Posts tagged ‘family’
Guest blogger and ASU student Veronica Rascona writes about the ASU Art Museum’s Fall 2012 Season Opening Reception:
At 6:30 on the evening of September 28, the ASU Art Museum launched its 2012 season. People gathered in the darkness at the front of the building to talk, eat and watch a performance by the mixed parkour, martial arts, dance and acrobatics group Movement Connections. The group, dressed in white, took advantage of the museum’s unique structure as they silently crawled, leapt and ran all over the walls and stairs of the Art Museum’s entrance.
In a touching moment, a little girl got caught up in the mix and one of the performers invited her to perform a stunt with him—a simple handstand, nothing dangerous. After performing a few more acrobatics on their own, eventually the performers climbed up onto the cement pillars in the front of the Museum. They performed a few stunts and then began pointing toward the façade of the museum upon which a video was being projected. It appeared to have been filmed from the window of a car and depicted an expanse of desert landscape rushing by.
The video continued to play as Movement Connections wrapped up their performance. People then began to shuffle down the stairs, waiting for the next sequence in the evening’s activities. Some ventured into the Museum to look at the current exhibits on display, while others, like myself, sat just outside the doors, taking in the array of lights that filled the underground courtyard—part of the “55: Music and Dance in Concrete” performance that would start at 7:30 p.m.
I sat to one side of the courtyard and began to notice other elements—a video of an eye opening and closing and rolling around in its socket was projected onto the back of the pillars that outlined the courtyard. Above and below the eye was the phrase, “Don’t touch me!!” projected backwards. It was somewhat disturbing,and I did not know what to expect from the performance after seeing these images. Just before the performance began, the audience was instructed as to where to stand in order to best view the performance, but were also told that the performers would be moving throughout the space alternately providing various vantage points a better view.
The crowd gathered, and from my vantage point I witnessed three of the visiting dancers, each dressed in red, black and white, slowly fill the empty space between us and the Museum. I could not see what was happening on the other half of the courtyard as it was blocked by cement pillars and benches, but this was how the show was meant to be viewed: people seeing different parts of the show, each person having a unique viewing experience. The three girls on my side slowly moved into position.
The lights changed from bright white lines filling the space to a strange speckled effect, and music composed of electronic sounds, “from 55 improvised and 55 composed pieces” started to play. The dancers began to move. Their dancing was rapid; they moved convulsively, throwing themselves at the cement walls and against the floor as the lights continued to change and pulse. The effect was alarming and intriguing. As the dancers moved throughout the space, the crowd adjusted to watch each new scene; at one point the only male dancer shut himself behind a gate while a video of him stuck in what seemed like a jail cell played on the wall behind the bars. The video cut from scenes of him in the cell, to the real dancer performing similar movements in the real, jail-like space.
The music and lights continued to change as the dancers set and reset their stage, from one side of the courtyard to the other, to behind the bars, to on top of the cement benches, to at one point taking the elevator in the middle of the space up to the second floor where we lost sight of them for a moment. The performance, meant to engage the audience in sight, sound and movement, felt like a piece about escape; the dancers’ jerking movements gave the impression that they were almost trying to break out of their own skin.
What was most beautiful about the whole event, however, was not only the performances, but the interaction between the performers and their audience. I looked over the faces in the audience and everyone’s eyes were on the performers, completely captivated. The decision by both performance groups to use the space around their audience created an atmosphere in which we were all connected. Not only did everyone get to watch a fun and intricate performance, but they were encouraged to feel like they were a part of it all.
Thanks to Sean Deckert and Veronica Rascona for the use of their photographs.
55: Music and Dance in Concrete premiered at Fort Worden as part of Centrum’s Reverberations series, in addition to premiering at the ASU Art Museum. The project received initial funding from the MAP Fund and the Doris Duke Charitable Foundation, as well as support from Arizona State University, and RBMA. The project is supported by the Japan Foundation through the PerformingArtsJAPAN program. The Centrum Artist Residency program is made possible by support from the Washington State Arts Commission and the Washington State Parks and Recreation Commission. Additional support was provided by 4Culture Site Specific.
Miguel Palma’s Trajectory is supported in part by the FUNd at ASU Art Museum, the ASU Art Museum Advisory Board and Friends and Margarita and Willie Joffroy.
The ASU Art Museum’s Season Opening is this weekend — Friday and Saturday night, from 6:30-9 p.m. — at both the Museum and the Ceramics Research Center.
The events are free and open to the public, and there’s something for everyone, from the premiere of a video/dance piece in the Nymphaeum to a parkour team using the building as their canvas to food trucks in the parking lot.
The parkour group Movement Connections will perform from 6:30-7:30 p.m. Then, at 7:30 p.m., composer/musician Wayne Horvitz will premiere 55: Music and Dance in Concrete, his collaboration with choreographer/dancer Yukio Suzuki and video artist Yohei Saito.
You can get a taste of 55: Music and Dance in Concrete here: http://www.youtube.com/watch?feature=player_embedded&v=3x6OPYI6ZE4
Below are some shots by photographer Sean Deckert of Movement Connections in action, plus some photographs (also by Sean Deckert) from ISEA2012, in Albuquerque, where artist Miguel Palma presented his “Desert Initiative Remote Shuttle,” which will be on display at the opening as part of Palma’s show Trajectory.
Join us on Friday and/or Saturday night for the big show! So nice, you might just want to come by twice.
From March 1-3, ASU hosted Emerge: Artists and Scientists Redesign the Future. This spectacular campus-wide event combined the disciplines of art and science to explore the impact of technological evolution on the potential futures we are creating. The advancement of humanity and the advancement of technology have become inextricably intertwined. Participants in Emerge investigated the effect of this symbiotic evolution, addressing the transformations in our lifestyles, the landscapes we inhabit, and even how we define ourselves as humans resulting from the increasing prevalence of technologies in our lives. For more information about the event, read about it from these people in some of the great blog posts I’ve linked below.
We Alone on Earth
Julian Does Stuff
An interview with keynote speaker Bruce Sterling as he explains the concept of design fiction
Now if after reading all this you’re hooked, but you’re sad that you missed it, don’t be too sad. For anybody interested in experiencing this event, some of its fascinating projects are now housed in the Top Gallery of the ASU Art Museum.
I’ve experienced a significant number of the exhibitions featured at the museum, but nothing ever like this before.
Simultaneously eerie and poignant, the interactive exhibition is a beautiful, visually striking hybrid between a science center and an art gallery. The gallery is washed a sterile white onto which florescence glows. Texts in an assortment of bold, vivid colors are stamped throughout the exhibition space, glaringly obvious, almost lurid against the florescent white. The ambience is fascinating and somewhat unearthly. Entering the gallery feels like stepping into a world far removed from the one you inhabit daily. It sounds a little intimidating, but any first impressions of unease are quickly removed by all the gadgets to play with. These cool inventions and imaginings all present answers to the question of what our future might hold.
At one end of the gallery, a collection of View-Masters sits on display (I’ve included a picture below in case you’re not familiar with the View-Master). Clicking through the slides presents different views of the future as it pertains to Arizona. Having grown up in the 1990s I personally love this part of the exhibition. I remember these toys from my childhood, and really appreciate the irony of using them to ‘view’ the future.
An adjoining room showcases the vibrant headdresses created for Immerge a ‘unique interactive performance’ that occurred at the end of the event on the plaza behind the Museum. Scenes from the performance with the actors in full costume are projected onto the gallery wall. Truly elaborate works of art, these headdresses are a sophisticated combination of feathers, wire and lights. Each seems so fragile a single breath could destroy it. Quirky descriptions of the characters represented by each headdress accompany the display, conveying impish, childlike personalities despite the artistic and technical intricacy.
While the exhibition is undeniably visually and technically just cool, it’s the interactive features that make it touching and memorable. The exhibition recognizes the importance of everyone’s input. We all have a stake in the future. It involves us beyond allowing us to just see ‘the experts’ (Emerge participants) ideas of the future by encouraging personal contributions. A table containing labeled glass tubes and marbles lets visitors vote on the topic they consider most important for a sustainable future. Clay for molding future inventions is supplied at a table in the center of the gallery. Alcoves along one wall house the imaginings of previous visitors. Colorful Post-its provided at one end of the gallery invite visitors to share their thoughts. The response is overwhelming; hundreds of these colorful paper squares adorn the walls around the gallery’s entrance.
While upon first glance the exhibition may seem cold and intimidating, closer inspection reveals how truly emotive and human it actually is. While some parts of the exhibition are undeniably rather dystopic (synthetic panda jerky anyone?) the contributions left behind speak of hope.
Some are funny:
Some are heartfelt:
Some are calls to action:
No matter their content, each and every one represents something someone was prompted to think and then cared enough to share. The quality and sheer volume of responses illustrates a prevailing mentality of ‘our future’ rather than ‘my future.’ Whatever future may unfold, this exhibition makes it evident that it will be one we create, share and face together.
–Karen Enters, Intern
What it means to be human is changing. Emerging technologies are transforming our minds, our relationships, everything we own and the very landscapes in which we live. What kinds of humans will we become? What kinds of humans should we become?
These are just some of the big questions that artists and scientists explored March 1–3, 2012, when Arizona State University hosted Emerge – an unparalleled campus-wide event uniting artists, engineers, bio scientists, social scientists, story–tellers and designers to build, draw, write and rethink the future of the human species and the environments that we share.
On April 10, the exhibition Emerge: Redesigning the Future opened at the ASU Art Museum. This unusual show gives audiences a chance to sample some of the futures imagined during the three-day Emerge event, and includes hands-on activities that make the viewer part of the project.
On Tuesday, April 17, we’ll celebrate the opening of Emerge from 5 to 8 p.m., at a reception sponsored by ASU’s Global Institute of Sustainability. The exhibition will be up through Aug. 25, and is free and open to the public.
Many thanks to the partners who worked so thoughtfully and so hard to bring this exhibition together, and to the sponsors and partners who made Emerge possible!
Emerge exhibition team
Daragh Byrne, School of Arts, Media + Engineering in the Herberger Institute
Sarah Davies, Center for Nanotechnology in Society
Aisling Kelliher, School of Arts, Media + Engineering and The Design School in the Herberger Institute
Cynthia Selin, School of Sustainability, Consortium for Science, Policy and Outcomes
Lead developers of Emerge
Thanassis Rikakis, director of the ASU School of Arts, Media + Engineering and the Digital Culture Initiative in the Herberger Institute for Design and the Arts
Joel Garreau, Lincoln Professor of Law, Culture and Values at the Sandra Day O’Connor College of Law
Cynthia Selin, assistant professor, Consortium for Science, Policy and Outcomes and the School of Sustainability
Sponsors and partners
- Herberger Institute for Design and the Arts
- The Center for Nanotechnology in Society
- ASU Office of the President
- The Prevail Project of the Sandra Day O’Connor College of Law
- School of Sustainability
- Ira A. Fulton Schools of Engineering
- ASU LightWorks
- ASU Art Museum
Image above: A moment during Immerge, a performance on Nelson Fine Arts Plaza during the Emerge conference. Photo by Tim Trumble.
“Okay, I’ll dance to one more song, but then I HAVE to get in line to get my face painted,” said one adorable young girl who was dancing in the gallery with the Zumbatomics participatory activity, led by Melinda Mills-Walkey.
“I want to be KISS,” said one young man as he approached the face painter. His mother explained that he was very interested in becoming a rock star and that she had no idea how he had even found out about KISS, but she saw nothing wrong with it.
Another child suddenly halted working on the art project in front of her when she saw her favorite PBS character, Super Why, and only returned to the table after having her photograph taken with him.
I observed each of these moments at the ASU Art Museum’s Family Fun Day on July 9th, 2011. With hands-on art-making activities, interactive performances and readings and illustration demonstrations by Chris Gall and Alex Rex, everyone at the museum on Saturday had a great day.
This is my fifth year organizing the Family Fun Day with the help of our Windgate Intern, who also curates an exhibition based on a theme, pulling works broadly from our collection. It’s so rewarding to see the hours put into planning the crafts, contacting performers and working with our fabulous community partners result in such an entertaining day for families. My favorite part of Family Fun Day is that the entire event is free, allowing families to have fun without worrying about how much it costs. This year, more than 1,200 people stopped by to enjoy the four-hour event, and that’s not including visitors to the Ceramics Research Center across the street.
Now we’re putting the supplies away from Saturday’s activities, and starting to prep for next month’s 1st Saturdays for Families (Saturday, Aug. 6 from 11 a.m. to 2 p.m.), which explores the exhibition By myself and with my friends through an interactive dance led by choreographer Elizabeth Johnson, a special visit from the Arizona Animal Welfare League (and animal friends), and a fun animal-making art craft.
And I also will start planning next year’s Family Fun Day – after I finish recovering from this year’s event.
–Andrea Feller, Curator of Education
Photos in the slideshow are by Stephen Gittins and Stu Mitnick.
Events at Arizona State University Art Museum for April 2010:
[EDIT: The list of films to be screened on April 17 is now available on our site!]
April 10: Street Party, at Hoskin Ryan Consultants property, Indian School Rd and 2nd Ave, Phoenix. From 4 – 10 p.m., $5 at the gate or online, and kids 12 and younger are free! Proceeds benefit ASU Art Museum exhibitions and programs.
April 17: ASU Art Museum 14th Annual Short Film & Video Festival, out on the plaza behind the museum. Bring your own chairs and blankets to be comfy for a gorgeous night under the stars watching short films submitted from all over the world. A totally free event!
Arizona State University Art Museum is free and open to the public. The main museum is located at the southeast corner of Mill Avenue at 10th Street, in Tempe, Arizona. The ASU Art Museum Ceramics Research Center is just across the street at the northeast corner of Mill Avenue at 10th Street, and free parking for museum visitors is available directly outside in marked spaces. Please visit our web site for hours and current exhibitions and events.
See you in April!
So, I’ve been doing quite a lot of editing, calendar posting and other things to start getting our future exhibitions lined up, and I have to say, we have some really cool stuff coming! At the risk of stealing a little thunder, I’m gonna share a few:
This is a piece from our summer family exhibition titled What Moves Us: Art of Transportation. Fun! This is in two galleries starting May 29. (Hover on the photo for credits.)
I can’t wait to see this exhibition, Lasting Impressions. I’ve seen some of the prints and they’re really amazing. Aug. 28 – Nov. 27 – that means if you’re coming to our Welcome Back Student Party on Aug. 31, you’ll get to see this!
Check out our web site for more information on all of our exhibitions and events. There’s always something going on at the museum!
Click the picture to print a copy of the events flyer!
February is the last month that Mel Chin’s Fundred Dollar Bill project will be at ASU Art Museum – the armored truck is coming to pick up our Fundreds on Feb. 25 at 10am.
To give everyone some last chances to contribute to the project, we’re holding three events to encourage you to come in and have some fun. All three are free and open to the public:
Feb. 9: The Arizona premiere screening of Mel Chin’s award-winning animated film 9-11/9-11: A Tale of Two Cities. A Tragedy of Two Times. Join us at 7 p.m. in the 3rd floor gallery.
Feb. 16: Mardi Gras at ASU Art Museum with a free concert by Phoenix band Peachcake! See a clip of the show The Planet Awesome, who interviewed Mel at the museum, have some free snacks, and earn beads for creating your Fundred and donating it to the project – then head out to the plaza for the concert! The party starts at 7 p.m.
Feb 25: Live music, museum tours and your *really last chance to create your Fundred before the truck arrives at 10am.
As always, ASU Art Museum is free to come in and free to participate, and is open to everyone. You can come by the museum any time during regular hours as well, if you can’t make an event, to still create your own Fundred to donate. The project is located in our lobby with the materials you need until Feb. 25.
See you in the galleries,
(You can click on the graphic above to print out the flyer, too!)