ArtSoup

VAPA 400 Project Presentation

2008-05-06T10:10:00.004-06:00

VAPA 400 Project Presentation

2008-05-06T09:57:00.007-06:00

UCCS Senior Seminar Exhibition 2008

2008-05-06T09:53:00.003-06:00

UCCS Senior Seminar Exhibition 2008

2008-05-06T09:51:00.001-06:00

Sooin Kwon

Satisrainbowfaction (2008)

Senior Seminar Exhibition 2008, GoCA at UCCS

UCCS Senior Exhibition

2008-05-06T06:43:00.003-06:00

In case you're wondering: I'm holding the Senior Show photos hostage until the exhibit closes on June 7th. It's better in person! (kfreed)

UCCS Student Collaboration

2008-05-06T06:34:00.003-06:00

Posted to Assail's Weblog: April 30, 2008
http://assail.wordpress.com/

Advanced Students Earn Commission for Digital Mural

I’m so pleased to finally announce that the students in the Advanced Digital Media studio course earned a $1,000 commission for the digital mural “Greeen #12″ from Ent Federal Credit Union! The mural will be unveiled at a ceremony next Friday (May 9th) at 1:30 in the UCCS student center. Please attend if you can, and again -- congrats to Nick [Hertzog], John [Keitel], Kelly [Couch], Karen [Freed], Grace [Galloway], and Brendyn [Hatfield]!

Money, public commission, plaque -- how cool is all that!

The final version has the Ent logo much smaller and in black. Follow the students’ blog (which they ran as a collaborative sketchbook): here.

Application of Human-Computer Interaction

2008-05-06T05:28:00.003-06:00

Definition of HCI:
Human-Computer Interaction
Hewett, Baecker, et. al.
http://sigchi.org/cdg/cdg2.html#2_1

HCI is defined as “a discipline concerned with the design, evaluation and implementation of interactive computing systems for human use and with the study of major phenomena surrounding them.” The focus of the discipline relies more heavily on the interactive aspects of the technology than on the design of functional computational devices. There appears to be a consensus on the topic of functionality, concluding that the perception of HCI from a strict design perspective eliminates, or at least substantially limits, the possibilities for conceptual applications. Therefore, the scope of the field has been expanded to acknowledge the cross-fertilization that occurs between computer science and numerous other disciplines. Of particular interest is the section devoted to “dialogue genre” which addresses the notion of conceptual use as it relates to artistic practice.

To illustrate the application of the HCI paradigm to artistic practice the interactive work by Lynn Hershman Leeson serves as a noteworthy example. Her use of computer technology to underscore disconcerting emotions associated with issues of surveillance (in particular, A Room of One’s Own) is an inspired approach to human-computer interaction, wherein the viewer’s gaze directs the progression of the video narrative.

(kfreed)

View Leeson works (click title)

Story and Game: The Interacticve Narrative

2008-05-06T04:59:00.004-06:00

Jill Walker: How I Was Played by Online Caroline

Jill Walker’s article appears to be an analogy of the Internet traffic monitoring capabilities of the online marketing industry. Though she describes a game (or “simulation”) in which she must continually participate in order for the narrative of Online Caroline to progress, the sinister-sounding motivation behind the simulation seems less like idle entertainment than a lesson on the avoidance of deliberate attempts by unwanted intruders to obtain personal information (much like the attachment of invisible cookies busily tracking consumer preferences). It’s not so much that we’re outed by the information we provide as by the information we never intended to divulge.

Walker’s conclusion intimates more than is revealed by the simple narrative of how she was duped by an online simulation when she complains, “My explorations through the text make me feel as though I have choices and as though I am in control. The narrative seems to adjust itself to my actions and responses. Then I see that the system is paying as much attention to the details of the way I read as it is to my deliberate responses.” In this sense, the user distinctly takes on dual roles of “viewer and viewed.” While Walker makes references to the harvesting of information by companies (Eopinions.com and Amazon.com for example) that make use of information based on prior knowledge of the user’s interests to promote further involvement, she wonders at the application of behavior modeling to narratives and games. Is she truly puzzled or just faking it to make a point?

Read on: click title (kfreed)

Nick Herzog: Virtual Insanity

2008-05-06T04:41:00.008-06:00

UCCS student, Nick Hertzog’s Left Right in Suburbia (Crazy Is Just a Mindset) isn’t necessarily what you’d expect from an ordinary E-book. He envisioned creating an online literary piece, but his blog veers into unexpected territory. Part diary, part notebook, part fictional narrative -- we become privy to his thoughts, inspiration, motivation, and aspirations. He lets his audience in on the creative writing process and we get to tag along as he begins to develop a plot. I found it novel (no pun intended) that he doesn’t rely entirely on the written word. He incorporates video spot-treatments to enhance the storyline, effectively luring us inside. No need to wait for the movie – he’s got us covered.

I’d hate to be the one to give away the ending – wait, there isn’t one – yet. It’s still a work in progress. However, Nick comes to some interesting conclusions that transcend the limitations of a novice writer.

Read on without me… (kfreed)

*Click post title to view Nick's blog.

1440 Minutes

2008-04-14T09:35:00.005-06:00

1440 Minutes
4/11/2008
5pm-?
UCCS GoCA & CC Coburn

It was a night of performance art and installation. In the UCCS gallery space, there were five main interaction spaces. The first was the food and drinks that met you immediately upon entering. This is incredibly new since in past exhibitions, the catering was outside in he hallway and no food or drink was allowed inside. The reason for the change is that there were cameras set up watching the interactions with the catering – after grabbing your goods, you wandered over behind the wall to find two projectors showing people moving. It was titled something like “What Brings Us All Together” – and suddenly you realize “That’s the entryway to the gallery!” You were on these projections earlier!
For some, it made them wary of going back for seconds. Some of those that did go back were more aware of what they were doing. Based on the title, one could conclude that food and drinks bring us together; and possibly on another level, television – people doing mundane or unimportant things on TV.

Next door to these projections was a small, dimly lit hallway to a very large black trifold cardboard probably about eight feet tall, which was labeled “The Art Confessional”. On a short pedestal directly in front of it was a stick of white chalk and fake plastic fly. At first, people wrote about art-related things, but soon the confessional “wall” was littered with profanities and nonsense statements, some not related to art at all. People would stand and read everyone else’s before putting their own confessions down.
My favorite would have to be “I fucked Picasso”. It reminded me of the bathroom stall walls back in High School, where girls privately would write something, yet know that it would be seen – like confession is hypocritical, telling someone something deeply personal that you don’t want to share for fear of judgment (which is why for the first hour or so the confessional wall was left empty I think…) but kind of want to share to get it off your chest. Perhaps that’s why it took time for others to write; they want that cushion of anonymity so no one will know which theirs is out of all those – either that or the feeling that it’s alright to share because so many others did too. I ran into this kind of sharing timidity at the CC portion later. But let’s finish the UCCS side.

Adjacent to the confessional was a “church”. Benches set up in rows where the “congregation” sat. It was the ARTCHURCH by the ARTOFFICIALS. They even had missals for you to take that outlined the “mass”. The “priests” were attired in black and berets, the classic stereotype artist’s dress. One stood at the pulpit, reading and sermonizing things like “Andy Warhol’s Diary” and “The Unartfulness of Modern Life”. The space was lit by video projections of churches on the front wall, and two smaller ones on the side walls. They were colored differently and in constant motion over the facades, resembling stained-glass windows. Multiple monitors stacked on one side showed various faces of people, like the iconography of saints – either that or they were the choir. In front was an alter with tabernacle (what usually holds the hosts) type thing against the wall, surrounded by candles. I didn’t get to observe the whole “mass”, but from what I gather from colleagues, they were given a little plastic shiny red heart ornament for “communion” – a mass-produced art-object. My favorite part about this would have to be “The Sign of the Bulb” which is like the sign of the cross in Christianiy, but instead tracing the contour of a light bulb and then putting your index finger up in an “Aha!” epiphany gesture.
This art-mass was brilliant, changing the ritual of Christianity into ritual of art – as though art (which it is/should be) was something to be thought about and revered. “The Artistic Trinity, In the name of The Idea, The Process, and The Work.” It has great possibilities for provoking discussion in the arts and life as this piece can be taken on different levels: as a serious or satirical critique of art practices, as a mocking of Christian ritual, and even as an educational venue for people (the “congregation”) to learn about art.

The last part of UCCS’ space was two curtained off cubicles on adjacent walls which were connected to one another by was of a screen and a video camera. The person in the other cubicle could see you on their monitor via your camera recording and transmitting you in real-time. Outside on the cubicles, people can see who’s inside and what they’re doing. On the walls next to the cubicle entrances were three large $5 bill reproductions (probably 12x5”) with words something like “Abe Lincoln wants someone to crack” in yellow lettering. Later that night, we discovered the real purpose – whoever laughed first lost the $5 prize. I actually won once. A person would make faces or do something into his or her camera to get the person in the other cubicle to laugh. There were even some team tries. People gathered around to watch the antics as they were projected on the outside of the cubicles as well.
This rounds up the sort of theme of UCCS’ gallery space; it is something of watching other people and being aware of our own actions. This last piece pushes the boundaries of socially acceptable behavior and comfort boundaries: How far are you willing to go to win that $5 with all of those people watching?

The UCCS space was fun and engaging.
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From there, one could take a shuttle to the CC campus gallery. For the trip on the bus there was a work by UCCS professor Valerie Brodar. On the window were large sheets of vellum printed with times, places, and descriptions of people who rode busses (at least it seemed that was what was being described). An audio track on loop played with different voices reading these descriptions one at a time – each full of inferences about the personalities and happenings in the lives of the one being observed. It was an interesting juxtaposition of elements with the context of us the viewers riding a bus. At once, this conveyance is a means to the other art space, but itself is part of the work presented by Brodar. It brings to mind the people watching that we all do, sometimes seeing another person on the bus (or elsewhere) and judging who they are from that brief window into their lives – making assumptions or conclusions that may or may not be accurate.
It almost made riders more conscious of being a rider on the bus and of being seen by others. Some even craned their heads around to observe other riders. This piece was transition into the less interactive space at CC.
The CC Coburn gallery sported four works, two interactive and two installation. Somehow, CC’s portion was more quiet and unused – people were not as talkative and did not interact with the artwork as much. It felt more like a classic gallery set-up where viewers aren’t really supposed to touch anything – only observe and silently contemplate.
On a wall was a timeline with some sort of floral wallpaper design, affixed by what looks like Xerox transfers. Pencils with a sharpener were in a corner in a basket. When I got there at around 7pm, there were a few written entries on the timeline and two or three children’s drawings. It seemed people were timid, so I picked up a couple pencils and went to town drawing on those walls. After a while, my colleagues and some other started drawing on the walls too. There were no instructions for the piece and no one spoke to us about it, so we drew or wrote whatever.
This was a little like the confessional wall at UCCS’ GoCA. However, it brings to mind a different issue about environments. It is almost culturally trained into most people that one does not touch the artwork. How the environment is set-up can determine the kinds of behaviors allowed.
Since every work I had seen to this point of the 1440 was interactive in some way, I sat down and started playing with one of the installations resembling a decrepit office-space. The gallery manager came up to me smiling politiely and said, “…this isn’t really all that interactive,” and told me I could draw on the wall or crochet over there. This office space was set against a movable wall. There was a laptop with what appeared to be security video footage on top of the desk, along with a tray and piles of papers, a ring-around of official looking stamps and three ink pads, and a half finished cup of coffee. An empty, rusty two-drawer filing cabinet completed the scene.
Sharing the movable wall on the other side was an equally decrepit looking bathroom space with a very dirty moldy sink coming from the wall (I think there was mold or cat hair in the drain…), a cheap woven rug in front of the sink, and a small pile of women’s shoes off to the side – some being brightly colored pumps or glittery heels.
These two installations were by far the least engaging of the 1440 show for me, because of their static nature. Even the floor crocheting was more active, with balls of colored yarn all around and a multi-pointed star-like crochet-construction where viewers could at least sit down and continue the crocheting on one of the arms.
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Overall, the show was very successful – there were more people at the opening than I have seen at other exhibition openings. The crowd was diverse and active, even drawing in professors from other departments. There was talk about the art shown, art in general, and there was socialization between friends and new people. An excellent community event.

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C. Szarkowski

My Calendar

2008-04-10T03:27:00.004-06:00

My desktop calendar.

'April 2008'

Anyone can use it.

What is graphic design?

2008-04-10T03:20:00.002-06:00

Suppose you want to announce or sell something, amuse or persuade someone, explain a complicated system or demonstrate a process. In other words, you have a message you want to communicate. How do you “send” it? You could tell people one by one or broadcast by radio or loudspeaker. That’s verbal communication. But if you use any visual medium at all—if you make a poster; type a letter; create a business logo, a magazine ad, or an album cover; even make a computer printout—you are using a form of visual communication called graphic design.
Graphic designers work with drawn, painted, photographed, or computer-generated images (pictures), but they also design the letterforms that make up various typefaces found in movie credits and TV ads; in books, magazines, and menus; and even on computer screens. Designers create, choose, and organize these elements—typography, images, and the so-called “white space” around them—to communicate a message. Graphic design is a part of your daily life. From humble things like gum wrappers to huge things like billboards to the T-shirt you’re wearing, graphic design informs, persuades, organizes, stimulates, locates, identifies, attracts attention and provides pleasure.

Graphic design is a creative process that combines art and technology to communicate ideas. The designer works with a variety of communication tools in order to convey a message from a client to a particular audience. The main tools are image and typography.

Image-based design
Designers develop images to represent the ideas their clients want to communicate. Images can be incredibly powerful and compelling tools of communication, conveying not only information but also moods and emotions. People respond to images instinctively based on their personalities, associations, and previous experience. For example, you know that a chili pepper is hot, and this knowledge in combination with the image creates a visual pun.
In the case of image-based design, the images must carry the entire message; there are few if any words to help. These images may be photographic, painted, drawn, or graphically rendered in many different ways. Image-based design is employed when the designer determines that, in a particular case, a picture is indeed worth a thousand words.

Type-based design
In some cases, designers rely on words to convey a message, but they use words differently from the ways writers do. To designers, what the words look like is as important as their meaning. The visual forms, whether typography (communication designed by means of the printed word) or handmade lettering, perform many communication functions. They can arrest your attention on a poster, identify the product name on a package or a truck, and present running text as the typography in a book does. Designers are experts at presenting information in a visual form in print or on film, packaging, or signs.
When you look at an “ordinary” printed page of running text, what is involved in designing such a seemingly simple page? Think about what you would do if you were asked to redesign the page. Would you change the typeface or type size? Would you divide the text into two narrower columns? What about the margins and the spacing between the paragraphs and lines? Would you indent the paragraphs or begin them with decorative lettering? What other kinds of treatment might you give the page number? Would you change the boldface terms, perhaps using italic or underlining? What other changes might you consider, and how would they affect the way the reader reacts to the content? Designers evaluate the message and the audience for type-based design in order to make these kinds of decisions.

Image and type
Designers often combine images and typography to communicate a client’s message to an audience. They explore the creative possibilities presented by words (typography) and images (photography, illustration, and fine art). It is up to the designer not only to find or create appropriate letterforms and images but also to establish the best balance between them.
Designers are the link between the client and the audience. On the one hand, a client is often too close to the message to understand various ways in which it can be presented. The audience, on the other hand, is often too broad to have any direct impact on how a communication is presented. What’s more, it is usually difficult to make the audience a part of the creative process. Unlike client and audience, graphic designers learn how to construct a message and how to present it successfully. They work with the client to understand the content and the purpose of the message. They often collaborate with market researchers and other specialists to understand the nature of the audience. Once a design concept is chosen, the designers work with illustrators and photographers as well as with typesetters and printers or other production specialists to create the final design product.

Symbols, logos and logotypes
Symbols and logos are special, highly condensed information forms or identifiers. Symbols are abstract representation of a particular idea or identity. The CBS “eye” and the active “television” are symbolic forms, which we learn to recognize as representing a particular concept or company. Logotypes are corporate identifications based on a special typographical word treatment. Some identifiers are hybrid, or combinations of symbol and logotype. In order to create these identifiers, the designer must have a clear vision of the corporation or idea to be represented and of the audience to which the message is directed.

Graphic Design: A Career Guide and Education DirectoryEdited by Sharon Helmer

PoggenpohlCopyright 1993The American Institute of Graphic Arts

[For more information, click the title]

Josephine Lobato + Rita Crespin

2008-04-05T17:08:00.005-06:00

Josephine Lobato + Rita Crespin
Guest Lecture 3/11/2008
UC 302 @ 1:40pm

Mother Josephine Lobato and her daughter Rita Crespin gave a lecture and demonstration on embroidery. They spoke of their heritage as tradition bearers, using a revitalized Spanish-colonial style – the Colcha. With each piece, they delve into their lineage and imagination, translating their stories into fiber.

Josephine spoke of how she became involved in embroidery: it “started by accident – like most good things”. She began with “The Tree of Life”, and found a “magic-stitch” that went anywhere you wanted it to. It is kind of like a couching stitch. Josephine then went on to speak of the general history of embroidery. For her, embroidery is a recording of events. These pieces hold meaning and stories. They are a documentation of memory, feeling, and life that starts with a narrative history which she then infuses with her own personal views and experiences. Women send messages all over the world with their stitches. They have always done miracles with very little. Arpilleras are an example – Arpilleras are:

"…small hand sewn and embroidered/embellished tapestries, created by women, most of whose relatives were among those listed as detained/disappeared during the military dictatorship in Chile. Arpilleras began as a means to record the women’s fruitless searches for their loved ones and to function as a means of remembrance…For these women, arpilleras were a way of recording both their grief over the disappearance of their loves ones and the brutality that occurred as a result of Pinochet’s rule of Chile. The materials for these tapestries were often donated; however, many times remnants of the disappeared person’s clothing were used to represent them on the arpillera."

AgosIn, Marjorie. Tapestries of Hope, Threads of Love: The Arpillera Movement in Chile, 1974-1994. Albuquerque: University of Mexico Press, 1996.
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From the Reviewer:
After the lecture, Josephine and Rita had some embroidery kits prepared for us so we could try it ourselves. We used strands of yarn untwisted into smaller “threads” which we used to embroider. Here is a picture of my classmate, Sooin, working diligently to thread the needle:

I enjoyed the embroidery session; people in the audience were socializing while they worked, and others were in silent concentration, likely thinking to themselves – or at least I was. We were free to express ourselves through needlework – the fabric sections in the hoops were for the most part blank. Josephine and Rita had patterns and marking tools available for our use, and encouraged freedom to draw/illustrate whatever we wanted.
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There are particular phrases from Josephine and Rita that I caught and thought are worth sharing:

“Don’t worry about what you draw or being so exact. It’ll come through when you get into the material.”

“Doesn’t matter if you’re an artist or not, matters that you get the story out.”

“In art, follow your heart – not your pencil – let your imagination take you.”

“The older you are the less input you have.”

“Education opens doors – especially for women.”

“Women have had to express themselves in different ways…through arts and crafts…”

“Everyone has creativity in their own way – it just takes time for it to mature and come out.”

“Whatever you do, don’t go back – keep going.”

“If you’re ready to learn, somebody’s ready to teach you.”

“To be creative, put yourself fully into it.”

-C. Szarkowski

Mac Spoof: Performance

2008-03-31T11:27:00.000-06:00

http://www.youtube.com/watch?v=oc4oP_ITqMc

Arts News For: March 31, 2008

2008-03-31T11:23:00.000-06:00

Number Trance Face: Solo Exhibition by Rajinder Singh O. Fournier Galleries - Mendoza, AR Argentina The management of O. Fournier Galleries, a premier art gallery in Mendoza, Argentina is proud to present Number Trance Face, a long-planned and exciting new exhibition of paintings by international multicultural artist, Rajinder Singh. This is the first time that paintings of this successful and prolific Malaysian artist, who was recently selected as one of 20 emerging artists to represent Asia by a juried competition in Hong Kong, will be shown in Argentina. The grand opening of the exhibition will took place on Saturday the 29th of March, 2008 at the O. Fournier Winery. The President and founder of O. Fournier Mendoza, Jos?Manuel Ortega Gil-Fournier opened the exhibition. Rajinder Singh has been a Premiere Portfolio Artist at absolutearts.com since 2006. [For more information, click the title]

Vickie Meguire - Body of Pattern

2008-03-25T14:09:00.003-06:00

Vickie Meguire- “Body of Pattern”
February 26 – April 8, 2008

Inside the Coburn Gallery at Colorado College hang large delicate paper kimonos. On them are pixilated patterns and designs that the artist created using a computer program. These visuals range from traditional floral Asian patterns to more contemporary designs like arrows and bulls-eyes with text; one of the kimono’s designs even resemble a man done in the style of Chuck Close. She printed them, then crumpled the papers and assembled them into kimono shapes. Some surfaces are altered with glitters, glues, and paints. Passersby would (unintentionally or not) with their breath or other movements make the kimonos sway and twist slowly around. On one of the walls in large, bold, Asian calligraphy is writing by the artist, with a small translation written in pencil over to the side. The overall atmospheric effect was completed by displaying a majority of them over small one-inch tall wooden boxes that held sand and decorated stones in a Zen-garden fashion, with an Asian flute instrument (I cannot remember what it is called…) playing in the background.

From the Reviewer:
There was an excellent turnout for the reception on March 4th. People of various ages and disciplines came, including a couple I met who are from a Japanese culture society of some kind.

From Vickie’s Artist talk, I found a few nuggets worth of information I would like to share with you. Some of these may be what I was thinking or what she was saying. In any case, I believe they may be pertinent to all you practicing artists out there.

An artist’s statement would be like the initial part of Vickie’s dialogue: general philosophy supported by tangible specifics, a little bit of personal experience/information, then what the work is, the process of, and a specific description of a piece. If giving an artist’s talk, answer truthfully. Candor seems to be better received than obvious tip-toeing around and acting infallible.

Do not let yourself be limited by what are the established bounds; Vickie believes that her works are in the realm of printmaking, even though some people would argue that the tools she is using are not “printmaking” tools.

Vickie also writes haiku, and regularly practices this art-form. In fact, she had a basket full of papers with her haikus on them which visitors could take for themselves. Mine says: “Wind whistling so… Broadcasting seeds hither and thon… Patiently waiting…” Diversity is important; it influences and informs, and can be a release. It is just like what someone once told me, “…it can be a starting point that may have nothing to do with the final result.”

2008-03-25T12:42:00.002-06:00

Capoira demonstration at UCCS. Spring of 2008.

Capoira is an Afro-Brazilian martial art style. The concept is a hybrid of dance, fighting, and game play. It was created by the African slaves in Brazil during the 16th century.

Vapa 110 Site Specific Project "Spring 08"

2008-03-25T12:00:00.016-06:00

Darko Perisic Object Site Specific Vapa 110
Professor: Matt Jenkins Spring 08

Eva Alabaugh Object Site Specific Vapa 110
Professor: Matt Jenkins Spring 08

Jessie Muller Object Site Specific Vapa 110
Professor: Matt Jenkins Spring 08

[Book] International Journal of Performance Arts and Digital Media

2008-03-17T19:16:00.002-06:00

The International Journal of Performance Arts and Digital Media (IJPADM) is a new interdisciplinary, peer-reviewed journal which will draw contributions from a wide range of researchers and practitioners who are placed at the rapidly developing interface of new technologies with performance arts.The Journal will as a forum to energise innovative and creative thinking and practice surrounding the combination of digital technologies with the performance arts (theatre, dance, music, live art). Disciplines may be domain-specific or in convergence.The journal actively encourages debate and cross-disciplinary exchange of a broad range of approaches surrounding the use of new media and information technologies in the creation and implementation of performances. Such debate may extend into associated implications teaching and research at undergraduate and postgraduate level.
[For more information, click the title]

Colorado Artists Guild

2008-03-17T19:12:00.001-06:00

In 1908 an idea was sparked to create a formal group whose goal was to encourage and gain public support for the fine arts. It was not until 1928 that this goal was realized and The Denver Artists Guild was born.
The first exhibit of the new guild was held on June 11, 1928 at Chappel House, where the guild met monthly. The house was eventually razed to make way for the Denver Art Museum. It is the oldest continuously active fine arts organization in the Denver area, preceded only by the Denver Art Club, formed in the late 1890's, whose members later founded the Denver Art Museum.
In 1990 the name was changed to Colorado Artists Guild to more accurately reflect the boundaries of its membership. Membership is gained through a jurying process by the Board of Directors. Community members who want to help support the arts are also invited to join. The Denver Artists Guild d/b/a Colorado Artists Guild is a 501(c)3 nonprofit corporation in the state of Colorado. [For more information, click the title]

Jacob Collins

2008-03-17T19:06:00.003-06:00

I had spent several years since Water Street’s inception, however, thinking about how to make a more robust, more perfect classical art school, one that ultimately could not be accommodated in an atelier setting. The Grand Central Academy — with its dedicated and talented teachers, larger physical space and more structured and contemplated curriculum — is my attempt to answer the surging desires of a generation of young artists who want the most rigorous and thorough education in the classical and traditional arts.

[For more information, click the title]

Women in Performance Art

2008-03-17T19:03:00.000-06:00

The most frequently asked question about Performance Art has got to be What is it? And that, admittedly, is a tough question to answer. Generally, Performance Art is a category that many artists find themselves in if they are unhappy with the idea of working in only one traditional medium. Performance Artists are often interested in exploring several artistic disciplines and producing work that may cross traditional media boundaries such as works that include aspects of theater, music and the visual arts including video. Many performance artists are also interested in crossing the perceived boundary between art and life such as thinking of everyday activities in an artistic manner.
The history of Performance Art is just as hard to pin down as the definition. If you are interested in its history, a good book to start with would be Roselee Goldberg's Performance Art: From Futurism to the Present. It provides a good overview of the relationship between Performance and European Art in the 20 Century. However, it is a bit limited if you are interested in interdisciplinary work that was made earlier in history or work that was made in non-western cultures.
Women have always played an important role in Performance Art. Many women turned to this new form because they felt that more traditional media such as painting and sculpture had long been dominated by male artists and wanted to explore fresh territory. There are, of course, many important male Performance Artists such as John Cage (http://newalbion.com/artists/cagej/) and Allan Kaprow. Both Cage and Kaprow were innovative artists and influential teachers and many of the women listed below studied with them. But women have proven to be true pioneers in Performance Art, making work that is brave, innovative, risky and just plain good!
Probably the most well-known Performance Artist is Laurie Anderson. She emerged during the 70s and her work explores the relationships between people and technology. Her works usually involve spoken text, music, projected slides and videos. She is known for using an array of synthesizers to create sonic soundscape and a vocoder to alter the sound of her voice as she tells stories about life in the late 20th Century where lap top computers and ghosts exist side by side. Anderson is a real tinkerer. She has created a neck tie that can play music, a talking violin and a pair of sunglasses equipped with a microphone that can turn her head into a percussion orchestra! She has produced a number of CDs of music from her performances and also has a couple of videos and an interactive CD-ROM called Puppet Motel all dealing with the idea of how machines and people live and work together and how the spiritual can interact with the mechanical.
Another artist who is known for creating interdisciplinary theater pieces is Meredith Monk (http://www.lovely.com/bios/monk.html and http://www.otherminds.org/Monk.html). Monk is a composer who deals with innovative vocal techniques. She also makes videos and is a choreographer and dancer. Her work is very poetic and abstract in nature. She often creates pieces that freely mix elements and images that donUt seem to logically relate to one another. Yet it is the combination of these seemingly unrelated elements that creates unique content. A recent piece, Volcano Songs, deals with memories of childhood and the experience of growing older. A video piece, Book of Days, is about a young girl in Middle Ages who has visions of the future and sees people flying in planes and using cameras. Another video, Ellis Island, is about the experience of immigrants entering America in the 19th Century......
[For more information, click the title to go to the site]

Foothills Art Center

2008-03-17T18:56:00.001-06:00

http://www.foothillsartcenter.org/exhibitions/coloradomasterpieces.php

Foothills Art Center, with the creative support of guest curator Rose Glaser Fredrick, presents a blockbuster exhibition celebrating the 40th Anniversary of the Colorado Council on the Arts with a stunning visual exploration of landscape painters of Colorado.
Since the days of gold rushes and railway expansion, artists have been painting the landscape of the West, drawing a wealth of visitors and settlers to the region. This rich tradition is deeply rooted in Colorado, as this exhibition reveals with a breathtaking look at the artists who have captured the majesty of the Colorado landscape.... [Go link for more information]

2008-03-14T19:01:00.003-06:00

Artist:
Adam Eldridge
Vangogh Collage
Collage w/ notebook
2008
$300

Test

2008-03-11T17:03:00.002-06:00

I found that there is a menu for 'Invite Authors', and who can post articles with different names. I will let you guys can do like this on this Saturday.

Famous Artists: Top 30 Artist Searches

2008-03-11T03:02:00.001-06:00

http://www.artcyclopedia.com/mostpopular.html

Special Events

2008-03-08T16:08:00.003-07:00

THEATREWORKS invites you to myriad special events throughout the year. Don't miss the party - JOIN US!

London Theater Tour XII runs January 9-19, 2008. The tour is simply spectacular, featuring 6 shows in 10 days, a perfectly appointed hotel in the heart of the theater district, a group dinner, and an excursion into the English countyrside. We had no idea the trip would become so popular when we started it 11 years ago. Click here for more information and to sign up.
Springtime in London The THEATREWORKS London Theater Tour moves to the Spring with a tour from May 3-13, 2008
Click here for more details.

Sunday Speaker Series takes on a different topic each week, all related to the current production. It's a great way to learn more about the play before seeing the show! This event takes place at 3pm on selected Sundays and is FREE.
Saturday Afternoon with the Actors is an in-depth Q & A session with the cast following each Saturday 2pm matinee. The cost is FREE.
Subscriber Receptions are a wonderful way to get to know your fellow THEATREWORKS family members. During the intermission of each show, you'll be treated to dessert and wine as our way of saying thank you for your support. Cost: FREE with your subscription.
http://www.theatreworkscs.org/events.htm

UCCS

2008-03-08T14:43:00.000-07:00

Sooin and Karen