Posts tagged ‘ASU’

ASU Art Museum receives NEA grant to support program with visiting international artists

The NEA grant will help fund the artists residency program at Combine Studio that is host to artists such as Matteo Rubbi whose Magic Fridays at the ASU Art Museum is shown here.Photo by Sean Deckert, courtesy Herberger Institute for Design and the Arts.

The NEA grant will help fund the artists residency program at Combine Studio that is host to artists such as Matteo Rubbi whose Magic Fridays at the ASU Art Museum is shown here.

Photo by Sean Deckert, courtesy Herberger Institute for Design and the Arts.

One of 832 Art Works grants totalling $23.3 million in funding nationwide

Nov 29, 2012

Rocco Landesman, chairman of the National Endowment for the Arts (NEA), announced that the ASU Art Museum in the Herberger Institute for Design and the Arts is one of 832 non-profit organizations nationwide to receive an NEA Art Works grant. The ASU Art Museum is recommended for a $45,000 grant to support its International Artist Residency Program at Combine Studios in downtown Phoenix.

“We’re immensely honored that the NEA recognizes and supports the work of the ASU Art Museum to serve as a catalyst for social change through the innovative vision and work of international artists,” said Gordon Knox, Director of the ASU Art Museum. “Art is a way of knowing and investigating the world and this grant allows us to build more collaborations and reach new audiences.”

The NEA funds will support the ASU Art Museum International Artist Residency Program at Combine Studios which brings accomplished professional artists from around the world to develop new work in partnership with the intellectual resources of Arizona State University and the diverse communities within Arizona. Through the program, artists develop work in collaboration with scientists, technologists, social agencies and community organizations that investigate the pressing issues of our time.

Greg Esser, director of the International Artist Residency program and the Desert Initiative, plans to bring four international artists to Arizona to develop new work. “This program represents an incredible opportunity for Arizona residents to engage with international artists and to deepen the impact of research and learning at ASU,” said Esser.

In March 2012, the NEA received 1,509 eligible applications for Art Works grants requesting more than $74 million in funding. Those recommended for grants span 13 artistic disciplines and fields and focus primarily on the creation of work and presentation of both new and existing works for the benefit of American audiences. Applications were reviewed by panels of outside experts convened by NEA staff and each project was judged on its artistic excellence and artistic merit.
For a complete listing of projects recommended for Art Works grant support, please visit the NEA website at arts.gov.

Combine Studios is located at 821 N. Third St. connecting the ASU campus to the Roosevelt Row Arts District. The building, owned by Phoenix artists Matthew Moore and Carrie Marill, includes six residential units for visiting artists, a common kitchen area, resource library and a storefront gallery and event space. For more information about the international residency program, visit the Desert Initiative website.

 

Media Contact:
Deborah Sussman Susser
ASU Art Museum
480.965.0014
Deborah.susser@asu.edu

Editor’s note regarding all downloadable images:
Copyright © Arizona Board of Regents. Use is limited to members of the media in conjunction with media coverage of Arizona State University and by ASU faculty and staff on web pages and in materials related to university or school business. All other uses are prohibited without the prior written consent of the Arizona Board of Regents.

December 18, 2012 at 10:31 pm 1 comment

Passion in motion: Elizabeth Johnson and Socially Engaged Practice at the ASU Art Museum

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 PhoenixThe Boys and Girls and Club of the East Valley, Girl ScoutsArizona 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.

To learn more about what the Socially Engaged Practice community is up to, check out its blog and Facebook.

Mary Richardson

November 27, 2012 at 7:17 pm 1 comment

Tales From A Distant, Not-So-Distant World

Click.  A photo of desert scenery. Click. Another photo of the desert. Is that the same one? Click. Oh, another! Have I seen this one already? Click. And another? This one’s probably different. Click. Is it? It is. Click.

The slide projector spins the wheel of slides. Each of the 50 some-odd photos are shots of the desert, a part of Miguel Palma’s latest exhibition, “Trajectory.”

The photos are projected onto a white wall by an old-fashioned slide projector set on a timer. The photos roll around, each a different photo of Arizona’s desert scenery.

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On the other side of the wall, there is an orange astronaut suit with one noticeable addition: several dozen small, black computer fans attached to the outside of the suit. Palma wore this suit as he traversed the desert, taking photos of the sights and scenery. The black computer fans were used to keep him cool during his expedition.

Click. Drip. Suddenly, I notice a new sound in the exhibit. Drip. Drip. Click. I realize that the sound of the projector isn’t alone. The sound is coming from a piece called “Bypass.”

“Bypass” is a device that Palma created. It takes water from a bucket, runs it up tubing into a chunk of wood, and then drips the water back down into the bucket. The natural and organic element of the wood and the water contrasts with the metal and silicone. There is a pump inside the bucket of water that looks like it was put there to bring water to the tree, but then the tubing and the metal cause the water to bypass the tree and return to the bucket. The manmade apparatus of tubing and silicone is depriving the tree of the water that it needs. The hunk of wood is supported in the air by metal and a hydraulic lift. The manmade system isn’t only depriving the tree of water, but it also supports the tree and holds it up. This brings up a question: is this what we’re doing to the desert? Are we trying our best to uphold it and support it, yet ultimately just depriving it of what it needs to survive? I arrive at more questions than I have answers. I have to move on.

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Along the northern and eastern wall, there is an absolute cascade of poster paper full of art and ideas. Each poster contains ideas about the desert and the culture of the people who live in it. Palma uses collages, images, drawings and commentary of our culture to show these ideas. As I walk and read each poster, I see themes connect and I begin to understand the corollaries between them. For example, Palma wrote about swimming pool shapes, and the purpose of each shape. He wrote about L-shaped pools. “The L-shape fits easily into a corner or around a house projection.” I see that phrase written multiple times around swimming pools and even around old desert photos where, presumably, a pool would eventually go. There are stories about the destruction of the desert, and how manmade tools changed the scenery into what we call Phoenix.

I notice one piece called “War Games.” It shows photos of the desert, with yellow dots painted over it. Each dot has a line pointing at a construction truck, many with Xs drawn over them. Palma seems to be trying to show that people are at war with the desert; our weapons are the tools we used to put ourselves into the desert with, like tools of construction, transportation and infrastructure. I have never thought of it like that. Are we at war with the desert?

Palma was a visitor to our desert, but it took me a while to connect the dots. He wasn’t just an explorer of the desert; he is implying that he is like an astronaut exploring unknown worlds with his space suit and his rover vehicle. It all became clear to me. His art is a tale of his exploration of the unknown territory, the Arizona desert. He charted our destruction of the desert as well; we have been using our war tools to build our L-shaped pools and destroy the beauty of the desert around us. Palma researched our history and recorded lives, not just our lives, but also the life of the desert itself.

But what does that make me, a desert-dweller observing Palma’s observations? I suppose I’m the Martian who lives on this strange planet of rock and cacti. I suppose we should all take a better look at the world outside our cities. It’s beautiful.

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“Miguel Palma: Trajectory” is on display at the ASU Art Museum until February 9, 2013

–Colton Robertson
ASU Art Museum Intern

Thanks to Sean Deckert and the Desert Initiative for use of their photographs.

November 2, 2012 at 11:33 pm Leave a comment

Notes From Underground: Fall Season Opening

Guest blogger and ASU student Veronica Rascona writes about the ASU Art Museum’s Fall 2012 Season Opening Reception:

At 6:30 on the evening of September 28, the ASU Art Museum launched its 2012 season. People gathered in the darkness at the front of the building to talk, eat and watch a performance by the mixed parkour, martial arts, dance and acrobatics group Movement Connections. The group, dressed in white, took advantage of the museum’s unique structure as they silently crawled, leapt and ran all over the walls and stairs of the Art Museum’s entrance.

In a touching moment, a little girl got caught up in the mix and one of the performers invited her to perform a stunt with him—a simple handstand, nothing dangerous. After performing a few more acrobatics on their own, eventually the performers climbed up onto the cement pillars in the front of the Museum. They performed a few stunts and then began pointing toward the façade of the museum upon which a video was being projected. It appeared to have been filmed from the window of a car and depicted an expanse of desert landscape rushing by.

The video continued to play as Movement Connections wrapped up their performance. People then began to shuffle down the stairs, waiting for the next sequence in the evening’s activities. Some ventured into the Museum to look at the current exhibits on display, while others, like myself, sat just outside the doors, taking in the array of lights that filled the underground courtyard—part of the “55: Music and Dance in Concrete” performance that would start at 7:30 p.m.

I sat to one side of the courtyard and began to notice other elements—a video of an eye opening and closing and rolling around in its socket was projected onto the back of the pillars that outlined the courtyard. Above and below the eye was the phrase, “Don’t touch me!!” projected backwards. It was somewhat disturbing,and I did not know what to expect from the performance after seeing these images. Just before the performance began, the audience was instructed as to where to stand in order to best view the performance, but were also told that the performers would be moving throughout the space alternately providing various vantage points a better view.

The crowd gathered, and from my vantage point I witnessed three of the visiting dancers, each dressed in red, black and white, slowly fill the empty space between us and the Museum. I could not see what was happening on the other half of the courtyard as it was blocked by cement pillars and benches, but this was how the show was meant to be viewed: people seeing different parts of the show, each person having a unique viewing experience. The three girls on my side slowly moved into position.

The lights changed from bright white lines filling the space to a strange speckled effect, and music composed of electronic sounds, “from 55 improvised and 55 composed pieces” started to play. The dancers began to move. Their dancing was rapid; they moved convulsively, throwing themselves at the cement walls and against the floor as the lights continued to change and pulse. The effect was alarming and intriguing. As the dancers moved throughout the space, the crowd adjusted to watch each new scene; at one point the only male dancer shut himself behind a gate while a video of him stuck in what seemed like a jail cell played on the wall behind the bars. The video cut from scenes of him in the cell, to the real dancer performing similar movements in the real, jail-like space.

The music and lights continued to change as the dancers set and reset their stage, from one side of the courtyard to the other, to behind the bars, to on top of the cement benches, to at one point taking the elevator in the middle of the space up to the second floor where we lost sight of them for a moment. The performance, meant to engage the audience in sight, sound and movement, felt like a piece about escape; the dancers’ jerking movements gave the impression that they were almost trying to break out of their own skin.

What was most beautiful about the whole event, however, was not only the performances, but the interaction between the performers and their audience. I looked over the faces in the audience and everyone’s eyes were on the performers, completely captivated. The decision by both performance groups to use the space around their audience created an atmosphere in which we were all connected. Not only did everyone get to watch a fun and intricate performance, but they were encouraged to feel like they were a part of it all.

Thanks to Sean Deckert and Veronica Rascona for the use of their photographs.

55: Music and Dance in Concrete  premiered at Fort Worden as part of Centrum’s Reverberations series, in addition to premiering at the ASU Art Museum. The project received initial funding from the MAP Fund and the Doris Duke Charitable Foundation, as well as support from Arizona State University, and RBMA. The project is supported by the Japan Foundation through the PerformingArtsJAPAN program. The Centrum Artist Residency program is made possible by support from the Washington State Arts Commission and the Washington State Parks and Recreation Commission. Additional support was provided by 4Culture Site Specific.

Miguel Palma’s Trajectory is supported in part by the FUNd at ASU Art Museum, the ASU Art Museum Advisory Board and Friends and Margarita and Willie Joffroy.

October 11, 2012 at 10:34 pm 1 comment

Dispatch from Helsinki: “On the road with Georgia O’Keeffe”

Our intrepid registrar, Anne Sullivan, traveled to Helsinki last month to accompany the Museum’s Georgia O’Keeffe painting, Horse’s Skull on Blue,  which has been on tour, back home to Arizona. Here’s a glimpse from her trip:

Everything is about design, no doubt. Even the attractive young man dressed in black, carrying a tool kit (actually cleaning supplies), who cleans the hotel room is a stunner.

Everything is considered, the hotel has strict eco standards — very little paper anywhere — the metro has slick floor guides, called “fish,” which are stainless steel shapes on the floor that guide someone using a cane; mass transport is on-time always. Bicycles are just another transport method and everywhere. Most everyone is under 30 and dressed very hip, lots of black.

The O’Keeffe exhibition, Georgia O’Keeffe: A Retrospective, is in a re-purposed gymnasium-style building. This allowed the exhibition to be installed in a shotgun-style layout — the entire exhibition is viewable from the front door. The curator played with the aesthetics of images rather than following a straight chronology, so even O’Keeffe folks were surprised to see some pieces hanging next to each other.

Overall very nice. Darah and Dayle both here and working on condition reports. The remaining couriers (10 of us) check in on Monday with conditioning first day then packing the second.

Our painting looks to have traveled well.

Helsinki Art Museum walk-through a bit of a disappointment, about 26,000 attendance. Separating the exhibition from the main museum was for environmental reasons, but it did affect general attendance since few were willing to travel to another site just for the O’Keeffe exhibit. Kunsthalle der Hypo-Kulturstiftung in Munich has 60,000 attendance and Fondazione Roma Museo  30,000.

Otherwise all going well, great weather so far.

Anne

Here’s a slideshow of Anne’s photographs from Helsinki:

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Here’s a bit more information about the O’Keeffe exhibition in Helsinki, from the Tennis Palace Art Museum website:

Georgia O’Keeffe
Tennis Palace Art Museum, Helsinki
June 8 – September 9, 2012

The modernist Georgia O’Keeffe (1887-1986) was one of the most important American artists in the history of world art. She entered the New York art scene around 1916 – several decades before women were allowed to study art at American institutions. In 1946, O’Keeffe’s solo show opened at MoMA – the first ever exhibition at MoMA devoted solely to a female artist. New Mexico became O’Keeffe’s cradle of art and permanent safe-haven, which is also where she created her most famous series of works. They feature animal skulls and close-ups of flowers, painted on such impressively large canvases that the compositions become almost abstract to the viewer. Staying faithful to the themes of her paintings, the artist surrounded herself with a bitter-sweet personality, reaching cult-icon status in her own lifetime. O’Keeffe’s works are rarely seen in European exhibitions, which is why Helsinki’s Tennis Palace Art Museum is indulging their visitors by  showing the first-ever Georgia O’Keeffe solo show in Finland, from June 8 through September 9. More than 60 paintings and drawings can be viewed in the exhibition, as well as a few sculptures, personal items and photographs that illuminate her career and life. The photographs were taken by O’Keeffe’s husband, the illustrious artist and promoter of modern art, Alfred Stieglitz (1864-1946).

Tennis Palace website:

http://www.helsingintaidemuseo.fi/en/

And a few words about Helsinki as the 2012 World Design Capital:

The World Design Capital is an initiative of ICSID, the International Council of Societies of Industrial Design, which every second year recognizes one global city for its accomplishments in utilizing design as a tool to improve social, cultural, and economic life. Icsid owns the rights to the World Design Capital trademark.

In 2012 Helsinki is the World Design Capital together with the neighbouring cities of Espoo, Vantaa, Kauniainen and Lahti. The previous World Design Capitals have been Turin in Italy (2008) and Seoul in South Korea (2010).  Cape Town,  South Africa was chosen as the World Design Capital for 2014.

World Design Capital Helsinki 2012 is more than just a series of events or projects. It is about improving cities, embedding design in life.  The 2012 main theme is Open Helsinki – Embedding Design in Life. Openness equals transparency, curiosity, global responsibility, and innovation. This vision  extends the concept of design from goods to services and systems. It means finding solutions to people’s needs, for example in the public health care sector. In short, it’s about improving cities.

http://wdchelsinki2012.fi/en

October 5, 2012 at 7:36 pm Leave a comment

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

Time capsules and popsicles: Ant Farm Media Van at the Ceramics Research Center

What are three things you could not live without? What are you looking forward to for this year? What is your obsession?

These are some of the questions pondered at the ASU Art Museum last Saturday, the 25th of August. Each of the buildings in the Arcadia Residential Community was given a blank filing box and told to build a time capsule out of it to be opened at the end of the year.

We were given sticky letters, tape, markers, oil pastels, anything we wanted to beautify this box with the other residents of our building. Each team deliberated on how they would make their time capsule stand out from the rest. Some people went crazy with tape, and others even wrapped their box in gift wrap, like they were assembling a present for their future selves.

Across the street at the Ceramics Research Center, art museum staff (clad in their awesome AMUSEUM shirts) gave away popsicles from AZ Pops and handed out pages with questions to be answered and put in the time capsule.

Some questions were easy, like the ones I mentioned above. But some really made me ponder: What do you expect to accomplish this year? In what ways do you hope to grow this year?

These were remarkably deep questions for the atmosphere of popsicles and friends in the Ceramics Research Center. But it was as good a time as any to take stock. What DO I expect to accomplish this year at ASU?

After deliberating on those questions, we left the classroom and found the Ant Farm Media Van. Now, this was interesting: an interactive exhibit dedicated to collecting donations from cell phones, camera sticks and other electronic devices.

Now, it looked just like a hollowed-out van with the windows painted over, but inside sat a small green computer, called the HUQQUH (pronounced “hookah”), with cords to fit cell phones sticking out in every direction. The goal was to plug in your cell phone, iPod, or camera, and the HUQQUH would randomly select a file, then copy it to make it an electronic piece of the exhibit. For the most part, it was just taking photos and occasionally songs.

On the wall behind the media van hung a huge poster with little thumbnails of the pictures, songs and files taken during the media van’s time in San Francisco.

It was an entire wall of memories, just little digital files, each randomly taken from someone, making up a collection of images from people’s lives.

I decided that I had to give it a shot. I sat down inside the Media Van and plugged my iPhone into the HUQQUH. It sat for a small time before a picture from my phone appeared on the screen on top.  A computer voice came from nowhere, thanking me for my donation and instructing me to unplug my iPhone from the HUQQUH. It spit out a receipt, thanking me for my donation with a little copy of the picture I donated.

The picture taken was a photo of my grandfather, with my little cousin — the last time I saw my grandfather before he passed away last fall.

And now that picture is stored inside the HUQQUH, to travel the country and become a part of the exhibit.

So on the day that we were decorating and putting items into our own time capsule, we were also contributing to a larger time capsule, set to continue its tour and continue to collect small bits of people’s lives. So while the HUQQUH wasn’t pressing us for personal questions, like what am I passionate about, it was still going through my personal phone and pulling out a very personal work about who I am and what I do. In that regard, this was a great day to take stock, and look at ourselves and ask, who are we and where do we want to be?

Oh, and my building’s time capsule? I think it turned out pretty cool.

Colton Robertson, Community Assistant for Arcadia Residential Community

Photos by Colton Robertson.

August 28, 2012 at 4:40 pm Leave a comment

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