Artist-in-Residence Christine Lee encourages artistic and sustainable consciousness

Visiting artist Christine Lee stands next to one of her pieces at the gallery at Combine Studios, in downtown Phoenix. Photo by Elizabeth Kozlowski.

Christine Lee takes in the disregarded, salvages the thrown away and harbors the excess. For this wood-based artist, the original intention of a material is only a hint of a much more meaningful possibility, making Lee’s artwork a process-driven venture and a thorough material investigation.

Lee’s work crosses back and forth between sculpture, furniture, woodworking and installation. As part of the ASU Art Museum’s Crafting a Continuum series, Lee has given public lectures, taught classes and installed her own work at Combine Studio in downtown Phoenix.

The Crafting a Continuum series is sponsored by a Windgate Charitable Foundation grant, which has enabled the museum to attract and support craft-based visiting artists, such as Lee, who incorporate new ideas and technologies into their artwork.

“I think they were interested that I was working with a range of composite material and creating functional and sculptural work,” Lee said. “I feel like they both can happen in the same studio space.”

Lee’s work stretches the standard associations and intended functions of ordinary materials. According to Lee, people now are looking at the material and how it is being used, but not in a way to determine which medium is better than another: “It’s not so much about the end result of what you make but how you take that material and transform it. It’s the process and where it goes.”

In this sense, public perception of what is craft art and what is fine art is changing. Lee says she believes the line between the two will either significantly blur or be completely nonexistent in the future. “People realize it’s not so much about categorizing everything,” she said. “It’s more about seeing what can happen when you start weaving things together.”

Last month Lee put together Piece by Piece, an exhibition at the ASU International Artist Residency facility at Combine Studios, in downtown Phoenix, for which she stacked slender individual pieces of wood to fan out over an entire wall. No glue, no nails — just balance. This wasn’t her first endeavor for a project like this, however. In other galleries she has created similar works on walls, spanning up to 26 by 12 feet.

A closer look at Lee’s work. Photo by Elizabeth Kozlowski.

With her own art, Lee strives to create substantive art that is both useful and aesthetic. She added, “It seems these days there’s more exciting work out there that straddle those areas.”

Lee finds potential in material that people casually throw out, a trait she attributes to her family’s concern about not wasting and appreciating the value of things.“We would reuse things like aluminum foil and we wouldn’t throw it away unless we absolutely knew we couldn’t use it,” she said. “And that stayed with me. I’m always very conscious about what I use and if someone throws away a scrap, I’m like, ‘That’s perfectly usable.’”

As part of her residency  Lee taught a class for the Fall 2012 semester — ART 494/598, Sustainable Wood Art, an upper division seminar in the wood program of the Herberger Institute for Design and the Arts — which she is teaching the Spring 2013 semester as well. Lee’s students use composite boards formed by collecting sawdust and fibers and putting the raw materials into processing chambers. Prototypical, a show on view in December and January in Wrigley Hall, home to ASU’s Global Institute of Sustainability and School of Sustainability, highlighted work Lee’s students made using a patent-pending interior composite panel developed by Lee and research engineer John F. Hunt of the USDA Forest Service, Forest Products Laboratory. The panels are naturally bonded without an adhesive binder such as urea or phenol formaldehyde and are biodegradable.

What Lee enjoys most about teaching is watching her students as they grow to understand the process and connect with what they make. “Teaching for me is really exciting because I like the dynamics between interacting with people who are very excited about learning something new, and I also like watching them kind of see that transformation of material happen,” she said.

By encouraging recycling and reuse, her students have initiated a sustainable practice in their work. Peter Held, the curator of ceramics at the museum, said the students’ work has evolved as they applied the lessons they learned in Lee’s clas: “ [She] is not only a talented and innovative artist but is exploring the intersections of art, craft, design and application of new materials in her artistic practice.  This interdisciplinary approach to the arts is an important initiative for the museum. When Lee taught the wood class, she brought fresh ideas and techniques to the students.”

Lee at Combine Studios, in downtown Phoenix. Photo by Elizabeth Kozlowski.

Maren Romney, a senior sculpture major and former student of Lee, explained she more consciously considers the materials she uses when making art after taking Lee’s class.  “[Her] class… helped me to understand what I can do on an individual level,” Romney said. “She really did a great job of creating discussions about the importance of sustainable design and living and brought up points from multiple points of view, which I really appreciate.”

Romney added she feels privileged to have taken a class under Lee’s direction, and she hopes Lee makes Arizona a permanent home.

During her time in Phoenix and Tempe, Lee has found a wealth of possibilities.

“I feel like there is so much to tap in here,” Lee said. “I just felt it was very serendipitous that I could be here working on this.”

—Mary Grace Richardson

To see more images of Christine Lee’s show at Combine, visit the ASU Art Museum International Artists Residency at Combine Studios Facebook page.

Penny for your thoughts: ASU Art Museum Spring 2013 Season Opening Reception

On Friday, Feb. 8 we celebrated the season opening for our spring shows: Cu29: Mining for You, a collaboration between Matthew Moore (Phoenix) and Clare Patey (London); Traces of Japanese Life: Selections from the Melikian Collection; and, at the Ceramics Research Center, Born of Fire: The Pottery of Margaret Tafoya and a companion show, Re: Generation: A Survey of Margaret Tafoya’s Descendants. We also said farewell to artist-in-residence Miguel Palma, from Portugal, whose exhibition Trajectory closed Feb. 9.

Thanks to everyone who made the shows possible — to the hard-working artists, to our donors, to our magnificent staff and advisory board, and to Target and Tempe’s own Cornish Pasty, for helping make it such a great party.

Coming up on March 22: The opening of Turn off the Sun: Selections from la Colección Jumex. Be there!

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Photos by Matthew Corbisiero

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.

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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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 artists–in–residence from the Bay Area and around the world. YBCA’s galleries act as a laboratory in which artists are commissioned to develop, experiment and translate new and existing bodies of visual artwork. These works include lectures, performances and workshops that transform the exhibition space into a fluid and active experience for gallery visitors. Other projects included the development of Crossfade, a forum for distinctive video compilations organized by guest curators based at art venues around the world, and an international residency program with Kadist Foundation. Artists included Xu Tan, George Kuchar with Miguel Calderon, Nina Beier, Jennie C. Jones, Allan deSouza and Koki Tanaka.

Morales is the founder, co-director and curator of Queens Nails Annex, located in the Mission district of San Francisco, which serves as a project space dedicated to presenting collaborative, site-specific and experimental works by artists. QNA challenges both emerging and established artists to work outside their “normal” practice in order to produce unique projects. Collaborative institutional projects include the 2008 California Biennale and Yerba Buena Center for the Arts Bay Area Now. Exhibition highlights include more than 36+ projects with Archigram, Pedro Reyes, Suzanne Lacy, Mary Kelly, Yoshua Okon, Tony Labat, Mitzi Pederson, Sarah Cain, Jason Jagel, Stella Lai, Jennifer Locke and Miguel Calderon as well as curatorial collaborations with Hou Hanru and Lauri Firstenberg, among others.

Additional independent curatorial projects have been exhibited at the Los Angeles Museum of Contemporary Art; Museum of Craft and Folk Art, San Francisco; The San Francisco Arts Commission Gallery; The Pasadena Museum of California Art; and Sonoma Valley Art Museum.

Images courtesy of Julio Cesar Morales.

Coming soon to a Museum near you: Miguel Palma

Above: Miguel Palma (left) with space research trainee from the ASU School of Earth and Space Exploration. Photo courtesy of the Desert Initiative.

Artist Miguel Palma (Lisbon, Portugal) was commissioned by the ASU Art Museum’s Desert Initiative to develop a mobile project that explores our connection to the desert environment.

In collaboration with ASU’s School of Earth and Space Exploration (SESE) and other community partners, Palma has converted a former military truck into an exploration vehicle equipped with the technology to photograph and film natural desert environments. The vehicle will return to urban settings at night to project the recorded imagery on building facades and other sites.

The work engages issues through the lens of exploration: military history in Arizona and the Southwest, the military’s role in desert preservation, the history of Manifest Destiny and colonialism in populated places, strategies of adaptation and the role of technology in desert survival.

Palma’s “Remote Desert Shuttle” will be live at the ASU Art Museum on our season opening weekend, Sept. 28-29. In the meantime, here’s a teaser to whet your appetite:

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.

Redesigning the future with Emerge

What it means to be human is changing. Emerging technologies are transforming our minds, our relationships, everything we own and the very landscapes in which we live. What kinds of humans will we become? What kinds of humans should we become?

These are just some of the big questions that artists and scientists explored March 1–3, 2012, when Arizona State University hosted Emerge – an unparalleled campus-wide event uniting artists, engineers, bio scientists, social scientists, story–tellers and designers to build, draw, write and rethink the future of the human species and the environments that we share.

On April 10, the exhibition Emerge: Redesigning the Future opened at the ASU Art Museum. This unusual show gives audiences a chance to sample some of the futures imagined during the three-day Emerge event, and includes hands-on activities that make the viewer part of the project.

On Tuesday, April 17, we’ll celebrate the opening of Emerge from 5 to 8 p.m., at a reception sponsored by ASU’s Global Institute of Sustainability. The exhibition will be up through Aug. 25, and is free and open to the public.

Many thanks to the partners who worked so thoughtfully and so hard to bring this exhibition together, and to the sponsors and partners who made Emerge possible!

Exhibition credits

Emerge exhibition team

Daragh Byrne, School of Arts, Media + Engineering in the Herberger Institute

Sarah Davies, Center for Nanotechnology in Society

Aisling Kelliher, School of Arts, Media + Engineering and The Design School in the Herberger Institute

Cynthia Selin, School of Sustainability, Consortium for Science, Policy and Outcomes

Lead developers of Emerge

Thanassis Rikakis, director of the ASU School of Arts, Media + Engineering and the Digital Culture Initiative in the Herberger Institute for Design and the Arts

Joel Garreau, Lincoln Professor of Law, Culture and Values at the Sandra Day O’Connor College of Law

Cynthia Selin, assistant professor, Consortium for Science, Policy and Outcomes and the School of Sustainability

 

Sponsors and partners

• Herberger Institute for Design and the Arts
• The Center for Nanotechnology in Society
• ASU Office of the President
• Intel
• The Prevail Project of the Sandra Day O’Connor College of Law
• School of Sustainability
• Ira A. Fulton Schools of Engineering
• ASU LightWorks
• ASU Art Museum

Image above: A moment during Immerge, a performance on Nelson Fine Arts Plaza during the Emerge conference. Photo by Tim Trumble.

Looking for miracles at the ASU Art Museum

Julianne Swartz and Ken Landauer are looking for miracles at the ASU Art Museum this January. As the Social Studies artists for the spring, they will be in residence much of January exploring the miraculous through people’s perceptions of it in their lives. Julianne and Ken will interview school children, ASU students and community members of all ages and backgrounds to gather a range of definitions and life experiences. Their findings will be combined in an installation of fleeting vignettes in video and sound playing on all of the Museum’s available equipment.

Andrea Feller, Nicole Herden and I have been doing advance work talking to teachers, faculty and community members about the project. We just received more than 100 student projects back from Tesseract School and ACP (Academy with Community Partners) High School, grades 5 through 12. The written stories, guided by questions from the artists, are heart wrenching and compelling. They include a child telling the story of his great grandmother dancing with the ghost of her late husband in his wedding suit to a child’s story of the miracle of her own birth to teenagers with siblings surviving near-fatal war injuries.

An incredible start to Miracle Report, the eighth Social Studies project at the ASU Art Museum.

—Heather Sealy Lineberry, Senior Curator and Associate Director

For more information, or if you would like to schedule a session with the artists to retell your own miracle, contact Nicole Herden at Nicole.herden @asu.edu.

Here are the dates of the project and the artists’ mission statement:

Artist Residency: December 26, 2011 – January 20, 2012

Exhibition: January 21 – June 2, 2012

Reception: Friday, January 20, 5-7pm; Julianne Swartz will speak at the opening.

Mission Statement:

-We will spend our Social Studies Residency looking for miracles.

-We will locate the miraculous through other people’s perception of it in their lives.

-We will interview many local residents and ask them to “describe a miracle you have experienced”.

– Interviewees will be of varied ages and backgrounds. We will gratefully record anyone who wishes to retell his or her own miracle.

-We will record audio and video from these interviews, but identities will be obscured.

-The recordings will be edited into fleeting vignettes that attempt to establish “the miraculous” through many entirely subjective perspectives.

-We will seek to use all of the available audio and visual equipment in the museum’s possession to display the recordings.

-Our installation will strive to embody some beauty, some hocus-pocus, and some unexplainable magic.

“Securing a free state: The Second Amendment Project” – Calendar of public events

Check this calendar for an updated list of public events and panels connected to the Securing a free state: The Second Amendment Project – Jennifer Nelson, Social Studies 7, including an artist reception at the Museum on Nov. 4. We hope you can join us!

 CALENDAR OF PUBLIC EVENTS

Open gallery sessions with the artist

Saturday, October 8 – noon-1:30 p.m.

Saturday, October 15 – noon-1:30 p.m.
Participants are encouraged to attend for the full 90 minutes.

Public panel on the topic of how people find security,
individually and collectively.

Tuesday, November 1 – noon-1:30 p.m.

Panelists include:

Kim Hedrick, Trauma Survivor

Nick Katkevich, Co-Director of the Phoenix
Nonviolence Truthforce

John Kleinheinz , Captain/Commander of the Maricopa
County Sheriff’s Office Special Weapons and Tactics
(SWAT) Division

Scout McNamara, Counselor specializing in trauma
resolution, mood disorders, addiction and relationships

Jim Neff, Firearm Instructor, Generations Firearm
Training

Moylan Ryan, Somatic Coach

Field trips

We recommend that you attend more than one field trip to better understand the
full scope of the project.

To sign up, call Lekha Hileman Waitoller at 480-965-0497 or email at Lekha.Waitoller@asu.edu

Thursday, October 13 – 6:30 p.m.

Artificial Limb Specialists, 2916 N. 3rd Street, Phoenix, AZ 85012

Sunday, October 23 – 11 a.m.

GPS Defense Sniper School

Saturday, October 29 – noon-2:00 p.m.

St. Luke’s Behavioral Health, 1800 E. Van Buren
Street, Phoenix, AZ 85006

Enter through the main entrance, signage will direct you to the
Behavioral Health Auditorium

Artist reception

Friday, November 4 – 5:00-7:00 p.m. Closing remarks by Jennifer Nelson at 5:45 p.m.

Gallery events

Friday, October 21 – 2:30-4:30 p.m.

Performance by visiting dance artist Tim O’Donnell

Thursday, November 3, noon-2:00 p.m.

Nick Katkevich of the Phoenix Nonviolence
Truthforce, will provide an introduction to Kingian

Nonviolence focusing on the fundamental strategies and
aspects of nonviolence based on the philosophy and movements led by Dr. Martin Luther King Jr.

For more information, updates and further opportunities to engage in the project,
please check the ASU Art Museum blog: asuartmuseum.wordpress.com or contact
Lekha Hileman Waitoller at 480-965-0497.