Posts tagged ‘Phoenix’
Christine Lee takes in the disregarded, salvages the thrown away and harbors the excess. For this wood-based artist, the original intention of a material is only a hint of a much more meaningful possibility, making Lee’s artwork a process-driven venture and a thorough material investigation.
Lee’s work crosses back and forth between sculpture, furniture, woodworking and installation. As part of the ASU Art Museum’s Crafting a Continuum series, Lee has given public lectures, taught classes and installed her own work at Combine Studio in downtown Phoenix.
The Crafting a Continuum series is sponsored by a Windgate Charitable Foundation grant, which has enabled the museum to attract and support craft-based visiting artists, such as Lee, who incorporate new ideas and technologies into their artwork.
“I think they were interested that I was working with a range of composite material and creating functional and sculptural work,” Lee said. “I feel like they both can happen in the same studio space.”
Lee’s work stretches the standard associations and intended functions of ordinary materials. According to Lee, people now are looking at the material and how it is being used, but not in a way to determine which medium is better than another: “It’s not so much about the end result of what you make but how you take that material and transform it. It’s the process and where it goes.”
In this sense, public perception of what is craft art and what is fine art is changing. Lee says she believes the line between the two will either significantly blur or be completely nonexistent in the future. “People realize it’s not so much about categorizing everything,” she said. “It’s more about seeing what can happen when you start weaving things together.”
Last month Lee put together Piece by Piece, an exhibition at the ASU International Artist Residency facility at Combine Studios, in downtown Phoenix, for which she stacked slender individual pieces of wood to fan out over an entire wall. No glue, no nails — just balance. This wasn’t her first endeavor for a project like this, however. In other galleries she has created similar works on walls, spanning up to 26 by 12 feet.
With her own art, Lee strives to create substantive art that is both useful and aesthetic. She added, “It seems these days there’s more exciting work out there that straddle those areas.”
Lee finds potential in material that people casually throw out, a trait she attributes to her family’s concern about not wasting and appreciating the value of things.“We would reuse things like aluminum foil and we wouldn’t throw it away unless we absolutely knew we couldn’t use it,” she said. “And that stayed with me. I’m always very conscious about what I use and if someone throws away a scrap, I’m like, ‘That’s perfectly usable.’”
As part of her residency Lee taught a class for the Fall 2012 semester — ART 494/598, Sustainable Wood Art, an upper division seminar in the wood program of the Herberger Institute for Design and the Arts — which she is teaching the Spring 2013 semester as well. Lee’s students use composite boards formed by collecting sawdust and fibers and putting the raw materials into processing chambers. Prototypical, a show on view in December and January in Wrigley Hall, home to ASU’s Global Institute of Sustainability and School of Sustainability, highlighted work Lee’s students made using a patent-pending interior composite panel developed by Lee and research engineer John F. Hunt of the USDA Forest Service, Forest Products Laboratory. The panels are naturally bonded without an adhesive binder such as urea or phenol formaldehyde and are biodegradable.
What Lee enjoys most about teaching is watching her students as they grow to understand the process and connect with what they make. “Teaching for me is really exciting because I like the dynamics between interacting with people who are very excited about learning something new, and I also like watching them kind of see that transformation of material happen,” she said.
By encouraging recycling and reuse, her students have initiated a sustainable practice in their work. Peter Held, the curator of ceramics at the museum, said the students’ work has evolved as they applied the lessons they learned in Lee’s clas: “ [She] is not only a talented and innovative artist but is exploring the intersections of art, craft, design and application of new materials in her artistic practice. This interdisciplinary approach to the arts is an important initiative for the museum. When Lee taught the wood class, she brought fresh ideas and techniques to the students.”
Maren Romney, a senior sculpture major and former student of Lee, explained she more consciously considers the materials she uses when making art after taking Lee’s class. “[Her] class… helped me to understand what I can do on an individual level,” Romney said. “She really did a great job of creating discussions about the importance of sustainable design and living and brought up points from multiple points of view, which I really appreciate.”
Romney added she feels privileged to have taken a class under Lee’s direction, and she hopes Lee makes Arizona a permanent home.
During her time in Phoenix and Tempe, Lee has found a wealth of possibilities.
“I feel like there is so much to tap in here,” Lee said. “I just felt it was very serendipitous that I could be here working on this.”
–Mary Grace Richardson
To see more images of Christine Lee’s show at Combine, visit the ASU Art Museum International Artists Residency at Combine Studios Facebook page.
The Desert Initiative is taking the International Symposium on Electronic Art in Albuquerque by storm — or haboob, to be desert-specific — where it’s kicking off Desert Initiative: Desert One, a.k.a. DI:D1, which runs now through the spring of 2012 and encompasses exhibitions and projects around the Southwest.
DI Director Greg Esser is participating in ISEA2012: Machine Wilderness, Sept. 19-24, as are ASU Art Museum Director Gordon Knox, artist Chip Lord (whose Ant Farm Media Van v.08 [Time Capsule] is on view at the CRC, and ASU Art Museum International Artists-in-Residence Clare Patey (England), Miguel Palma (Portugal) and Matteo Rubbi (Italy).
On Sept. 20, Knox, Patey and Phoenix artist Matt Moore presented at the symposium on the topic of extinction; Patey and Moore are collaborating on a project titled Rare Earth, to be unveiled at the ASU Art Museum in the spring of 2013.
Here are Patey and Moore pre-presentation:
Chip Lord will speak about the Media Van on Monday, Sept. 24 and Miguel Palma will be one of the featured artists during 516 Arts Downtown Block Party on Sunday, Sept. 23, with his Remote Desert Exploration Vehicle, a converted former military vehicle that explores desert surroundings during the day and returns to urban areas to project the desert imagery on buildings at night.
The Remote Desert Exploration Vehicle will be on view at the ASU Art Museum starting Sept. 28, as part of Palma’s exhibition Trajectory.
Here are some photos by Phoenix photographer Sean Deckert of the Remote Desert Exploration Vehicle’s trip out to Albuquerque:
And if you’re wondering about those passports pictured in the slideshow above: Stay tuned…
Above: Miguel Palma (left) with space research trainee from the ASU School of Earth and Space Exploration. Photo courtesy of the Desert Initiative.
Artist Miguel Palma (Lisbon, Portugal) was commissioned by the ASU Art Museum’s Desert Initiative to develop a mobile project that explores our connection to the desert environment.
In collaboration with ASU’s School of Earth and Space Exploration (SESE) and other community partners, Palma has converted a former military truck into an exploration vehicle equipped with the technology to photograph and film natural desert environments. The vehicle will return to urban settings at night to project the recorded imagery on building facades and other sites.
The work engages issues through the lens of exploration: military history in Arizona and the Southwest, the military’s role in desert preservation, the history of Manifest Destiny and colonialism in populated places, strategies of adaptation and the role of technology in desert survival.
Palma’s “Remote Desert Shuttle” will be live at the ASU Art Museum on our season opening weekend, Sept. 28-29. In the meantime, here’s a teaser to whet your appetite:
Below: Gordon Knox (Director, ASU Art Museum) looks on curiously as Julie Thies, left, performs one of her TMS training sessions. Heather Sealy Lineberry (Senior Curator and Associate Director) also attends. Photo by Stu Mitnik.
Transitions are happening everywhere, from the changing seasons (which in Phoenix we call “hot” and “really, really hot”), to the updated layout on Facebook that caused millions to panic. The Arizona State University Art Museum is no exception to these recent shifts.
The art museum has recently made a transition from an unwieldy Access Database to The Museum System (TMS), a super sleek and powerful database, software which also graces the collections of such prestigious institutions as the Smithsonian in Washington D.C., the State Hermitage in St. Petersburg, and the Metropolitan in New York City. The Museum System combines user-friendly features with a multi-faceted, innovative approach to adding in-depth details to collections and records. With TMS, the simplest aspects of an artwork are easily accessible, such as an artist’s birthplace or the year a piece was made, yet it also allows for users to find pieces using ambiguous terms, dates and locations, because of its extensive database.
Julie Thies, an independent consultant who has worked with TMS for 12 years, says, “If I didn’t have TMS, there are some questions I would have a hard time answering.” She recollects an instance in which a museum goer called about a piece he had seen several years prior: “With TMS, I didn’t have to hunt through tons of filing drawers to try to find the answer. And I don’t think the answer was anywhere in a drawer.”
Julie, who was the collections database manager at the Speed Art Museum in Louisville, Kentucky for 10 years and who got her start using TMS as an intern at the Cooper-Hewitt National Design Museum and the Sackler Gallery, both of which are part of the Smithsonian Institution, came to the ASU Art Museum in December as an independent consultant to assist with the launch of The Museum System. Without Julie’s expertise, the switch to TMS would have seemed almost impossible, as she was a beacon of hope and calm when we were caught in the tumultuous and dark seas of database conversion.
The breadth and intensity of the switch to TMS is almost hard to describe, but mentioning the numbers — a migration of close to 14, 000 objects as well as 14, 000 object images — it’s a bit easier to understand the magnitude of such an undertaking. Regardless of the time, energy and potential loss of sanity, however, the database conversion is a welcome and much needed improvement to the museum collection, one that is incredibly valuable, time-saving, in-depth, and a rescuer of busy museum professionals.
Each user of The Museum System is bound to have a favorite feature that makes their life easier. For Julie Thies, the Wisest of All Who Use TMS, it’s the endless possibilities that rank number one for her. “You can track anything about an object, where it has been, where it is and where it is going. You can manage exhibitions, images and artist information. Over the years it is nice to watch the information grow and develop, and you can see a real history of an object within the institution.”
A conversion to a new database system not only eases the collection process but helps people to better understand a collection as a whole, in parts, or as singular objects. With this understanding, our museum then becomes a more accessible platform from which to be involved in a dialogue about art. And in the end, isn’t that what a collection should do?
- Aubree Jacobs, Assistant to the Registrar, True TMS believer.
Above, left to right, Gordon Knox, Heather Sealy Lineberry and ASU Art Museum Registrar Anne Sullivan take in a TMS training session. Photo by Stu Mitnik.
Today I ventured out and went to the 8th Annual Empty Bowls event in downtown phx. You can pick from tables and tables of bowls by local artists, art students, etc. For $12 you can pick the best bowl that fits your personalty and fill it w/ a pasta lunch donated by a local restaurant. The best part is that the proceeds from the sales benefit Waste Not. Waste not remains the only perishable food rescue program in the Phoenix metropolitan area. They collect excess food from restaurants, resorts, caterers, etc and delivers to over 80 agencies that feed the hungry (www.wastenotaz.org). There are more Empty Bowls events coming up… check it out. Good food, uniquely crafted bowls and a great cause. -Mary-Beth