Posts tagged ‘social practice’
Last week in The New York Times, Randy Kennedy, arts writer, took a look at something the ASU Art Museum has been thinking about for many years: socially engaged practice.
In an article entitled “Outside the Citadel, Social Practice Art Is Intended to Nurture,” Kennedy examines the history and current exploration of social practice, whose “practitioners freely blur the lines among object making, performance, political activism, community organizing, environmentalism and investigative journalism, creating a deeply participatory art that often flourishes outside the gallery and museum system.”
“Leading museums have largely ignored it,” Kennedy writes, “But many smaller art institutions see it as a new frontier for a movement whose roots stretch back to the 1960s but has picked up fervor through Occupy Wall Street and the rise of social activism among young artists.” He highlighted museums such as the Hammer Museum, the Walker Art Center, and the Queens Museum of Art, all of which are working to extend their reach in the socially engaged practice sphere.
ASU Art Museum has been focused on socially engaged practice for more than 5 years, with the launch of our Social Studies initiative in 2007, which provides opportunities for artists working in various media to interact creatively and collaboratively with students, other artists, and faculty and community members. The social interaction of the museum-as-artist’s-studio setting encourages participants to explore new avenues of creativity and ultimately enhance their understanding of their world and each other.
The museum has hosted several social practice artists to date as part of the Social Studies initiative, including Jarbas Lopes, Anila Rubiku, Jillian MacDonald, Gregory Sale, Jennifer Nelson and Julianne Swartz, among others. In 2012, the museum launched a new social practice speaker series as part of the Socially Engaged Practice Initiative at the Herberger Institute for Design and the Arts, and welcomed artist and dancer Elizabeth Johnson as the new Coordinator for Socially Engaged Practice for the Herberger Institute for Design and the Arts. Johnson is building a socially engaged practice certificate/focus at HIDA, and is housed at the ASU Art Museum because of the museum’s work in this area.
If you’re curious about the history of the museum’s dedication to socially-engaged practice, take a look back at some of our blog posts showcasing the art and artists we’ve had the pleasure of working with: http://asuartmuseum.wordpress.com/category/social-studies-collaborative-projects/
For Kennedy’s full New York Times piece, visit: http://www.nytimes.com/2013/03/24/arts/design/outside-the-citadel-social-practice-art-is-intended-to-nurture.html
–Juno Schaser, PR Intern
Above: Elizabeth Johnson, second from left, takes part in the “Mother-Daughter Distance Dance” at the ASU Art Museum on April 2, 2011, as part of Gregory Sale’s exhibition It’s not just black and white.
Art is active. And for those like Elizabeth Johnson, it can move them in more ways than one.
As the Coordinator for Socially Engaged Practice at the museum, Johnson uses dance in order to organize collaborations, promote dialogue, and investigate pressing issues of our time.
Part of how she does this by harnessing people’s natural movement and putting shapes around questions that people then answer physically.
It’s not as abstract as you might think.
“We move to communicate all the time,” Johnson says. “We improvise every moment we have a conversation. We have an idea, we have a vision and we act on that vision or we don’t act on that vision. I just offer ways for people to show that. It’s a very fluid process.”
Before accepting this position, Johnson had never worked for a museum before. Having received her BFA in Dance from Connecticut College, Johnson traveled around the world organizing community engagement events and projects, as she says, in everyone’s community except her own.
Johnson explains working at the ASU Art Museum has made her rethink what a museum is — especially this museum: “I’ve never been a person who felt like I could concentrate with something still on the wall, as beautiful as it might be. Now that I’m in a museum, I’ve realized that a museum is a place that can hold ideas and is a place for the public, not just the people who know about art.”
Johnson’s work uses unique activities to connect with the community and have people think about artmaking and relationships formed through art. She bases her work on the idea that intangible social interactions can constitute the core of an artwork.
“That’s why I’m here,” she says.
When it comes to Socially Engaged Practice, Johnson explains she’s not just a planner but also a practitioner of the process: “There’s a lot of preparation that goes into collaborative events. I tend to set up things, but I also get involved with them. I facilitate and coordinate but I also practice and do. I get myself involved in a lot of interesting things.”
Through dance, Johnson creates meaningful cross-disciplinary collaborations and builds sustainable partnerships.
“What art can do is hold complexity,” she says. “And I kind of believe that when you bring your body into this, it brings out this human experience that we all have and gives us the capacity to have compassion in a way that’s different than if we just read a newspaper.”
Johnson is currently pursuing an MFA in Dance from ASU with her thesis focusing on exploring women and crime, a subject she became interested in after collaborating with Gregory Sale for It’s not just black and white in 2011.
“It really had me think what it’s like for me to be in Arizona and for me to be in a community that was my own.”
Above: Elizabeth Johnson, left, and Maricopa County Sheriff’s Office Deputy Chief MaryEllen Sheppard talk with girls who participated in the “Mother-Daughter Distance Dance.”
Johnson considers curriculum integration the biggest and most important aspect of her job — how to create a program that trains the artists of the 21st century that gives them skills to not only hones their craft but apply it in multiple contexts.
Johnson currently instructs Socially Engaged Practice: Engagement and Community, but she is also in the process of designing a new program and curricula for a certificate in Socially Engaged Practice at the undergraduate and graduate level.
“I have a real passion for this kind of work and what happens when young people see how big art can be and how many possibilities there are,” Johnson says. “The actual engagement of young people is really interesting to me. And I thrive on it, which is why I’m in a university.”
Next semester she and the director of the ASU Art Museum Gordon Knox will teach the new class Socially Engaged Art, which will examine the role of the artist in society from an anthropological perspective. Knox and Johnson also plan to use the course to push students to think about how to use art to moderate conversations and assess the complexities of a given social situation.
Johnson explains she has learned more about socially engaged practice uses dance in a way to share, not perform. “You combine your experience with somebody else’s and you see ‘Oh, it’s a more complicated picture,’” she says. “More interesting, more broad. [Working here] has definitely expanded what I know.”
Johnson’s intern Lindsay Henika, a senior studying Art Administration, has found her time at the museum to be an opportunity to learn about special event planning and media marketing. “It’s been so great to see how the museum works from the front row,” she says.
Johnson has her hand in many different projects, but her next upcoming event is At Home in the Desert: Youth Engagement and Place. The project partners the faculty and staff in ASU Herberger Institute for Design and the Arts with community-based organizations, The Boys & Girls Clubs of Metropolitan Phoenix, The Boys and Girls and Club of the East Valley, Girl Scouts—Arizona Cactus-Pine Council, and South Mountain High School.
Johnson has been working with the Girl Scouts by studying the desert and making dances about what they find. The public event will take place on Dec. 1 at the Diane and Bruce Halle Skyspace Garden on the Tempe campus at 4:30 p.m.
As of Sept. 4, 2012, the ASU Art Museum has a new curator on board: Julio Cesar Morales, who comes to us from San Francisco. We are thrilled to have him here, and excited about what the future holds.
We hope you’ll join us at the Museum on Tuesday, Sept. 11 from 5-6:30 p.m. for a casual open-house reception to welcome Julio. Introductory comments will be at 6 p.m.; refreshments will be served.
Below is Julio’s statement on joining the Museum, and below that is some biographical information on Julio that gives a sense of the breadth and depth of his experience.
Hope to see you Sept. 11!
Statement by Julio Cesar Morales
My projects often place special emphasis on examination of the meaning and value of cultural difference, thereby strengthening the public awareness of how diversity preserves individual dignity and group identity, strengthens communities and increases respect among all people. With a deep interest in social change, my projects often address social justice issues relevant to both local and global communities.
Curatorial practice and art education have always been an important part of my overall artistic practice. I am particularly interested in art’s unique ability to engage in a social context, which can imbue daily life with meaning and significance. An important aspect of that is creating opportunities to draw on new models of engagement with both schools and students.
My interest in breaking boundaries between disciplines has led me to work as a curator and educator. I have been fortunate to exhibit and curate at an international level, and I bring these experiences back to a pedagogical environment, which allows me to develop programs, collaboration and enthusiasm within an art university and art museum level.
The ASU Art Museum holds an important place in the critical and contemporary art world, and I am honored to join the team.
Information on Julio Cesar Morales
Morales is an artist, educator and curator currently working both individually and collaboratively. His artwork consistently explores issues of labor, memory, surveillance technologies and identity strategies. Morales teaches and creates art in a variety of settings, from juvenile halls and probation offices to museums, art colleges and alternative non-profit institutions. His work has been shown at SFMOMA (San Francisco); 2009 Lyon Biennale (Lyon, France); 2008 and 2004 San Juan Triennial (San Juan, Puerto Rico); 2007 Istanbul Biennale; Los Angeles County Art Museum (Los Angeles); 2006 Singapore Biennale; Frankfurter Kunstverein (Frankfurt, Germany); Swiss Cultural Center (Paris, France); The Rooseum Museum of Art (Malmo, Sweden); Peres Projects (Los Angeles); Fototeca de Havana (Cuba); Harris Lieberman Gallery (New York City); Museo Tamayo (Mexico City) and UCLA Hammer Museum (Los Angeles).
He has received awards from Rockefeller Foundation, The San Francisco Arts Commission’s Public Art Program, The Fleishhacker Foundation, The Ed Fund, The Creative Work Fund, Levis Strauss Foundation and Artadia, among others.
Writing on his work has appeared in publications such as Artforum, Art in America, The New York Times, Frieze Magazine and Flash Art.
Recent curatorial projects include the retrospective exhibition Living in Studio Kuchar of influential underground film-maker George Kuchar at The San Francisco Art Institute (2012); Politica y Poecia, at The National Watercolor Museum in Sweden (2011), an exhibition of contemporary Mexican art that attempts to trace the lineage of political and poetic issues of migration and labor; and The One Who Sees Blindly, an exhibition that marked the U.S. debut of French artist Nathalie Talec at Yerba Buena Center for the Arts in San Francisco (2012).
From 2008-2012 Morales was adjunct curator at Yerba Buena Center for The Arts and created the ground-breaking program PAUSE II Practice and Exchange, a series of process-based exhibitions with artists-in-residence from the Bay Area and around the world. YBCA’s galleries act as a laboratory in which artists are commissioned to develop, experiment and translate new and existing bodies of visual artwork. These works include lectures, performances and workshops that transform the exhibition space into a fluid and active experience for gallery visitors. Other projects included the development of Crossfade, a forum for distinctive video compilations organized by guest curators based at art venues around the world, and an international residency program with Kadist Foundation. Artists included Xu Tan, George Kuchar with Miguel Calderon, Nina Beier, Jennie C. Jones, Allan deSouza and Koki Tanaka.
Morales is the founder, co-director and curator of Queens Nails Annex, located in the Mission district of San Francisco, which serves as a project space dedicated to presenting collaborative, site-specific and experimental works by artists. QNA challenges both emerging and established artists to work outside their “normal” practice in order to produce unique projects. Collaborative institutional projects include the 2008 California Biennale and Yerba Buena Center for the Arts Bay Area Now. Exhibition highlights include more than 36+ projects with Archigram, Pedro Reyes, Suzanne Lacy, Mary Kelly, Yoshua Okon, Tony Labat, Mitzi Pederson, Sarah Cain, Jason Jagel, Stella Lai, Jennifer Locke and Miguel Calderon as well as curatorial collaborations with Hou Hanru and Lauri Firstenberg, among others.
Additional independent curatorial projects have been exhibited at the Los Angeles Museum of Contemporary Art; Museum of Craft and Folk Art, San Francisco; The San Francisco Arts Commission Gallery; The Pasadena Museum of California Art; and Sonoma Valley Art Museum.
Images courtesy of Julio Cesar Morales.
Visiting artist Matteo Rubbi, right, explains the game of “Goose” to Museum visitors. Photo by Neil Borowicz.
There was a lot of clucking, growling, mooing and hopping at the ASU Art Museum on Saturday, June 2, and most of all, there was a lot of giggling. The source of the giggling – and all the other sounds – was an artist-led game of “Goose,” patterned after a board game that has been popular in Europe for centuries.
The artist leading the game was Matteo Rubbi, winner of the Furla Foundation Prize for 2011 and one of the first residents of the newly opened ASU Art Museum International Artist Residency facility at Combine Studios in downtown Phoenix, although you’d be forgiven for mistaking him for a gregarious and enthusiastic camp counselor. It’s unlikely that any of the dozens of visitors who played the game that day knew that Frieze magazine calls Rubbi one of the most interesting Italian artists today, and Rubbi isn’t the kind of artist who’d need to let you know that anyway. He’s much more interested in what he calls “social sculpture” and in pulling people into situations that force them to think creatively – and to become co-artists with Rubbi.
Rubbi’s game was the featured activity during one of the ASU Art Museum’s First Saturdays for Families, which take place on the first Saturday of every month (except July, when the Museum hosts Family Fun Day) and which are increasingly about artist-led experiences within the museum. (Don’t miss the next First Saturday, on Aug. 4 from 11 a.m. to 3 p.m.)
In an interview in Italian Vogue last summer, Rubbi was asked why it’s so important to him to involve the public in his work. He answered: “I believe it is the audience that brings a new dimension to my work. Eliminating the concepts of ‘viewer’ and ‘work of art’ from the equation opens up a brand new world, full of unexpected elements and possibilities. I always try to create the conditions for the audience and my work to negotiate their own relationship, which has to be improvised and invented on the spot (as in the case of board games that the public is encouraged to play). I believe this is the most challenging part of my research. It is always quite hard to ‘let go’ of something – an attitude, behavior – we have grown accustomed to.”
In fact, the international jury that awarded Rubbi the Furla Prize, led by artist Christian Boltanski, did so “for his capacity to interact with the viewer and to create new links between exhibition and public space.”
Click here for a clip of Rubbi explaining his work (produced in conjunction with his winning the Furla Prize).
Rubbi’s work is engaging on multiple levels, the most obvious being that almost every piece is a kind of invitation, sometimes a literal one. Shortly after arriving in Phoenix, Rubbi established a series of communal meals served in the Museum lobby for staff and invited guests; he called the lunches, which took place on Fridays, “Magic Friday.”
“Magic Friday” was about food and eating, certainly – each Friday brought a different international taste to the Museum, from Portuguese artist Miguel Palma’s sourda to Rubbi’s own mushroom risotto, but more than that, it was about bridging communities, and about how communal meals knit people together in both expected and unexpected ways.
One Friday, Rubbi invited members of the Lost Boys of Sudan, who live in Phoenix, to lunch, and they prepared an African dish. One Friday, we celebrated the Ephiphany with a traditional French cake that had some beans hidden in it; those who found the beans got a home-made paper crown. At each lunch, the guests graciously shared their perspectives, as well as examples of their cuisine, and Rubbi has maintained a journal containing the various recipes as well as a wall of photos in the Museum kitchen documenting the events.
Rubbi’s work fits into and expands upon the Museum’s overall emphasis on social practice, an art form that is particularly appropriate for an experimental university art museum and one that the Museum has been at the forefront of developing, particularly in its ongoing Social Studies series.
In a very real way, Rubbi transformed the Museum lobby into a kind of public square, where people gather to meet and talk – which is what ASU Art Museum Director Gordon Knox believes the ASU Art Museum should, in fact, be.
“At its core, a museum should be a safe place for the exchange of ideas, a location where past and present can contemplate each other and people with different cultural or generational perspectives can communicate,” Knox said. “We walk into a museum with an open attitude – what will I learn here? This is a very different starting point from the more transactional one we have when walking into a store, a business, a city, state or federal office. Dialogue is possible in a museum and expected of a university museum; Matteo’s work, evolving out of art and action traditions centuries old, pushes this conversation beyond words and – gently – beyond comfort zones as audience and artist blend and as we all contemplate how much we are in this together, and that we are far more similar than different.”
Rubbi’s game of “Goose” exemplified the kind of creative investigation of the world that art encourages us to undertake. Nothing about the game was expected, or predictable, although elements were familiar – the rolling of dice to determine outcome, the pleasure of playing a game with others. The “spaces” were all drawings of animals made by visitors and the artist himself, then scattered throughout the Museum. Some were recognizable, like rabbits and snakes. Others were creatures from the visitors’ imaginations, animals you won’t find in any dictionary.
At one point in the game, a young boy landed on a “butterfly” space, and Rubbi instructed him to be a butterfly, saying, “Okay, you’re a butterfly – so be colorful!” The change in expression on the boy’s face, from expectation (clearly he thought Rubbi was going to tell him to flap his wings or something equally obvious) to genuine curiosity (be colorful? How does one be colorful? How do I express that in my movements?) captured the very shift in thinking that art allows us all, young and old: from inside the box to utterly outside, being a colorful butterfly.
Rubbi has now returned to Italy for a few months. Currently he is conducting workshops at the Castello di Rivoli, near Turin, but in the fall he will return to the Museum and to Combine Studios. We’re fortunate that Rubbi is one of the artists to inaugurate the International Residency. His openness and engagement with the Phoenix community underscore the enormous benefits that the residency brings, providing the opportunity for students and the public to interface with significant international artists – and for these artists from around the world to be equally affected by the people and places they encounter here in Arizona, forming connections that will ripple out from their origins in wild and wonderful ways.
Photos by Neil Borowicz.
Last week, our friend and former colleague Lekha Hileman Waitoller began working at the Art Institute of Chicago as Exhibition Manager in the Department of Contemporary Art.
Her first big project: an upcoming exhibition of work by Steve McQueen, opening in October.
We’re impressed, but we’re not surprised.
Soon after arriving at ASU in the fall of 2008 to pursue an MA in art history in the School of Art, Lekha sought out opportunities at the ASU Art Museum and started as curatorial assistant. She worked closely with Senior Curator and Associate Director Heather Sealy Lineberry on a number of exhibition projects, large and small, from the collection and featuring international artist residencies and loans, exploring a range of disciplines and community programs and partnerships. In 2009, she curated the exhibition I Never Saw So Clearly, from the Museum’s permanent collection. The lively, smart exhibition focused on issues of identity and hybridity in contemporary art, informed by the research for her Master’s thesis on the work of Lorna Simpson and Steven Yazzie.
Then Lekha stepped in as interim curator in the fall of 2011. Her first big project was artist Jennifer Nelson’s Social Studies exhibition, Securing a free state: The Second Amendment Project.
Lekha handled the project’s challenging content and ambitious scope (both hallmarks of our Social Studies exhibitions) with her usual aplomb, demonstrating grace under pressure whether she was helping lead a tour of a sniper school in the desert or facilitating a series of intense, and intensely moving, workshops involving people whose lives have been radically altered by a violent encounter.
The Museum also benefited from Lekha’s curatorial vision and organizational abilities when we revamped the Americas Gallery, on the second floor, which showcases pieces from the permanent collection.
We look forward to seeing what Lekha does in Chicago — the Art Institute is lucky to have her!
“Of what avail are forty freedoms without a blank spot on the map?”
Arizona is one of the most beautiful states in the Union, a diverse range of landscapes, each more breathtaking than the next, ranging from vast and desolate plateaus to hidden canyons opening into lush, green fields, from cactus fields to piñon forests.
Arizona was an even more abundant land before the arrival of progress and massive numbers of new residents and industries built on extraction.
Native communities thrived here for centuries before Europeans arrived. The canyons of northern Arizona are littered with large numbers of prehistoric ruins — sophisticated, multi-story masonry structures built into protective cliffs and along rivers. These structures were abandoned well before the arrival in the area of the Navajo, the largest Native community in the United States, who now trace their origin stories to this land..
The former abundance is reflected in the sheer number of these ruins, a mysterious precursor of the wildly expanding low-density sprawl we have in Arizona today. Matteo Rubbi found an aerial photographic map of Apache Junction taken in 1971 that shows a view of largely undeveloped that will never be reproduced.
Visiting artists Miguel Palma and Bruno Pereira Sousa, both from Portugal, and Matteo Rubbi from Italy and I traveled north this week on behalf of the Desert Initiative. On May 14, we were hosted on a visit to the Navajo Nation and other locations in New Mexico and northern Arizona by Phoenix artist Steve Yazzie (http://www.stevenyazzie.com). Yazzie and his family grew up on the Navajo Nation, and he had an opportunity to visit his mother while we were there. Yazzie’s late grandfather was a Navajo Code Talker, and Yazzie served in the Marines before dedicating himself to his work as an artist. One of his works was recently acquired by the Phoenix Art Museum.
Our first night was spent in Gallup, New Mexico, at the historic El Rancho Hotel. Gallup was once called the “Indian Capital of the World,” and about 30 percent of the city’s population traces its roots to Navajo, Hopi, Zuni or other Native communities.
The following morning, we had a meeting with Manny Wheeler, Director of the Navajo Nation Museum in Window Rock, and learned about many of the exciting exhibitions, projects and commissions he is leading there. We previewed several new temporary public art installations yet to be unveiled as part of a collaboration between the Navajo Nation and New Mexico Arts, the state arts agency. The commissions will be inaugurated in Sante Fe, N.M. on Friday, May 18. Desert Initiative and ARID Journal partner and ISEA2012 Artistic Director Andrea Polli and Will Wilson are among the artists commissioned. For more information, including a map and texts in both Navajo and English, visit http://www.timenm.com/
After a traditional Navajo lunch in Window Rock, we headed southwest through the Navajo Nation toward Chinle Canyon, where we saw several of the prehistoric ruins and watched horses run across the canyon floor. We spent the night and following morning in historic downtown Flagstaff, where we also met with Alan Petersen, Curator of Fine Arts for the Museum of Northern Arizona, and toured his current exhibition, Shadows on the Mesa—Artists of the Painted Desert and Beyond. I highly recommend a visit. More information is available on-line at http://www.musnaz.org/exhibits/shadows/index.shtml
On the drive south back to Phoenix from Flagstaff, as the elevation dropped, the exterior temperature rose from 72 degrees to 106 degrees over a roughly 140-mile drive. We passed by the fires raging on the west side of I-17 near Sunflower, Arizona. At a certain point, smoke from the fires blocked out the afternoon sun and cast otherworldly light and shadows on the landscape.
I saw things on this short journey that I’ve never seen before and may not ever see again: Horses attempting to open the front door of house. The sun sinking through a red and black veil of smoke rising from the largely uncontained Sunflower fires raging to the south, at one point lighting up the previously invisible silhouette of the San Francisco Peaks like a volcano as it slowly sank behind the horizon. Through it all, the best moments were watching the landscape through the eyes of international guest artists and watching the creative process in action as everyone interacted and responded creatively throughout with vision, inspiration, laughter and friendship. My sincere thanks go out to Steve Yazzie, Manny Wheeler and Alan Petersen for their time and support on behalf of the Desert Initiative and ASU, and to our visiting artists Miguel Palma, Bruno Pereira Sousa and Matteo Rubbi.
Desert Initiative Director
ASU Art Museum
Photographs by Steven Yazzie.
Faculty, staff, students and friends of Arizona State University’s Herberger Institute for Design and the Arts gathered on April 26, 2012 to celebrate an important milestone for the ASU Art Museum International Artist Residency Program at Combine Studios in downtown Phoenix: the arrival of the facility’s first residents.
Clare Patey (England), Matteo Rubbi (Italy) and Miguel Palma (Portugal) are among the artists currently in residence at Combine Studios.
ASU Art Museum Director Gordon Knox explained to guests that the residencies are an important aspect of the museum’s work in advancing the role of the creative process of artists across all fields of knowledge and research.
“Having international artists here developing their work, interacting with each other and engaging with community members will provide a range of benefits and outcomes,” Knox said.
Combine Studios was recently purchased by artist couple Matthew Moore and Carrie Marill. Each unit was upgraded and furnished by Moore and Marill to provide a “homey” feeling that also celebrates vintage and mid-century aspects of Phoenix. Each unit includes a complete kitchen, private bath and work/study area.
Moore and Marill both had a positive experience at another international residency program, Civitella Ranieri Foundation in Italy, which was established by Knox.
“We’re thrilled to be able to bring this experience for international artists to downtown Phoenix and to work in partnership with the ASU Art Museum,” Moore said.
The ASU Art Museum is leasing six units to house visiting artists working on projects in partnership with the ASU Art Museum, the Herberger Institute for Design and the Arts and Arizona State University. The facility also includes a storefront gallery/classroom space, and a shared kitchen, common area and resource library for artists to dine together and meet with project partners and members of the community.
“Having international artists here developing their work, interacting with each other and engaging with community members will provide a range of benefits and outcomes,” Knox said. “Already we have an ASU robotics team working with Portuguese artist Miguel Palma as he develops an image capture and projection vehicle to ‘bring’ the desert back into the city. Italian artist Matteo Rubbi is organizing a massive bicycle swarming project to trace the Hohokam canals, which will work with history, archeology and other community partners.”
The relationships created between the artists and a range of partners here in Arizona will benefit ASU’s students and extend the work of the university through new, on-going relationships that foster a more connected global network linked through the ASU Art Museum as host and convener, Knox explained.
The residency program is made possible through a unique public/private partnership between the ASU Herberger Institute for Design and the Arts, the ASU Art Museum and Combine Studios, LLC, an initiative of artists Matthew Moore and Carrie Marill, and with generous support from the Desert Initiative and other partners.
For more information about the ASU Art Museum’s International Artist Residency Program, contact Deborah Sussman Susser at 480.965.0014 or email@example.com.
Photos by Sean Deckert and Peter Held.
Above: Visiting artist Matteo Rubbi and his crown in downtown Phoenix.
You may have seen the earlier post on this blog about “Magic Fridays” at the Museum. They are the brainchild of visiting artist-in-residence Matteo Rubbi, from Bergamo, Italy, and his girlfriend, French artist Béatrice Bailet, both of whom have shared their fine cooking and their insights with the Museum staff and lucky visitors at several congenial potlucks served in the Museum lobby.
Earlier this month, “Magic Friday” coincided Epiphany (Jan. 6), and for the occasion, Béatrice made a galette des rois, or “king cake.” This delicious confection — thin layers of pastry with a frangipane center — contained two dried beans, and the finders of those beans each received a paper crown, and became king for the day.
That evening, which was also First Friday on downtown Phoenix’s Roosevelt Row, Matteo and Béatrice took the tradition to the streets, making paper crowns with passersby outside the house in which the two artists had been staying.
Béatrice wrote a blog post about the event, which is on her blog:
And here is our own rough translation of Beatrice’s post, which was originally in French. Merci, Béatrice!
Every First Friday of the month, the center of Phoenix is swarmed by people.
Phoenix is the capital of Arizona, in the United States. It’s a city of extraordinary dimensions, with a density of 1,084 inhabitants/km2, and an overall surface area of 1334,1 km2 (Paris: 21,196 inhabitants/km2 for 105,4 km2!) It’s built in the Sonoran Desert, which allows it to expand without limits. This fact means there’s a good quality of life, with a private garden for everyone, but prevents those moments of meeting that occur in a city built on a human scale. In Phoenix, you don’t walk or borrow the rare shared mode of transportation. You have to take your car, even for short trips.
That’s why First Fridays are such a big success: In the arts neighborhood in downtown Phoenix, a kind of art market takes place in the evening, allowing the art galleries to stay open, the food trucks to gather, and musicians to play in the street.
It’s within this context that I suggested a crown-making workshop. Everybody was free to stop and make a crown with the salvaged materials we had available (paper, stickers, images, pens…)
Matteo Rubbi arrived from Italy a few weeks ago to begin his six-month residency at the ASU Art Museum, and he has already changed the way we do things here (in a very good way). Last Friday, Matteo and his girlfriend, French artist Béatrice Bailet, invited the Museum staff to eat lunch with them — mushroom risotto, quiche Lorraine, pasta Bolognese — under unusual circumstances. They called it “Magic Friday,” and there will be more of them in the future. Chris Miller, the Museum’s exhibition specialist, was moved to write about the experience:
Today the ASU Art Museum staff was treated to a delicious lunch prepared by the 2011 Furla Prize winner and visiting Artist in Residence Matteo Rubbi, and his girlfriend, Beatrice Bailet. While it’s not uncommon to find us gathered together in small groups for lunch, or the occasional birthday or going away celebration, today was a bit different. Tables were set up in the lobby and the door to the museum kitchen was open and decorated with lights, and the savory smells from within drifted out into the open spaces of the museum. Music played, laughter and conversation filled the room, and we all wore the smiles of people who were being fed. I understand there was an element of performance involved on our part, in that, while we ate in the lobby, people entering the museum would be immediately aware of our banquet. Any other time we would be doing this behind closed doors, trying to minimize the impact on the museum patrons, but today there we were enjoying a meal out in the lobby for all to see. What’s all this cooking and eating in front of everyone about?
–Chris Miller, Exhibition Specialist
Check this calendar for an updated list of public events and panels connected to the Securing a free state: The Second Amendment Project – Jennifer Nelson, Social Studies 7, including an artist reception at the Museum on Nov. 4. We hope you can join us!
CALENDAR OF PUBLIC EVENTS
Open gallery sessions with the artist
Saturday, October 8 – noon-1:30 p.m.
Saturday, October 15 – noon-1:30 p.m.
Participants are encouraged to attend for the full 90 minutes.
Public panel on the topic of how people find security,
individually and collectively.
Tuesday, November 1 – noon-1:30 p.m.
Kim Hedrick, Trauma Survivor
Nick Katkevich, Co-Director of the Phoenix
John Kleinheinz , Captain/Commander of the Maricopa
County Sheriff’s Office Special Weapons and Tactics
Scout McNamara, Counselor specializing in trauma
resolution, mood disorders, addiction and relationships
Jim Neff, Firearm Instructor, Generations Firearm
Moylan Ryan, Somatic Coach
We recommend that you attend more than one field trip to better understand the
full scope of the project.
To sign up, call Lekha Hileman Waitoller at 480-965-0497 or email at Lekha.Waitoller@asu.edu
Thursday, October 13 – 6:30 p.m.
Artificial Limb Specialists, 2916 N. 3rd Street, Phoenix, AZ 85012
Sunday, October 23 – 11 a.m.
GPS Defense Sniper School
Saturday, October 29 – noon-2:00 p.m.
St. Luke’s Behavioral Health, 1800 E. Van Buren
Street, Phoenix, AZ 85006
Enter through the main entrance, signage will direct you to the
Behavioral Health Auditorium
Friday, November 4 – 5:00-7:00 p.m. Closing remarks by Jennifer Nelson at 5:45 p.m.
Friday, October 21 – 2:30-4:30 p.m.
Performance by visiting dance artist Tim O’Donnell
Thursday, November 3, noon-2:00 p.m.
Nick Katkevich of the Phoenix Nonviolence
Truthforce, will provide an introduction to Kingian
Nonviolence focusing on the fundamental strategies and
aspects of nonviolence based on the philosophy and movements led by Dr. Martin Luther King Jr.
For more information, updates and further opportunities to engage in the project,
please check the ASU Art Museum blog: asuartmuseum.wordpress.com or contact
Lekha Hileman Waitoller at 480-965-0497.