Posts tagged ‘project’

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

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

Serious play: Matteo Rubbi at the ASU Art Museum

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.

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Photos by Neil Borowicz.

July 6, 2012 at 10:10 pm 2 comments

We knew her back when: Lekha Hileman Waitoller

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!

June 6, 2012 at 10:57 pm Leave a comment

The Desert Notebooks: Charted Territories

“Of what avail are forty freedoms without a blank spot on the map?”
Aldo Leopold

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.

GREG ESSER
Desert Initiative Director
ASU Art Museum

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Photographs by Steven Yazzie.

May 21, 2012 at 7:44 pm 1 comment

ASU Art Museum’s International Artist Residency facility opens in downtown Phoenix

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 deborah.susser@asu.edu.

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Photos by Sean Deckert and Peter Held.

May 11, 2012 at 10:19 pm 1 comment

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