Introduction Recently Acquired: New Art in The

Recently Acquired: New Art in the Collection February 2 – March 1, 2008 University of Wyoming Art Museum 2008 Educational Packet developed for grades K-12 The Art Museum has acquired a number of new and important works over the last year, adding such important artists to the collection as Helsinski artist, Kaarina Kaikkonen. Recently Acquired: New Art in the Collection presents a selection of these new acquisitions, including selected works from a JP Morgan/Chase Manhattan Art Program gift to the Art Museum. Purpose and Focus of this packet: This packet provides K-12 teachers with background information on the exhibits and suggested age appropriate applications for exploring the concepts, meaning and artistic intent of the work exhibited, before, during and after the museum visit. The focus of this educational packet and curricular unit is for students to observe the work of ten diverse artists working in varied media, to question the work, to explore it, to create their own work, and to reflect back on the entire process. Curricular Unit Topic: From Concept to Creation: Communicating through Medium Introduction Question: “I have heard enough of politicians talking about Students will have an opportunity to read, write, ‘change.’ We’ve seen it being used ad nauseam,” [Robert] sketch, listen to museum educators and artists, and, Redford told Thursday’s opening night audience for the then, come up with questions about the subjects and 2008 festival at Eccles Theatre in Park City, Utah. objects in the work, and the concepts behind the art work. They will, also, come up with questions on the If you want real change, according to Redford, find artist’s use of media and each artist’s style. Students an artist. “Artists are really agents of change,” said the will be encouraged to question their responses to each Sundance Institute’s founder. “They’re the first responders. artist’s work. They document change as it’s occurring in the world around us.” Explore: The Salt Lake Tribune, January 18, 2008 Students will be encouraged to research any or all aspects of the artwork in the exhibition and/or the The artists in this exhibition of new acquisitions have artists in the exhibit. been and are change agents in the art world, extended, in some cases, to the political, social, and environmental Create: world. These conceptual artists have something to say Students will be given time to practice sketching, about the world today. All we have to do is spend time drawing, and creating their own art work inspired with the art; observe it; question it; explore it; research by the concept/s behind the work or inspired by the it; reflect on it. artwork itself. Reflect: Observe: Students will evaluate their final art products with Students will observe the work from the JP Morgan/ other students from their classes, with teachers and Chase Manhattan Art Program gift: Larry Zox, Enrique museum educators. They will be given feedback on Castro-Cid, John Koegel, Tad Zavinar, Sue Fuller, Edwin the art work and the concepts behind the making of Ruda, Augusto Marin, and recently acquired work from the art work. After this process, each person will then Richard Misrach, Kaarina Kaikkonen, and Debbie write an essay about their process of making art and the Fleming Caffery. They will notice the different media in concepts behind the work. This portion of the museum the collection and identify the media. experience can be carried out in the student’s home school and classroom. About the artists in the exhibition: Larry Zox, Untitled, Silkscreen on paper A native of Des Moines, Iowa (born 1936, died 2006), Larry Zox is an abstract artist who utilizes color and space in a unique way. He utilizes color combinations with references to nature, music, or the city that surrounds him. But often there is a black section that is placed in the work for the sake of the painting’s aesthetic alone. The work ranges from the harmonious to the unexpected. All the work is done with a tremendous amount of technical control. - AskART Mr. Zox’s paintings involved the splicing of a color field to give the sensation of shifting planes. Fourteen of his works hang in the Smithsonian Institution’s Hirshhorn Museum and Sculpture Garden in Washington. Mr. Zox, a Des Moines native, studied at the University of Oklahoma, Drake University, and at the Des Moines Art Center with noted German artist George Grosz. He was awarded a Guggenheim Fellowship and a National Council of the Arts award. - Boston Globe Enrique Castro-Cid, Dragonflys, Lithograph on paper Enrique Castro-Cid was born in 1938 in Chile and died in 1992 in Santiago, Chile. He studied in Chile until the early 1960s when the Organization of American States awarded him a grant to study in the United States. Castro-Cid was awarded two Guggenheim Foundation Fellowships and won the William Copley award. He later served as a Fellowship juror for the Guggenheim Foundation. The University of Illinois appointed Castro-Cid “visiting artist” in 1968. Enrique Castro-Cid was one of the first artists to use computer-aided design. He designed the robot hound seen in the film Fahrenheit 451 directed by Francois Truffaut. - AskART Space as an act of reflection is absolute, yet, as a phenomenon presents many forms and gradations. Euclidean geometry represents space as an absolute category, this is, as an entity independent of our experience. At the beginning of this century, relativity shattered the epistemological foundation of the Newtonian-Euclidean world picture when it denied the notion of absolute space and time in the physical world. The use of non-Euclidean geometries in my work responded initially to this epistemological rupture. Certainly one of the most beautiful disciplines in mathematics has been used to further this pictorial argument, that of conformal mapping. Conformal transformations have been used to interpret the behavior of electrical currents and also to depict the configuration of electromagnetic potentials. The intrinsic geometry of the rectangular canvas is Euclidean, that is it represents space as an absolute. By contrast my work examines the possibility of alternative space models for painting in which the notion of absolute space has been transgressed. -Enrique Castro-Cid Karlie Corporation John Koegel, Untitled, Pencil on paper John Koegel was born in 1946 in the industrial town of Cumberland, Maryland, in the mountains near the Western Pennsylvania border. He attended the Art Institute of Chicago and received his B.A. from Warren Wilson College, Swannanoa, North Carolina, in 1969. After a few years as a high school teacher of English, Koegel abandoned that career and went to Mexico to study for his Master’s Degree at the Instituto de Allende, San Miguel de Allende. In 1978, he was awarded a Hayes-Fullbright Grant for study and travel in India. Since 1980, koegel has lived in Atlanta, returning to Warren Wilson College frequently to teach art, arrange exhibitions, and direct theatrical productions. The strong narrative quality of his work invites comparison with Tad Zavinar, Untitled, Southern fiction, particularly that of the late Flannery O’Connor who Pencil on paper also depicted emotionally-charged characters in fantastic situations, Savinar was born in Portland, often called grotesque. To that label, Koegel replies—as O’Connor may Oregon in 1950 and educated at well have done, “But that’s the way I see the world.” Colorado College, where he received his BA degree in studio art. Savinar In these drawings, however, the narratives are never explicit, but is a conceptual artist and playwright remain always mysterious, many-layered, laden with symbols both who has been featured in dozens of personal and universal, and open to multiple interpretations…For one person and group exhibitions Koegel, a drawing is never finished. He erases more than he wields over the years and is included his pencils and any ‘completed’ drawing is underlaid by an untold n numerous public and private number of previous images, each with its own history and message, collections. Savinar’s work ranges adding a third dimension known only to the artist. He works in a from printmaking and installation stream-of-consciousness manner and each new thought and its resultant pieces to urban design and design image stimulates another and another to spring from his abundant of memorials. As an artist who imagination. The cramped, teeming crowds could be a social comment has chosen his brain as his tool of on our overpopulated world, but more likely stem from the enormously choice, Savinar feels it is of value for abundant material the artist brings to each drawing that eventually students and others to be exposed to strains the seams of his design. the variety of options that are open to one who gets an “art education” As with literature, these drawings are journeys in time that unfold bit or becomes an “artist.” by bit, each portion building on the past, and require contemplation to - Willamette University News be fully experienced. The artist has provided points of entry into each drawing and a rhythmic progression for the journey into the world of his inner spirit and vision. - Ethel Moore, Athens, Georgia, July, 1986 Sue Fuller, String Composition #202, Plastic thread Constructivist and printmaker Sue Fuller was born in 1914 in Pittsburgh, Pennsylvania, gaining her B.A. degree in 1936 from Carnegie Institute of Technology. She studied printmaking for a year at Columbia University’s Teachers College in 1939. Perhaps of even greater importance in forming her artistic character was her exposure to two leading abstractionists, one essentially an expressionist (Hans Hofmann), the other the producer of the geometric “Homage to the Square” series, Josef Albers.

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