Archive for September, 2012

Want a sneak peek of the Fall 2012 Season Opening?

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.

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September 25, 2012 at 10:51 pm Leave a comment

The Desert Initiative’s DI:D1 launches at ISEA 2012 in Albuquerque

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:

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Join us at the Museum on Sept. 28 and 29 to celebrate the season opening of both Ant Farm Media Van v.08 [Time Capsule] and Miguel Palma’s Trajectory!

And if you’re wondering about those passports pictured in the slideshow above: Stay tuned…

September 21, 2012 at 8:48 pm Leave a comment

New Socially Engaged Practice Speaker Series!

The Socially Engaged Practice Initiative at the Herberger Institute for Design and the Arts introduces a monthly speaker series showcasing exemplary practice by nationally recognized visiting artists and members of our ASU and regional community.

Socially Engaged Practice is an evolving area of art and design that uses participation, reciprocal relationships and collaborations in community contexts to promote civic dialogue and investigate pressing issues of our time.

The events are supported by the ASU Art Museum, The School of Dance, The School of Theatre and Film, the School of Art and the Herberger Institute for Design and the Arts. Individual events are also supported by various other partners.

The first event in the series takes place tomorrow, Tuesday, at the ASU Art Museum, at 6 p.m., when the Socially Engaged Practice Initiative, ASU Gammage, and the ASU Art Museum invite you to listen, discuss and even try out a participatory performance event called City Council Meeting. Artists Aaron Landsman and Mallory Catlett will be on hand to explain the process and thinking behind their work, the way the piece interacts with the Tempe community and the ways you can be a part of the February 16th performance at ASU Gammage. (More about City Council Meeting below.)

And mark your calendars for Oct. 9 from 6-8 p.m., when Arizona State University contributes to the Town Hall Nation project with an unscripted, participatory Evening of Community Engagement & Civil Dialogue.The event, which will take place at the ASU Art Museum, is free and open to the public, and is sponsored by the Herberger Institute’s Socially Engaged Practice Initiative and co-sponsored by the ASU Art Museum and the schools of Theatre and Film and Public Affairs, and the Hugh Downs School of Human Communication.

More about City Council Meeting:

The Project

City Council Meeting is a participatory performance of empathy and democracy and power, created by New York artists Aaron Landsman, Mallory Catlett and Jim Findlay, in collaboration with local artists Elizabeth Johnson and Gregory Sale. The piece is co-commissioned and presented by ASU Gammage. Our hope is that Tempe council members and their staff will be able to join other community members in our process over the next several months, and participate in our performances in February.

City Council Meeting is being developed in four cities – Houston, Tempe, New York and San Francisco. In each, the goal of the piece is to get a diverse range of people – from elected representatives, to their constituents, to those that often get left out of the conversation – into the room so that they can speak together. We want to give everyone the chance to understand how others see themselves and each other, and see what we can learn in the process. We also want to make a beautiful piece of art.

Over the last year Landsman and Catlett have done informal research and interviews with a broad range of Tempe residents, from elected officials to homeless young adults, from the Chamber of Commerce to college students.

How It Works

The performance is divided into three parts: an orientation video, similar to what you’d see before doing jury duty; a reading of transcripts from government meetings in several U.S. cities; and a final section created locally in each place where it’s presented, through collaborations with local artists, non-artists, elected officials and other populations.

When viewers arrive at the theater, they have a choice as to whether and how to participate: be a Councilor and read the meeting; be a Speaker and say a piece of testimony; be a Supporter, and you don’t have to say anything, but you’ll get a set of instructions (stand up at certain points, text message to a specified phone number, etc); or be a Bystander, and simply watch the performance as you would a normal play. Once that’s done, the “meeting” starts. Together with our local group of performers (whom we call “staffers”), everyone in the room enacts the transcripts we’ve assembled from our research in over 10 cities. You’ll read council members in Bismarck, students in San Antonio, activists in Oakland and engineers in Houston, among others.

For each city’s ending section, we attempt to bring together parties on various sides of an issue we see played out in local council meetings. Often these issues seem mundane on the surface but underlying them are more profound questions: What makes us civilized? How do we perform ourselves? What can we do for each other? How can we know each other better?

City Council Meeting in Tempe is commissioned by ASU Gammage. The project has been made possible with funding by the New England Foundation for the Arts’ National Theater Pilot, The MAP Fund, a program of Creative Capital, the Puffin Foundation and Jerome Foundation. City Council Meeting is a National Performance Network (NPN) Creation Fund Project.

 

September 17, 2012 at 11:17 pm Leave a comment

New curator at the Museum: Julio Cesar Morales

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 artistsinresidence 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.

September 5, 2012 at 8:36 pm 3 comments


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