Sessions Book

8/12/2019 Sessions Book

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SESSIONS


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SESSION I


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~ FRIDAY, MAY 10TH, 2:00PM ~

Fleck 106 Panel: Collaborative/Community

Globalization has seemingly brought the world closer togetherand has resulted in a heightened sense of the familiar. This

feeling of familiarity provides a bridge through which Yoo canaccess and magnify her perception of a world derived frompersonal experience. In her work, the fictive nature of a space

that is both idealized and conditioned by our society reflects

skepticism and multiplicity as she obscures the distinctionbetween the past and the present, stereotypes and the real,and collective and personal memories. By embracing bothpersonal and collaborative presentations, her work explores

the possibilities of an idealized environment.

Guided by a conceptual framework of reciprocity, BorderlandYouth at Texas State University is working collaboratively withvarious communities of youth living in the US/Mexico border

region to creatively reflect upon the cross-cultural, humanexperiences existent within this significant social geography.By utilizing participatory art practices we are able to create a

public body of work that functions as a tangible mechanismto activate social awareness and provide access to a more

realistic, complex, and complete story of the US/Mexico border

and its residents. The resulting work is exhibited, published,and ultimately archived at Texas State University.

Multiplicity inCollaboration

and Community

Sang-Mi Yoo, assistant professorTexas Tech University

Borderland Youth:

A Social GeographyRevealed throughParticipatory Art

Practice

Jason Reed, assistant

professor of photography

Texas State University-San Marcos

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Cathi Ball has completed work on the Eastland Outdoor

Art Museum, a project conceived in her sketchbooks. Thisunique Museum is an attempt to make art history accessibleto all the children of Eastland, Texas. The museum includes

42 works at 40 locations completed over 3 years with 144local volunteers and students. The project allows the studentsof Eastland access to world famous art while advertising the

artist work. This community wide project has truly paintedthe town.

Fleck 108 Panel: Green Art/Environmental

The mission of Austin Green Art is to help the community

to fully understand the revolutionary calling that definessustainability by visually representing it, inspiring people

to engage it, and building participatory programs that givepeople a real feeling of its transformative power. We aspire totrain a new generation of artists who serve their communities

and to inspire a new generation of creative citizens. A GreenArtist is an agent for change, uniquely qualified to merge

environmental, social and economic considerations intocollaborative projects that raise social network capital andcommunity standards of sustainability.

This presentation examines the history of recycling humanhair to create art. The utilization of human hair in art can be

traced back to Queen Victorias reign in the mid nineteenthcentury. The presentation examines the multiple ways human

hair is used by contemporary artists. Artists go green byrecycling a personal part of the human body - hair. Cultural

perceptions and myths about hair will be discussed in an arthistorical context.

Were green,participatory and public!

Randy Jewart, directorAustin Green Art,

www.Austingreenart.org

Eastland Outdoor

Art Museum

Cathi Ball, assistant professorHoward Payne University

Curly, Shaggy, Gleaming,Streaming, The Artof Hair: An Intimate

Recycling Program

Rosemary Meza-DesPlas,artist & educatorEl Centro College


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Pulitzer Prize winner Edward O. Wilson is quoted as saying

that destroying rainforest for economic gain is like burning aRenaissance painting to cook a meal. Art certainly does nothave the ability to correct global climate change, but it caneducate and inform in an evocative rather than didactic manner.

There is an abundant history of using nature as a metaphorto reflect and comment on morals, values and humankind. In

the same respect, the use of nature as a metaphor emulatesan attempt to place ourselves within nature. Today we facean unknown and unseen nature as it is being lost before we

discover it and invented before we understand it.

Fleck 109 Panel: Art & Community

This presentation will look at a diverse group of people

responding directly to contemporary works of art and howthese works affect their lives. Barrett has been working withelderly in assisted-living homes, cancer patients, autistic teen-

agers, business men and women, and students of all ages,pre-K through Ph.D., in the USA and in Holland (visiting artist

position). He is concerned with people building meaningfulconnections between contemporary art and their personaland communal lives.

Appreciating LifeThrough Art

Terry Barrett, professor of art

education & art history,University of North Texas

Red Listed

Catherine Prose, assistant

professor of art & gallery directorMidwestern State University

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To understand the artist, we start with what makes an artist the

creator that he becomes: the Complete Artist Communicator.To accomplish this, the 21st century artist uses all his/hertalents and abilities to serve human beings through a teameffort that make up for deficiencies in a single individual.

Building this creative-effort-team, we must understandfundamental ingredients: 1) recruiting a team of dedicated

individuals who use all their senses to communicate with eachother; 2) mix in the dedication and passion of the focusedcreative effort; and 3) envision an ideate transcending the

surface to universal humanity

Fleck 111 Workshop: Art & Community Part 1

This workshop has a structure that deals with the individualperson as the artist and the teacher. When catastrophic

things occur within communities it affects everyone. Whenhurricanes IKE and Katrina devaStated the shores and lives of

thousands, it was impossible for me to go into the classroomwith the attitude of lessons as normal. The relational andartist parts of me collaborate with the participants to respond

to the events in the world around us. I use these events toteach how artists with conscience might respond. The Art

becomes the result and or response to these events

Moving Beyond Imageand into Communitywith: RelationalAesthetics: Part 1Georganna Tapley, artist & teacher

at Art Alliance Center,

Brazosport College, Lee College

The Struggle For

Meaning Between TheArtist And The Audience,A Balance between Artist

and Community

Joe Kagle, professor of artLone Star College-Kingwood


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Session II


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~ MAY 10TH, 3:30PM ~

Fleck 106 Panel: Masters Showcase

The University of Texas at Dallas (UT Dallas) offers a uniquemasters and MFA in Arts and Technology (atec). The atec

program is one of the fastest growing degree plans atUT Dallas. A Ph.D. program is also in the final phases ofdevelopment. Students study the application of technology in

art to produce interactive exhibits, computer games, training

and simulations, web programs, animation, 3-d modeling andother technology-based art media. Students can also combinethe study of atec with Emerging Media and Communications(emac) to study the evolution of text and narrative within the

context of arts and technology.

UT Arlington is a growing University with enrollment

approaching 30,000. UT Arlington has a MFA program

that offers study in one of four media areas- VisualCommunications, Film/ Video, Glass, and Intermedia. Theirlarge department enrolls more than 800 undergraduatemajors and boasts extensive facilities. Arlington is situated

directly between Dallas and Fort Worth and is convenientto an extensive cultural experience, many world-classmuseums, and a growing economy.

Virtual Humansand Living Worlds:Graduate Programs inArts and Technology at

UT Dallas

Marjorie A. Zielke, Ph.D., assistant

professorUniversity of Texas at Dallas

A Growing University:

The Graduate ArtPrograms at UTArlingtonLeighton McWilliams, associate

professor and assistant chair of

art & art historyUniversity of Texas, Arlington


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The mission of the art education program at the University

of Texas at Austin is to provide excellence in the preparationof art teachers, art museum educators, and community artprogrammers. The aim of the program is to cultivate top-ratedscholarship through institutional and community partnerships

and research-based development of art education theory andpractice. The art education faculty members are committed

to helping students make connections between knowledgeacquired in the classroom, student teaching in the publicschools, and experiential learning in alternative settings in the

community. The introduction of the program at the 2013 TASAconference will entail a detailed description of the degree

options in the graduate art education program, which areschool focus, art museum education, and community-basedart education.

Fleck 108 Lecture: Art & Community

Dr. Calabrese will present film noir clips and discourse related

to the problematic. This means that the films attempt to dealwith a problem without overtly stating it. Ostensibly theseare thriller/suspense films, murder mysteries. Beneath many

plots are issues dealing with the returning vet to a society

that is less than eager to have him, a world in which he doesnot fit. He is oftentimes forced to assume the position of acriminal who has to vindicate himself by overcoming variousinsurmountable obstacles. Each film presents variations on

this theme.

The Returning Vetand FILM NOIR:The Problematic

Dr. John A. Calabrese, professor

of visual artsTexas Womans University

Preparing Students

for Effective Practiceand Leadership

in Art Education

Christopher Adejumo, associateprofessor of visual art studies/art

educationUniversity of Texas at Austin

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Fleck 109 Panel: Collaboration

A committee of faculty members was formed from the variousdepartments in the School of the Arts (soa); Dance, Music,Drama and the Visual Arts to create an identity for this new

school and to create an event that would encompass all ofthe arts in the soa. The concept of the Art Triangle came

about through looking at a map of campus and noting thata line drawn around all of the buildings in the soa createda triangular shape. Following this theme the concept of a

connective experience tying these sites together beganto emerge as an interactive tour or artswalk, featuring the

various arts in non-traditional settings; in and around thebuildings on the map, where virtually anything could happen.

Colby Parsons is a sculptor who has been involved in

several collaborative projects. One in Denmark with sculptorBrian Boldon in 2006, one in Dallas with the painter/

sculptor Mark Collop from 20072008, and one in Dentonwith electroacoustic composer Greg Dixon from 2008 up to

now. These collaborations have incorporated a broad rangeof media including clay, glass, video, wood, cardboard,found objects, and light; and each one has taken its own

direction depending on the particular interests we share,and the chemistry of the collaborative relationship. Mostof these have involved installation settings with some kind of

interactive element inviting the viewers participation in thework.

The Arts TriangleArtsWalk ProjectGary Washmon, interim chair of

visual arts,Texas Womans University

Collaborative ProjectsColby Parsons, associate

professor of art

Texas Womans University


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Inspired by Chicano youth culture that involves low-rider

bikes and hoping to motivate junior high students to considerart as a stepping stone towards attending College, FutureAtkins co-created an art opportunity for low-income youth inLubbock, Texas. Fourteen and fifteen year-olds enrolled in an

art class where they created low-rider bikes with discardedparts and throw-away materials, while Texas Tech University

art studio majors in a kinetic sculpture course created dreambikes using metals and fabrication work. Both sets of resultingbikes were displayed along with true low-rider bikes from the

local community in a sidewalk parade. This presentation willdissect and discuss both student populations experiences and

performances, community and academic reactions/feedback,fund-raising efforts and obstacles, cultural considerations andreactions based on social class, race and ethnicity.

Fleck 111 Workshop: Art & Community Part 2

This workshop deals with the person as the artist and theteacher... The Relational Aesthetics workshop will be offered

to individuals uniting them in a common theme of research.They will actively participate in all stages of a creation to becompleted during the conference. Although this is the second

part of a two-part workshop, if you missed part one, you canstill participate in part two.

Fleck Iron Pour

Butch Jack, Lamar University, Amy Gerhauser, St. EdwardsUniversity, and Donnie Keen, keen foundry

Watch students & faculty pour their molds for the CharmBreacelet of Texas, and other projects.

Low-Rider Bikes in

Higher Education:A Project byThrow Away YouthFuture Akins, assistant professor

of art education & visual studies,Texas Tech University

Moving Beyond Imageand into Communitywith: RelationalAesthetics: Part 2

Georganna Tapley, artist & teacher

at art alliance center,Brazosport College, Lee College

Meet Transport Van inBack of Fleck at 3:20

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Session III


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~ SATURDAY, MAY 11TH, 9:30AM

Arts 110 Workshop: Green Art/Environmental

Limit first 15 participants

Judy will present a hands-on workshop focusing on thecreation of simple printed collages with found images, text,and expressive monoprints. Printed on recycled paper sacks,

the Weathergrams are records of contemplation, sharedobservations of the natural world, and messages of hope.

The Weathergrams will be installed on campus for the Springseason and will recycle with the seasons weather.

Arts 113 Panel: Collaborative Projects

From 20072009, 106 sculptors representing twenty-sixStates across the country have joined together to undertake

a collaborative art project of unprecedented proportions.Working in regional groups of five to nine people, the artists

have created an immense body of collaborative 3D artwork.Each participant was to create a seed element, the beginningsegment of a sculpture, which was then passed onto other

group members who each added their own artistic element toevery piece. Once the cycle of exchange was complete, eachartist will have contributed to every sculpture, and there is one

finished sculpture for each person participating.

Imagillaboration:A National Sculpture

Collaboration ProjectJack Gron, director/professor of

fne art,

Texas A&M, Corpus Christi

Weathergrams: A SpringPeace Project

Judy Stone-Nunneley,artist & educator

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Meredith Jack will present his on-going project to cast a

cast iron chain with a link cast in all 50 States of the union.This project is an extension of his involvement with the IronTrail to the Arctic in 2008 and the in-State extension of theChain that is the Charm Bracelet for Texas, to be cast

during the 2013 TASA conference. The academic iron castingcommunity begun by Julius Schmidt in the 1950s, has grown

and prospered. There are University iron foundry programsin most States and many independent artists have set uptheir own facilities. The Cast Iron Chain is an effort to bring

all these disparate individuals into communication for theexchange of ideas, techniques, and aesthetic deliberations.

In 2008 Donnie Keen of Keen Foundry in Houston leda group of artists and artisans north of the Arctic Circle to

the Village of Wiseman, permanent population 13, to cast a

cast iron public sculpture. Wiseman is known outside of thearctic primarily from the PBS documentary Gateway to the

Arctic: the Brooks Range, which featured the village and itsinhabitants. Collaborating with the Alaskan sculptor Patrick

Garley, Keen has been instrumental in establishing a thrivingartist/iron casting community in the USs northern-most State.He will present the planning, logistics, and implementation of

this ambitious endeavor and the five year reunion pour setfor June 2013.

A Cast Iron Chain

for America

Meredith Butch Jack, professorof art

Lamar University

Taking Iron to the Arctic

Donnie Keen, director

Keen Foundry in Houston, TX


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Since 1983 the University of Texas at San Antonio has

informally run UTSA Collaborative Editions (UTSace).Professors Dennis Olsen and Kent Rush who head theprintmaking program at UTSA have worked with thesemester long visiting artist/faculty and faculty members to

produce a substantial portfolio of wonderful prints primarilyin lithography, intaglio and relief. Recently Kent Rush, in an

effort to reach out to the community, offered the press toDr. Ricardo Romo as a format for printing editions for local

and regional Chicano/a and Mexican American artists. Thetwo Master Printers are former MFA graduated printmakers,Neal Cox (two years now teaching at SFAU) and currently,

Steven Carter. Since 2004 over 20 prints in editions of 30have been printed and we are working with more artists withan anticipated total of 32 editions.

Arts 116 Workshop: Innovations in Foundations Limit first 20 participants

There is a long history of potters using colored slips and

engobes to decorate the clay surface. Due to their opacity,sensuous texture, potential for color, and possibilities forapplication at various stages of drying, these types of liquid

clays offer artists and potters many decorative options. SEUart faculty, Stan Irvin and Connie McCreary, will demonstratevarious surface decoration and forming techniques using

primarily colored clays and slips. They will present optionsfor both low and high-fire. Workshop attendees are invited

to participate in a hands on experience with slip decorationthat can be employed by beginning students and offer some

interesting options for more advanced exploration.

UTSA Collaborative

EditionsKent Rush, professor of art

University of Texas at San Antonio

Colored Slips AndThe Clay SurfaceStan Irvin, professor of art

St. Edwards UniversityConnie McCreary, artist &

educatorSt. Edwards University

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Arts 120 Panel: Innovations in Foundations

Mutchlers interests in Foundations derive from the BauhausPreliminary Course- and consequently bringing relevanceto these ideals. Foundations should be comprised of three

equally emphasized components: craft (the teaching oftechnical proficiency), context (relevant vocabulary and

history), and conceptual acuity (art and design as a pursuitof knowledge). For the last forty years many art departmentshave overlooked the critical potential of Foundations. I

thrive on working with young, fresh talented students thatremain open and observant, malleable and motivated says

Mutchler. I hope to heighten the status of Foundations withinthe academic world, to bring about the new Bauhaus.

How might two-dimensional design courses better respond to

contemporary cross-disciplinary space and student needs?St. Edwards University Art department recently undertook

a restructuring of its two-dimensional design coursewith this question in mind. Emphasizing design process,

conceptualization, and the relationship between two, three,and four-dimensional thinking, in a laboratory type studioenvironment, this restructuring embeds learning hand skills

and design principals with reading and discussion. The goalis to provide students with the tools to be both articulate andtechnically accomplished within a world that is increasingly

cross-disciplinary. By providing them with technical skillsand theoretical frameworks students are better prepared to

engage and make in a variety of fields.

Innovations inFoundation CurriculumLeslie Mutchler, assistantprofessor of art, area head of 2d

FoundationsUniversity of Texas at Austin

From 2D to Cross-

Disciplinary Space:Revising BeginningDesignEric Zimmerman,

assistant professor of artSt. Edwards University


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Drawing is possibly the most important foundational skill

for the beginning artiSt. It is also one of the most popularsubjects in art, with more drawing books on the market todaythan most other disciplines. Finding the right textbook foryour course however is almost impossible. As faculty we find

ourselves piecing together resources for our students, tryingto balance technique with concept, and often failing at finding

source material that is truly appropriate for a specific course.Sometimes you have to take matters into your own hands,

and if you cant find the right book just make one.

Arts 121 Workshop: Technology

limit first 20 participants

This workshop will provide participants with the tools and

resources needed to introduce technology into studio classes.

It is designed for the educator that does not use technologyin his or her own work, and may not be comfortable with

technology, but would like to incorporate digital tools in theirclassroom. I will discuss what technology is important, what is

absolutely necessary, and what you can teach with no budget.The heart of the workshop explores teaching resources,tutorials and on-line opportunities for both teacher and student

to learn and explore digital technologies. Workshop attendeeswill be given access to a website created specifically for theworkshop that has links to resources, ideas for assignments,

and on-line tutorials.

Drawing Structure:

Beginning Drawing and aDIY TextbookHollis Hammonds, area

coordinator & assistant professor

of artSt. Edwards University

Teaching Software on

the Fly or Resources forTeaching Technology orHow to teach computerstuff you dont know orComputer Instruction forDummiesPeter Tucker, assistant professor

of media artsSuny Fredonia & St. Edwards

University

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~ SATURDAY, MAY 11TH, 11:00AM ~

Arts 113 Panel: Art & Activism

We are entering our 5th year at South Texas College hostingan annual human rights art exhibition in conjunctions with the

Human Trafficking Conference sponsored by the WomensStudies Committee. Jennifer Clark from the STC PoliticalScience Department and Womens Studies President would

present an overview of the Sex Trafficking Conference andhow they collaborate with artists to educate the community

and bring awareness of this global and regional problem.Richard Lubben from the STC Art Department and ExhibitCurator will show selected images from previous shows

and discuss how artists have used their art to communicatea personal experience, open a dialogue or encourage self-

reflection about the issue.

This sketchbook performance is inspired by the nineteenth-century practice of recycling rags for paper. Many earlyAmerican broadsides, childrens books, almanacs, andnewspapers printed the phrase Cash Paid for Rags to

solicit old cloth for use in paper-making. My project revisitsthe rag trade by taking discarded or second-hand shirts and

blueprinting them with phrases and images from nineteenth-century material culture, creating wearable hybrids of theearly American womens movement and contemporary

artifacts from my local thrift store. Research and ideas forthis project were gathered at the American Antiquarian Societyin Worcester, MA, and the TTU Womens Studies Program.

Human Rights Art &Community Education

Jenny Bryson Clark,South Texas College political

science faculty

Professor Richard Lubben,South

Texas College visual arts faculty

Cash Paid for RagsA sketchbookperformanceCarol Flueckiger,

associate professor of art,

Texas Tech University

S4


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Working in Collaboration with the Mexican Association of

the United Nations and Deportes Para Compartir, we aredeveloping a documentary project that will raise awarenessabout the cultural heritage of indigenous children that areeducated and cared for in shelter schools. The shelters

are located throughout the country and often provide theonly means of insuring that children living in very remote

communities can receive three meals a day as well as a finegeneral education. Deportes Para Compartir uses group

sport activities to promote the United Nations millennial goalsthat include issues of gender equality and child health.

Arts 114 Panel: Collaboration

Photography has been a tool for social and political change

for many years and it can exude tremendous educational

authority. What better time than now for artists to utilize artas a tool of enlightenment and education on the specific

issue of the border fence and all the challenges it produces.The border fence strikes at the very essence of our culture

and democracy. I ask my class how we can investigate therelationships of image, community, concept, and the cognitiveprocess. In this political climate how do we produce a didactic

principle and call authority into question and do it via digitalphotography.

Deportes Para Compartir

and the AlberguesEscolares Indigenas(Sports For Sharing andthe Indigenous ShelterSchools of Mexico)Roger Colombik and Jerolyn

Bahm Colombik,Colombik studios in Wimberly Texas

Art, Aesthetics,Education and Activismdealing with the BorderWall

David Freeman, visual arts faculty

South Texas College


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The border wall controversy affects every citizen of the United

States and Mexico in one way or another whether directly orindirectly. Teaching eight miles from the border in McAllen,Texas has heightened Matthews awareness of the effects thewall is having on our two countries and how these changes

will impact our lives for years to come. He uses the classroomas an incubator to discuss the pros and cons of the wall and

what artists can do to bring awareness to the situation. Canborder wall artwork change minds, influence policy and alter

popular culture? asks Matthews. Yes, I believe it can.This presentation focuses on how art education majors at

the University of Texas at Brownsville have addressed theneeds of the community by developing an exhibition using theborder wall as a theme. It also includes specific research and

curriculum to heighten awareness for the need of community

based art and arts education within secondary and upperdivision students.

Can border wall artwork

change minds, influencepolicy and alter popularculture?Tom Matthews, assistant

chair & visual arts faculty

South Texas College

The Border Wall andCommunity Based ArtEducationBret Leer, Ph.D., assistant

professor/art ed. adviser/artcoordinatorUniversity of Texas at Brownsville &

Texas Southmost College

S4


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The art of the modern and postmodern eras sought to

establish its autonomy, art for arts sake, leaving behind thesocietal functions of the paSt. In our time, art is not supposedto do something, it is merely supposed to be. This has led tothe segregation of fine art, relegating it to the rarified world

of galleries and museums, as distinct from daily life and thereal world. This poses a dilemma for artists who seek to

engage social or political issues, such as the walls that arebeing erected along the U.S. Mexico border. More than 600

miles of border wall have been built, tearing through cities,farms, and wildlife refuges. In the face of something thatinflicts itself so powerfully and destructively upon the real

world, what role can art play?

Arts 120 Panel: Art & Community

This workshop will engage Texas artists and educators ina fun and simple art project with a powerful solution basedmission. You will leave prepared to mobilize your community!

The Fundred Dollar Bill Project reaches out to students of allages to create Fundred Dollar Bills in hopes of gathering 300million creative voices from across the country in the form of

drawings. The original artworks will be delivered to congress

with a request that they are exchanged for their equivalent ingoods and service to transform the lead contaminated soilsin New Orleans and ultimately every lead affected city.

What Role Can Art Play?

Border WallScott Nicol, visual artsSouth Texas College

Fundred: Engaging ina 300 Million DollarDifference

Mel Chin, artist &keynote speaker


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Maps


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Fleck Building

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