drew, Academy Art Museum, Easton, MD 2016 Leonardo Drew, Sikkema Jenkins, New York, NY Leonardo Drew: Eleven Etchings, Crown Point Press, San Francisco, CA 2015 Leonardo Drew, Pearl Lam Galleries, Hong Kong, China Unsuspected Possibilities, SITE Santa Fe, NM Leonardo Drew, Talley Dunn Gallery, Dallas, TX Leonardo Drew, Pace Prints, New York, NY Leonardo Drew, Galerie Forsblom, Helsinki, Finland Leonardo Drew, Vigo, London, UK 2014 Anthony Meier Fine Arts, San Francisco, CA 2013 Selected Works, SCAD Museum of Art at the Savannah College of Art and Design, Savannah, GA Exhumation/Small Works, Canzani Center Gallery at Columbus College of Art & Design, Columbus, OH VIGO, London, UK 2012 Sikkema Jenkins & Co., New York, NY Pace Prints, New York, NY 2011 Anthony Meier Fine Arts, San Francisco, CA VIGO, London, UK Galleria Napolinobilissima, Naples, Italy 2010 Sikkema Jenkins & Co., New York, NY Window Works: Leonardo Drew, Artpace, San Antonio, TX 2009 Existed: Leonardo Drew, Blaffer Gallery, the Art Museum of the University of Houston, TX Weatherspoon Art Museum, Greensboro, NC DeCordova Museum and Sculpture Park, Lincoln, MA Fine Art Society, London, UK 2007 Sikkema Jenkins & Co., New York, NY 2006 Palazzo Delle Papesse, Centro Arte Contemporanea, Siena, Italy 2005 Brent Sikkema, New York, NY 2002 The Fabric Workshop, Philadelphia, PA 2001 Mary Boone Gallery, New York, NY Royal Hibernian Academy, Dublin, Ireland 2000 Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC The Bronx Museum of the Arts, Bronx, NY 1999 Madison Art Center, Madison, WI 1998 Mary Boone Gallery, New York, NY 1997 Samuel P.
  • A Practitioner's Guide

    A Practitioner's Guide

    A Practitioner’s Guide For OCEAN WASTEWATER POLLUTION #REIMAGINEYOURWASTE Ocean Wastewater Pollution: A Practitioner’s Guide Executive Summary .................................................................1 Introduction ..............................................................................3 Objectives ................................................................................4 Human Waste & Taboo ...........................................................4 A Note About Terminology .....................................................4 Understanding the Problem ....................................................5 Pollution as a Matter of Practice ..........................................6 Scale of Wastewater Pollution ..............................................6 Wastewater Impacts on Oceans ......................................... 7 Wastewater Impacts on People ...........................................8 Climate Change and Wastewater .......................................10 Cross-Sector Collaboration .................................................15 Key Sectors for Collaboration .............................................16 The Policy Component ...........................................................19 Laws, Regulations, and Codes ............................................22 Monitoring .............................................................................23 National and Regional Policy Examples .............................24 Understanding the Opportunities ........................................29
  • The Journal of the Texas Art Education Association

    The Journal of the Texas Art Education Association

    the journal of the texas art education association EXPLORATION 2016 Call for Manuscripts TRENDS, The Journal of the Texas Art Education Association Tim Lowke Theme: President, TAEA Exploration. What exactly does that mean to an artist? We say Situate, Situation, we explore ideas, themes and materials, but if you boil it down, what exactly are we doing as artists? Are we testing what we know Situating: or don’t know? Are we making the old new again? I believe as artists and educators, we are some of the greatest explorers. If Art Education you look up exploration you will find that it can be “the action of traveling in or through an unfamiliar area in order to learn about Looking beyond the technical to the artistry involved in art education helps us understand where we have been, where we it” or it can also be a “thorough analysis of a subject or theme.” are, and where we are going. As we develop purposefully and responsively as art/ist educators, the narratives we build are As artists and educators, I feel we are always in a constant state of important in developing the very sense of who we are, as well as what, and why we do what we do. These narratives impact exploration. I experience the highest engagement with students how we view each other and ourselves in the spaces of art education. when we venture off the familiar path into a bit of the unknown. Art Education is the place where we all find ourselves immersed. In this call, we emphasize how context can change our Like many of you, I often say to my students, “I haven’t done this views and interpretations of situations, how we are situated, and the process of situating ourselves within our profession.
  • 1 the North Carolina Museum of Art Announces 2020–21 Exhibition

    1 the North Carolina Museum of Art Announces 2020–21 Exhibition

    IMMEDIATE RELEASE December 17, 2020 MEDIA CONTACT Kat Harding | (919) 664-6795 [email protected] The North Carolina Museum of Art Announces 2020–21 Exhibition Schedule Featuring North Carolina Painters, Senegalese Jewelry, Leonardo Drew, and Golden Mummies of Egypt Art Museum Debut Raleigh, N.C.—The North Carolina Museum of Art (NCMA) announces upcoming exhibitions for 2020 through 2021 featuring North Carolina-based painters, site-specific installations, and Golden Mummies of Egypt from the Manchester Museum. This spring, five exhibitions featuring local, national, and global artists will open on the Museum’s ticketed exhibition floor in two phases. • Opening March 7 are Front Burner: Highlights in Contemporary North Carolina Painting and Christopher Holt: Contemporary Frescoes/Faith and Community, a behind-the-scenes look at Asheville-based fresco artist Christopher Holt, paired with Art in Translation featuring works by Thai artist Araya Rasdjarmrearnsook. • Starting April 7, these exhibitions will be joined by Good as Gold: Fashioning Senegalese Women and an indoor-outdoor exhibition by New York-based artist Leonardo Drew. Fall 2020 will feature Golden Mummies of Egypt with eight extraordinary mummies from the Manchester Museum collection. The exhibition at the NCMA is its debut at an art museum, following a stint at the Buffalo Museum of Science in New York. Full schedule and descriptions are below. Spring 2020 Exhibitions Front Burner: Highlights in Contemporary North Carolina Painting March 7–July 26, 2020 East Building, Level B, Joyce W. Pope Gallery Throughout modern art history, painting has been declared dead and later resuscitated so many times that the issue now tends to fall on deaf ears.
  • Leonardo Drew Commissioned to Create New Public Art Project at Madison Square Park

    Leonardo Drew Commissioned to Create New Public Art Project at Madison Square Park

    LEONARDO DREW COMMISSIONED TO CREATE NEW PUBLIC ART PROJECT AT MADISON SQUARE PARK City in the Grass envisions a conceptual city within the Park, where visitors can engage directly with its structures and surfaces On view from June 3 through December 15, 2019 Installation in-process for City in the Grass, commissioned by Madison Square Park Conservancy. Photographer credit: Hunter Canning. New York, NY | May 31, 2019—Madison Square Park Conservancy has commissioned Leonardo Drew to create a monumental new public art project for the Park opening this spring. Marking the Conservancy’s 38th commissioned exhibition and the artist’s most ambitious work to date, City in the Grass presents a topographical view of an abstract cityscape atop a patterned panorama. Building on the artist’s signature techniques of assemblage and additive collage, the installation extends over 100 feet long with a richly textured surface that invites visitor engagement. City in the Grass is on view from June 3, 2019, through December 15, 2019. “In this teeming urban space, Leonardo Drew's goal has been to bring people close in to his work, to study the swells and folds of his cityscape, and to locate a personal place within the purposeful voids in the work,” said Brooke Kamin Rapaport, exhibition curator and Deputy Director and Martin Friedman Senior Curator of Madison Square Park Conservancy. “This is a symbolic and literal multilayered project. The artist builds layer on layer of materials while using the metaphor of a torn carpet as a complicated reference to home, comfort, and sanctuary. Viewers can look onto City in the Grass as if they are giants assessing a terrain; upon sitting along the Oval Lawn's green expanse, they are able to embed themselves within the fabric of the sculpture.” For City in the Grass, Drew has crafted a sprawling work of varied materials that undulates across the lawn and, at various points, crescendo into towers rising up to 16 feet tall.
  • EXPOSE YOURSELF to ART Towards a Critical Epistemology of Embarrassment

    EXPOSE YOURSELF to ART Towards a Critical Epistemology of Embarrassment

    EXPOSE YOURSELF TO ART Towards a Critical Epistemology of Embarrassment Gwyneth Siobhan Jones Goldsmiths University of London PhD Thesis 2013 1 I declare that the work presented in this thesis is my own. Gwyneth Siobhan Jones 2 ABSTRACT This thesis investigates the negative affect of ‘spectatorial embarrassment’, a feeling of exposure and discomfort sometimes experienced when looking at art. Two particular characteristics of embarrassment figure in the methodology and the outcome of this enquiry; firstly that embarrassment is marginal, of little orthodox value, and secondly, it is a personal experience of aversive self-consciousness. The experiential nature of embarrassment has been adopted throughout as a methodology and the embarrassments analysed are, for the most part, my own and based on ‘true’ experience. Precedent for this is drawn from ‘anecdotal theory’, which uses event and occasion in the origination of a counter-theory that values minor narratives of personal experience in place of the generalising and abstract tendencies of theory-proper. The context is a series of encounters with artworks by Gilbert & George, Jemima Stehli, Franko B, Adrian Howells, and Sarah Lucas. They are connected by their contemporaneity, their ‘British-ness’, and that they allow the spectator no comfortable position to look from. This enquiry engages with theories of ‘the gaze’ (as both aesthetic disinterest and a dubious sign of cultural competence) and the challenge to aesthetic disinterest made by ‘transgressive art’ which may provoke a more engaged, even embodied response. Each encounter sparks consideration of differing causes and outcomes of embarrassment that resonate beyond art to broader sociocultural territories particularly in terms of gender and class.