Posts tagged ‘ASU Art Museum’

Sneakers and Capri Sun at the ASU Art Museum

You don’t normally find a large illustration of sneakers and Capri Sun when you walk into an art gallery, but Brooklyn-based artist Katherine Bernhardt’s style and bold choice of colors was hard to look past. After I discovered her painting titled “Sneakers, Computers, Capri Sun,” included in the Unfixed: New Painting exhibition in ASU Art Museum’s Top Gallery, I did some research and found that Katherine Bernhardt was not only an artist, but someone who is obsessed with fashion as much as I am.

Katherine Bernhardt, "Sneakers, computers, Capri Sun," 2014. Acrylic and spray paint on canvas, 96 x 120 in. Image courtesy of the artist.

Katherine Bernhardt, “Sneakers, computers, Capri Sun,” 2014. Acrylic and spray paint on canvas, 96 x 120 in. Image courtesy of the artist.

A recent exhibition of Bernhardt’s work at the Canada Gallery in New York titled “Stupid, Crazy, Funny, Ridiculous, Patterns” showcases similar bold and random artworks. With acrylic and spray paint, Bernhardt is able to turn coffee and cigarettes, hamburgers and French fries, and cassettes tapes into masterpieces.

Bernhardt uses a similar technique in the piece on view at the ASU Art Museum. I am especially drawn to the large-scale Nike sneakers illustrated on the canvas. Perhaps this is a reference to style statements of the ‘90s or a youthful expression of her obsession with sneakers — but I loved it, from the color scheme to her unmodified brush style. Other objects including Apple desktop computers and silver pouches of Capri Sun, outlined in silver spray-paint, are both a representation of time and life. If you grew up in the ‘90s, this may give you a feeling of nostalgia to the days when you actually brought your lunch to school or did not have the luxury of taking your laptop to class. Large brush strokes of yellow paint that fill the background, making these objects a strong focal point.

I admire Bernhardt’s sense of humor in her artwork and the way she incorporates fashion and pop culture. She combines subjects you would never think go together to create cool patterns. She’s also known for her fascination with models, something that is seen in her earlier works. Brands such as Chanel have even included her work in their stores.

Katherine Bernhardt, Nomad, installation view, 2012. Image via Loyal Gallery.

Katherine Bernhardt, “Nomad,” installation view, 2012. Image via Loyal Gallery.

Personally, I am drawn to artists who use art to share their voice in fashion — and I feel though fashion is overlooked as art form. I have a deep appreciation for their ability to illustrate their own sense of style and ideas on canvas other than constructing or photographing the latest designer fabrics or collections. Viewing Bernhardt’s piece, I was reminded of fashion illustrator Donald Robertson, who conveys a similar style. He takes objects such as lips, models, or even pink flamingos and draws them in repeated patterns, similar to the way Andy Warhol would have done in the 1960s. Robertson, like Bernhardt, has collaborated with companies and designers, including Kara Ross and J.Crew for major fashion campaigns.

Katherine Bernhardt x Maria Brito "Coffee and Ice Cream" Clutch. From Out There NYC.

Katherine Bernhardt x Maria Brito “Coffee and Ice Cream” Clutch. From Out There NYC.

I love that these artists are able to make a handbag or outfit ten times more interesting and unique! They are able to create some of the most original patterns and textiles but with paint. Whether you are into fashion or not, I think anyone can appreciate the ways that artists such as Katherine Bernhardt can produce such a variety of work.

— Leilani Solema, Public Relations and Marketing Intern

 

Unfixed: New Painting is on view through June 6, 2015 in the Top Gallery at the ASU Art Museum. This exhibition was made possible by generous loans and support of the Ovitz Family Collection, Los Angeles. Additional support from the Helme Prinzen Endowment.

April 13, 2015 at 10:03 pm Leave a comment

Introspective Elements — Tan Ping’s ‘Follow My Line’

Walking into the Kresge gallery at the ASU Art Museum, the visitor is confronted with several charcoal drawings installed on pedestals at various heights. The pedestals are placed sporadically throughout the floor and lack a sense of guidance, venturing from the conventional means of displaying artwork. Toward the back of the room, we can enter a space created to show a documentary of Chinese artist Tan Ping’s process in making the drawings as well as an interview with the artist. The screech of the charcoal against the paper may be a bit much, but it is here that you can begin to understand the artist’s intention in the odd but interesting display of his exhibition, Tan Ping: Follow My Line.

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Many art galleries and museums have a structured way of exhibiting their pieces. The artwork is framed, hung on a wall and placed in a specific spot that coincides with the visitor’s path through the space. If a piece is placed on a pedestal, there is a certain amount of distance created between the object and viewer using a covering or extra space around the piece. Tan Ping breaks this standard by displaying his work on a flat and uncovered surface. This sort of decision is not only to break the typical methods of exhibition; it also relates to traditional Chinese art presentation and engages the viewer in a much more dynamic way.

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Chinese scrolls are laid down flat and unrolled to reveal the artwork within. Although Tan Ping’s charcoal drawings are far from scrolls, they do connect with this aspect of Chinese art by being viewed from above and from the same position that the artist had during its creation. Another traditional aspect of Tan Ping’s charcoal drawings comes in the way that we can see the variation of pressure and direction of each line. These traits are important in the production of Chinese art and calligraphy.

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“The end of an exhibition is to communicate with the audience.” Tan Ping’s display helps viewers to not only view his drawings from various angles, but also from the same perspective that it was created. The pedestals in the room are specifically measured to match the height at which they were created. This helps to adjust the visitor to the artist’s viewpoint in order to analyze and understand each piece. While looking at paintings or drawings hung on a wall may be a standard, Tan Ping’s horizontal display invites the viewer to cross the distance created between the art and the viewer. The pedestals used in the exhibition are uncovered and measured to fit the sizes of the drawings perfectly, leaving nothing to distance the viewer from the drawings.

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With these stimulating and introspective elements put into the ideas of this exhibition, trying to subscribe them to standard museum and gallery set-ups might take away a significant amount of meaning attributed to the show. Tan Ping had a substantial amount of input into exactly how the show was set up. He indicated measurements of each pedestal down to the millimeters length of each drawing, decided the exact colors of the pedestals, and planned out the arrangement of the pieces. His involvement in the layout of the exhibition was extensive and left almost no detail unexplained. The preparator did have some freedom in deciding how to adjust the lighting and nudging the pedestals to comply with ADA standards, but little aside from these minor details.

Apart from the layout of the exhibition, the pieces are quite abstract. Each drawing is different but without titles or any particular switch or change in medium or color, the drawings can blend together. Overall, I wasn’t able to focus on the drawings themselves but more on how the exhibition invited the viewer to see things from the artist’s perspective. The two documentaries were my favorite parts of the exhibition because they explain the artist’s intention. After watching one, it becomes more apparent what you are really looking at and why.

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In many exhibitions, visitors arrive ready to gaze at paintings and drawings and learn about art. Follow My Line adjusts the visitor’s experience to engage the artwork that they view with his precision in presentation and depth in meaning. I think that this exhibition surprised me with its arrangement, but who wants to walk into an art gallery and see something that they would expect?

— Hannah Weston, Public Relations and Marketing Intern

Tan Ping: Follow My Line is on view through May 16, 2015 in the Kresge Gallery at the ASU Art Museum. This exhibition is generously supported by Tan Ping Studio, the Helme Prinzen Endowment and Pifo New Art Gallery.

All photos by Hannah Weston. 

April 6, 2015 at 4:54 pm 1 comment

New Sergei Isupov work added to the collection

The ASU Art Museum is thrilled to add its first Sergei Isupov sculpture into the permanent ceramics collection thanks to David Charak, Ferrin Contemporary and the artist. Isupov’s piece, Firey, created from stoneware, stain and glaze, is a beautiful new addition to the collection. It was given to the museum from a series of Isupov’s large-scale heads and appeared at the NCECA 2009 conference at the Mesa Contemporary Arts.

Sergei Isupov, "Firey," 2009. Stoneware, stain, glaze. 25 ¾ x 19 ½ x18 in. From the ASU Art Museum collection, gift of David Charak, Ferrin Contemporary and Sergei Isupov.

Sergei Isupov, “Firey,” 2009. Stoneware, stain, glaze. 25 ¾ x 19 ½ x18 in. From the ASU Art Museum collection, gift of David Charak, Ferrin Contemporary and Sergei Isupov.

Russian-born artist Sergei Isupov is quite often called an erotic Surrealist for his bold depictions of sexuality, relationships and human encounters. He uses his own experiences as well as human observation to create a unique approach to the world of sculpture. “My work portrays characters placed in situations that are drawn from my imagination but based on my life experiences,” said Isupov. “My art works capture a composite of fleeting moments, hand gestures, eye movements that follow and reveal the sentiments expressed.”

Various narrative themes are conjoined together to create Isupov’s sculptural ceramic forms, inspired by particulars from his life. Personal interpretation is very much expected with his work.

Isupov states that, “Through the drawn images and sculpted forms, I capture faces, body types and use symbolic elements to compose, in the same way as you might create a collage. These ideas drift and migrate throughout my work without direct regard to specific individuals, chronology or geography…Through my work I get to report and explore human encounters, comment on the relationships between man and woman, and eventually their sexual union that leads to the final outcome — the passing on of DNA which is the ultimate collection — a combined set of genes and a new life, represented in the child.”

Sergei Isupov, "Firey," 2009. Stoneware, stain, glaze. 25 ¾ x 19 ½ x18 in. From the ASU Art Museum collection, gift of David Charak, Ferrin Contemporary and Sergei Isupov.

Sergei Isupov, “Firey,” 2009. Stoneware, stain, glaze. 25 ¾ x 19 ½ x18 in. From the ASU Art Museum collection, gift of David Charak, Ferrin Contemporary and Sergei Isupov.

Firey, alongside numerous other ceramic works from the ASU Art Museum’s collection, is on display now at the Ceramics Research Center at the Brickyard, located at 699 S. Mill Ave, Suite 108, Tempe, Ariz. 85281. If you haven’t seen our beautiful new space yet, you’re missing out! Plan your visit today, or call 480.727.8170 for directions and hours.

— by Nicole Lechner, ASU Art Museum intern 

June 26, 2014 at 9:42 pm Leave a comment

What’s happening at the ASU Art Museum this week: April 14 – 20, 2014

Thanks to everyone who joined us for the ASU Art Museum Brickyard Grand Opening reception last Friday! The Ceramics Research Center is thrilled to be in its new home, and we’re thankful for all of your support through this exciting and transitional time.

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Wednesday, April 16, 2014:

Noon – 1 p.m. in the Kresge Gallery at the ASU Art Museum — Marilyn Zeitlin, a well-known contemporary art curator and Latin American art specialist, returns to the ASU Art Museum to give a gallery talk on Rhythm and History. For more info: https://asuevents.asu.edu/gallery-talk-stories-we-tell-ourselves-survive-marilyn-zeitlin

Friday, April 18, 2014:

Noon – 1 p.m. at the ASU Art Museum — curator Julio Cesar Morales discusses artist Eduardo Sarabia’s influences and the making of Moctezuma’s Revenge. For more info: https://asuevents.asu.edu/brown-bag-lunch-series-julio-cesar-morales-moctezumas-revenge

As always, museum admission (at any location) is always free! For questions on hours, directions or programming, call 480.965.2787 or visit asuartmuseum.asu.edu.

Image credits, clockwise from left:

Los Carpinteros, Vecinos (Neighbors), 2005. Fiberglass, polyester resin, stainless steel, silicon, PVC, water pump, water filter, lighting and water. 42 1/8 x 60 1/4 x 60 1/4 in. Gift of Diane and Bruce Halle from the Thomarie Foundation. From Rhythm and History (2014).

Eduardo Sarabia, Happy, 2011. Oil on canvas. 55.9 x 78.34 inches. Courtesy the I-20/Judelson Collection, New York. From Moctezuma’s Revenge (2014).

Image courtesy of Marilyn Zeitlin.

Sandra Ramos, from the series Migrations II [Swimming under the Stars], 1994. Oil on suitcase. Overall: 19 1/2 x 25 x 17 in. Gift of the ASU Art Museum Advisory Board 100% Cuban Campaign. From Rhythm and History (2014).

April 14, 2014 at 5:27 pm 1 comment

What’s happening at the ASU Art Museum this week: April 7 – 13, 2014

Have you seen Moctezuma’s Revenge yet? If not, hurry — this amazing solo exhibition by artist Eduardo Sarabia closes in just three weeks. See the show that the Phoenix New Times calls “a punch you don’t see coming, one that lingers for a very long time,” before it closes on April 26.

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And, get your ceramics fix with two great events this week:

Tuesday, April 8, 2014:

6:30 p.m., in the Top Gallery at the ASU Art Museum — Curator of ceramics Peter Held leads a gallery tour of the wild and colorful world of MUCK. For more info: https://asuevents.asu.edu/gallery-tour-curator-peter-held-muck

Friday, April 11, 2014:

6:30 p.m. – 8:30 p.m., (members and alumni preview from 5:30 – 6:30 p.m.) at the ASU Art Museum Brickyard  — We’re celebrating the grand opening of our third location in the Phoenix –metro area, the ASU Art Museum Brickyard located at Mill Avenue and 7th Street in downtown Tempe. The Brickyard is the new home for the Ceramics Research Center, and we hope you’ll join us for this occasion! For more info: https://asuevents.asu.edu/asu-art-museum-brickyard-grand-opening

As always, museum admission (at any location) is always free! For questions on hours, directions or programming, call 480.965.2787 or visit asuartmuseum.asu.edu.

Image credits, clockwise from left: 

Muck: Accumulations, Accretions and Aggregations (2014). Image by Craig Smith.
Eduardo Sarabia. CODEX 2: Popocatepetl, 2013. Acrylic, india ink on paper, 22 in. x 30 in. Courtesy of the artist and Charpenel Collection. From Moctezuma’s Revenge (2014).
Marilyn Levine (1935-2006), Satchel, 1964. Ceramic, stained.
Rendering of potential signage at new ASU Art Museum Brickyard location on 7th Street and Mill Avenue in Tempe. Image courtesy of the ASU Art Museum.

April 7, 2014 at 5:08 pm Leave a comment

Moctezuma’s Revenge opens Jan. 25 at the ASU Art Museum

Tempe, Ariz. – “Moctezuma’s Revenge,” the first comprehensive solo exhibition of works by contemporary Mexican-American artist Eduardo Sarabia, opens at the ASU Art Museum Jan. 25, 2014. The exhibition, curated by Julio César Morales, will feature more than 40 works of art from both previous and new bodies of Sarabia’s work in a variety of media, including sculpture, painting, video, fiber and works on paper. Also included in “Moctezuma’s Revenge” is Sarabia’s breakthrough installation, “The Gift,” previously exhibited at the 2008 Whitney Biennial.

Eduardo Sarabia, “La Venganza de Moctezuma,”, 2011, acrylic on paper, 14 in x 17 in (43 cm x 36 cm).  Image courtesy of the artist and Proyectos Monclova, Mexico City.

Eduardo Sarabia, “La Venganza de Moctezuma,”, 2011,
acrylic on paper, 14 in x 17 in (43 cm x 36 cm).
Image courtesy of the artist and Proyectos Monclova, Mexico City.

“Sarabia’s exciting new body of work is in perfect dialogue with Arizona,” explains Morales, “in regards both to the content of the work and to its relationship to the current social climate we are experiencing, from connections to borders, the legalization and trafficking of drugs and identity issues.”

ABOUT THE EXHIBITION

On view in the Lower Level and Lobby galleries at the ASU Art Museum through April 26, 2014, “Moctezuma’s Revenge” will be the largest exhibition to date of Sarabia’s work, as well as a departure from previous exhibitions of the artist’s work in that it will showcase the depth, range and scope of his practice. An opening reception for the exhibition will be held Feb. 14, 2014, from 6:30–8:30 p.m. (with a members, alumni and press preview from 5:30–6:30 p.m.).

Eduardo Sarabia. City in the Clouds, 2013. Oil on canvas, 60 x 75 in. Image courtesy of the artist and Proyectos Monclova, Mexico City.

Eduardo Sarabia. City in the Clouds, 2013. Oil on canvas, 60 x 75 in. Image courtesy of the artist and Proyectos Monclova, Mexico City.

The majority of new work being created for this exhibition is influenced by the artist’s recent visits to Arizona. “From the beautiful distinct light of Phoenix to Yaqui ceremonial dances and to the magical of I’Itoi’s Cave,” says Morales, “Sarabia has translated Arizona into ceramic, video, fiber and works on paper.”

In conjunction with “Moctezuma’s Revenge,” the public has a rare opportunity to collect an edition of one of Sarabia’s ceramic works, made possible by a collaboration with Artspace. Proceeds from the sale of the edition will support the exhibition at the ASU Art Museum.

Eduardo Sarabia, Desert Dreams, 2013. Photo courtesy of the artist and Artspace.

Eduardo Sarabia, Desert Dreams, 2013.
Photo courtesy of the artist and Artspace.

Artspace is an innovative new collecting platform for visual artwork co-founded by Chris Vroom, a well-known patron of the arts and an avid contemporary art collector, that offers limited editions and original works from established and emerging artists and makes them available for sale online while simultaneously supporting international museums, galleries and cultural institutions. For more information or to purchase one of Sarabia’s editions, visit artspace.com/magazine/interviews_features/eduardo_sarabia.

ABOUT THE ARTIST

Eduardo Sarabia (b. 1976 ) is a Mexican-American artist who grew up in Los Angeles and presently lives and works in Guadalajara, Mexico. He is best known for his series of hand-painted ceramic vessels that, at first glance, are indistinguishable from the blue-and-white Talavera vases that tourists buy as souvenirs. However, rather than traditional floral and geometric motifs, these vases boast modern hieroglyphs of Mexican and Norteño drug culture such as marijuana leaves, guns, skulls, pin-up models, bottles of liquor, packs of cigarettes, and animals that symbolize specific drugs: the rooster, marijuana; the goat, heroin; and the parrot, cocaine. Sarabia makes reference not just to a physical border, but to a dividing line in the identity of one who feels at once familiar with and distant from his or her cultural heritage.

Sarabia’s interest in the relationship between his cultural roots and his American identity has been a constant theme in his work. Drawing inspiration from the unique and complex zone that divides Mexico from the United States, Sarabia stages intricate scenes infused with light, romanticism, humor and a sense of absurdity. From his liminal point of view, he exposes clichés about Mexican culture in order to question the imaginary borders demarcated by cultural stereotypes.

His work has been shown at Los Angeles County Museum of Art, Santa Monica Museum of Art, Museum of Fine Arts Boston, Whitney Museum of American Art, LA Louver and the New Museum of Contemporary Art, as well as at the 51st Venice Biennale, the 2nd Moscow Biennale and the Istanbul Biennial, among others.

CREDIT

“Moctezuma’s Revenge” is curated by Julio César Morales, generously supported by the Fran Fee Memorial Fund, and organized by the ASU Art Museum, part of the Herberger Institute for Design and the Arts at Arizona State University.

An earlier variation of this exhibition, “Tainted,” was curated by Adam Lerner and presented at the Museum of Contemporary Art Denver, where it was sponsored in part by David Caulkins.

ABOUT THE ASU ART MUSEUM

The ASU Art Museum, named “the single most impressive venue for contemporary art in Arizona” by Art in America magazine, is part of the Herberger Institute for Design and the Arts at Arizona State University.

To learn more about the museum, call 480.965.2787, or visit asuartmuseum.asu.edu.

Hours: 11 a.m. – 8 p.m. on Tuesdays (during the academic year), 11 a.m. – 5 p.m. Wednesday through Saturday. The museum is closed on Sundays and Mondays.

Admission: Free

Location/Parking: The museum is located on the southeast corner of Mill Avenue and 10th Street in Tempe. Metered parking is available in the lot directly west of the museum entrance.

January 7, 2014 at 8:09 pm Leave a comment

Crafting Your Weekend: Art, Craft and Fun at the ASU Art Museum

We’re sure you’ve all been eagerly wondering since the start of the school semester, ”When is the ASU Art Museum going to have another awesome art party? And when are all their cool new shows going to open?”

Well, wait no longer, for the time has come! Hope you’re resting up this weekend, because we’ve got a full schedule lined up next weekend, Sept. 26-28 at the ASU Art Museum, and we want to see your faces there.

If you’re looking for something to do between now and Sept. 26, both Christine Lee and Del Harrow will be in the Museum creating site-specific works for the Crafting a Continuum: Rethinking Contemporary Craft show.

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Christine Lee, “Piece by Piece,” 2013 (detail). Wooden shims, graphite.
Photo: Elizabeth Kozlowski.

Christine Lee started today and will be working through Sept. 26. She’s become a part of our community over the past couple of years as a Windgate visiting artist; she has taught in the School of Art and lived at Combine. She studied furniture making with the legendary Wendy Maruyama, whose show opens at the Museum on the 26th, and takes an innovative approach to working with wood. And ceramic artist Del Harrow will be installing in our lobby from Sept. 24-26, adding to Cabinet #3 (2012).

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Del Harrow, “Cabinet #3,” 2012. Ceramic, luster, wood. Photo: Craig Smith.

Here’s a rundown of all the happenings and can’t-miss events that we’ve got planned for the weekend of the big opening:

Thursday, Sept. 26, 2013: Kick off the weekend with what’s sure to be a great lecture from an internationally renowned artist. Jessica Jackson Hutchins will be at the ASU-Tempe campus as a featured speaker for the Jan Fisher Memorial Lecture Series, which brings established and emerging women ceramicists to the Phoenix community.

Hutchins, who currently lives and works in Portland, Ore., makes reference to everyday rituals and family life in her work, whichplaces her in the rich tradition of artists who combine the personal and the cultural. In her assemblage sculpture, she teases out notions of function and display by creating richly glazed vessels and locating them on top of or inside used furniture, such as armchairs, couches and tables, or balancing them on plinths of her own devising.

The lecture will be held in COOR 174 and begins at 7:30 p.m. It is free and open to the public. A reception with the artist will follow at the Ceramics Research Center.

Jessica Jackson Hutchins, "Venus," 2013. Photo: Nick Ash. Courtesy the artist and Laurel Gitlen, New York.

Jessica Jackson Hutchins, “Venus,” 2013. Photo: Nick Ash. Courtesy the artist and Laurel Gitlen, New York.

Friday, Sept. 27, 2013: Visual artist and Arizona native Paul Nosa joins the ASU Art Museum for a  two-day sewing performance with his Solar Sewing Rover, a portable sewing machine powered by a solar panel or a bicycle with an electric generator. Nosa will create original images, which are machine sewn on fabric patches, using word associations provided by our guests. Nosa’s goal is to inspire people’s creativity and to demonstrate alternative energy sources through his performances. This performance is co-sponsored by the Global Institute of Sustainability at ASU.

Nosa will perform twice on Friday: from noon-1:30 p.m., in the GIOS Breezeway and again from 5:30-8:30 p.m., at the ASU Art Museum front entrance. His second performance will kick start the fall season opening reception, which we’d like to think of as Tempe’s art celebration of the season. The party is from 6:30 – 8:30 p.m., with a special member’s preview at 5:30 p.m. Full details here: https://asuevents.asu.edu/season-opening-reception-fall-2013

Image: Paul Nosa,"Glow-in-the-dark piano on fire." Courtesy of the artist.

Image: Paul Nosa,”Glow-in-the-dark piano on fire.” Courtesy of the artist.

When you’re in the museum for the reception, you’ve got a lot to check out, and you don’t want to miss any of it. Crafting a Continuum: Rethinking Contemporary Craft, Wendy Maruyama: Executive Order 9066 and This Is Not America: Protest, Resistance, Poetics are all new and on view. And, if you haven’t seen it yet, be sure to duck into the Multi-Purpose Room for Plate Silk Stone: Impressions by Women Artists from the ASU Art Museum Print Collection to see a show co-curated by one of ASU’s undergraduate students and research interns, Emma Ringness.

Wendy Maruyama, "Tag Project," full installation view at San Diego State University. Paper, string and ink. Each approximately 11’ x 2’ in diameter, 2012. Photo credit: Kevin J. Miyazaki.

Wendy Maruyama, “Tag Project,” full installation view at San Diego State University. Paper, string and ink. Each approximately 11’ x 2’ in diameter, 2012. Photo: Kevin J. Miyazaki.

Saturday, Sept. 28, 2013: Don’t stay too late at the Museum having fun on Friday, because the day starts bright and early at COOR 174 with the “Flashback Forward: Rethinking Craft” Symposium, which will explore and discuss critical issues facing the field of contemporary craft.  Our keynote speaker is Jenni Sorkin, with a presentation by Guest of Honor Wendy Maruyama, and lectures by artists Garth Johnson, Christine Lee, Del Harrow and Erika Hanson. There’s too much cool stuff (and it’s all free!) happening to list here, but you can view the full schedule, as well as RSVP, for Saturday’s symposium on the event page: https://asuevents.asu.edu/flashbackforward-rethinking-craft-symposium

And, if you missed him on Friday – or just can’t get enough of Paul Nosa — he’s back again on Saturday with another performance from noon – 2 p.m. in the COOR breezeway.

Whew! What a weekend! We can’t wait. And while you’re out enjoying yourselves, don’t forget to tweet and Facebook us your photos.

Jarbas Lopes, "Cicloviaéra," 2006. Osier (natural fiber vine) over bicycle. Photo by Craig Smith.

Jarbas Lopes, “Cicloviaéra,” 2006. Osier (natural fiber vine) over bicycle. Photo by Craig Smith.

September 20, 2013 at 10:44 pm Leave a comment

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