TASA 2012 ST. EDWARD’S UNIVERSITY

AUSTIN, TX

We would like to welcome you and thank you for being a part of Art + Community, the 42nd Annual TASA conference, hosted by St. Edward’s University. We’ve had a lot of fun planning this year’s conference, and hope you enjoy what’s in store. The 2010 conference theme, Art + Community: a shared dialog of green art, social activism, collaboration and community art, explores the open exchange of ideas, influences, policies and actions that artists and communities engage in both at the local and global level. With over 40 speakers from all corners of Texas, and a keynote speech and workshop from Houston-born artist Mel Chin, we hope this will be an exciting fun-filled conference.

Hollis Hammonds & Angela Rodgers, Conference Chairs

Welcome to Austin, home of the 2012 TASA Conference at St. Edward’s University. It promises to be an outstanding program of speakers, events and forums around the topics of Community and Art. After 42 years, the members of the Texas Association of Schools of Art, though well versed in both topics, are in for a exceptional gathering of stimulating, informative and down-right fun with fellow artists and friends.

Cathie Tyler, TASA President

MESSAGE FROM THE PRESIDENT

TASA CONFERENCE2012

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Born in 1956 in rural Virginia, Robert Hite attended Virginia Commonwealth University in Richmond and the Corcoran School of Art in Washington, D.C. After studying traditional ink brush painting in Malaysia, he worked as a studio assistant with Washington Color School painter Leon Berkowitz. Informed both by a rich southern narrative tradition and a closeness to natural environments, Hite’s imagery often draws upon his memories of youthful wanderings in the Virginia tide waters. He has sought out and photographed rural dwellings not only in the southern United States and the Caribbean, but also in Central and South America, as well as Europe and Asia. Working within and between painting, sculpture and photography, Hite’s highly refined technique and meticulous attention to detail produce illusions that are both confounding and transformative. In the photographic series Imagined Histories, Hite resituates his architectural sculptures in outdoor settings, magnifying the effects of dislocation and displacement that is central to all his imagery. In 1997, Hite and his family moved to a 19th century Methodist church and parsonage in the village of Esopus, New York. The artist is currently represented by Susan Eley Fine Arts in New York City, Cardwell Jimmerson Gallery in Los Angeles, Espacio En Blanco in Madrid, and Pearl Arts Gallery in Stone Ridge, New York. Hite will be a visiting artist at St. Edward’s University, and will give a lecture presentation of his work at the 2010 TASA conference. An exhibition of his photographs will be on display in the Scarborough Phillips Library at St. Edward’s University. While a visiting artist, Hite will install a new sculpture specifically designed for the St. Edward’s Campus. This new work, Crossing Safely, was inspired by a modest shack in Arrazola, Oaxaca, Mexico. This sculpture addresses issues of immigration and border crossing. You can see more of his work at www.roberthite.com.

st. edward’s sponsored speaker

ROBERT HITE

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Ken Little was born in Canyon, Texas in 1947. He received a BFA from Texas Tech in 1970, and an MFA from the University of Utah in 1972. He has worked in various media including: bronze, ceramics, neon, performance, wood, steel, cast iron, $1 bills, shoes, and other found objects. His work has been featured in over 35 one person exhibitions, 200 group exhibitions, and numerous national publications, along with various catalogs. Since 1988 he has been a Professor of Art (Sculpture) in the Department of Art and Art History at the University of Texas at San Antonio. Since 1993, he has maintained a studio and alternative exhibition space, Rose Amarillo‚ in downtown San Antonio. His work is included in many public and private collections around the country. Collections include The Contemporary Art Museum in Honolulu Hawaii, The City of Seattle, The Nelson Gallery of the University of California at Davis, Microsoft Corporation in Seattle and many others. A sixty four page retrospective catalog titled, Ken Little: Little Changes with essays by Kay Whitney and Dave Hickey is available. His artist’s web site is found at www.kenlittle.com. Ken Little’s talk will cover his multi faceted career, his artwork and its development over his lifetime.

paul hanna lecture

KEN DAWSON LITTLE

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Stacy Schultz received her Ph.D in Art History from Rutgers University in 2004. Her previous teaching positions include two appointments as Visiting Assistant Professor at Kentucky Statement University (2004-2005) and The University of Texas at Arlington (2007-2008). She has also taught a variety of different courses within the California State University system (CSU Northridge, CSU Fullerton, CSU San Bernardino, and San Diego State University) ranging from women’s studies to 19th century art. Professor Schultz’s research and teaching concentrate on the intersections of race and gender in contemporary performance art, photography, film, and video. Her dissertation, The Female Body in Performance: Themes of Beauty, Body Image, Identity, and Violence, has evolved into the departure point for two lectures given at the College Art Association: Performing the Black Nude: The Artist’s Body as a Contested Site (2005) and Southern California Feminism and Body Image: A Performative Response (2007). She will present her paper, The Intersection of Social Activism and Community: Performing Civil Rights in Southern California‚ at the 2010 TASA conference.

art history presentation

CATHERINE CAESARCatherine Caesar’s current research interests include feminist art, conceptual practice, and reading rooms/libraries in contemporary art. Earning her doctorate at Emory University in 2005, she produced a dissertation titled Personae: The Feminist Conceptual Work of Eleanor Antin and Martha Rosler, 1968-1977. She is an Assistant Professor of art at the University of Dallas. Caesar’s paper will investigate Robert Smithson’s notion of “aerial art,” investigating its relationship to the Texas landscape and its impact on the conception of sculpture and the formation of a modern, itinerant identity in a transglobal community.

art history presentation

STACY SHULTZ

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Mel Chin was born in Houston, Texas in 1951, graduated from Peabody College in Nashville, Tennessee in 1975, and later moved to New York City in 1983. Chin is highly motivated by social, political and cultural realities, and his work reflects his concern for the environment and social consciousness. His work is often exhibited or installed in public spaces beyond the traditional confines of the gallery or museum. A conceptual artist, Chin’s body of work ranges from earthworks to animated films. For Chin, art has the power to provoke greater social awareness and a sense of responsibility in the viewer. Through his community actions, he has engaged inner city neighborhoods and helped to rejuvenate local economies. His interest in science, ecology and the environment can be seen in some of his most famous works including Revival Field, s.p.a.w.n. and Knowmad. His works were also featured in the first season of the PBS series Art21 (Art in the 21st Century).

keynote speaker

MEL CHIN

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His most recent project, the Fundred Dollar Bill Project, is an innovative artwork made of millions of drawings. The purpose of this creative collective action is intended to support Operation Paydirt, an extraordinary art and science project uniting over three million children with educators, scientists, health care professionals, designers, urban planners, engineers and artists. After Katrina wiped out much of New Orleans, Chin was invited to the city to see how he could make a difference in the community. Working with scientists, Chin found that the lead contamination in the soil in New Orleans was at a hazardous level. To find a solution to this problem, Operation Paydirt was put into action. In 2010, once Fundred reaches its goal of 3 million artworks, an armored truck, running on vegetable oil, will pick up the drawings and take them to Washington DC, where we will request from Congress an even exchange of Fundred Dollars for 300 million dollars worth of aid for New Orleans.

FUNDRED

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SCHEDULE BY SESSION & ROOM

SESSION I FRIDAY, APRIL 9TH, 2:00PM pp. 9 – 11

FLECK 106 PANEL: COLLABORATIVE/COMMUNITY FLECK 108 PANEL: GREEN ART/ENVIRONMENTAL FLECK 109 PANEL: ART & COMMUNITY FLECK 111 WORKSHOP: ART & COMMUNITY PART I

SESSION IIFRIDAY, APRIL 9TH, 3:30PM pp. 12 – 14

FLECK 106 PANEL: MASTERS SHOWCASE

FLECK 108 LECTURE: ART & COMMUNITY

FLECK 109 PANEL: COLLABORATION

FLECK 111 WORKSHOP: ART & COMMUNITY PART II

FLECK IRON POUR ( meet transport van in back of fleck at 3:20)

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SESSION III SATURDAY, APRIL 10TH, 9:30AM pp. 15 – 18

ARTS 110 WORKSHOP: GREEN ART/ENVIRONMENTAL ARTS 113 PANEL: COLLABORATIVE PROJECTS ARTS 116 WORKSHOP: INNOVATIONS IN FOUNDATIONS ARTS 120 PANEL: INNOVATIONS IN FOUNDATIONS

ARTS 121 WORKSHOP: TECHNOLOGY

SESSION IVSATURDAY, APRIL 10TH, 11:00AM pp. 19 – 22

ARTS 113 PANEL: ART & ACTIVISM

ARTS 114 PANEL: COLLABORATION

ARTS 120 PANEL: ART & COMMUNITY

ARTS 121 WORKSHOP: TECHNOLOGY

SCHEDULE BY SESSION & ROOM

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MULTIPLICITY IN COLLABORATION & COMMUNITYSANG-MI YOO assistant professor at texas tech university Globalization has seemingly brought the world closer together and has resulted in a heightened sense of the familiar. This feeling of familiarity provides a bridge through which Yoo can access and magnify her perception of a world derived from personal 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 distinction between the past and the present, stereotypes and the real, and collective and personal memories. By embracing both personal and collaborative presentations, her work explores the possibilities of an idealized environment.

BORDERLAND YOUTH: A SOCIAL GEOGRAPHY REVEALED THROUGH PARTICIPATORY ART PRACTICE JASON REED assistant professor of photography at texas state university Guided by a conceptual framework of reciprocity, Borderland Youth at Texas State University is working collaboratively with various communities of youth living in the US/Mexico border region to creatively reflect upon the cross-cultural, human experiences 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 mechanism to 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.

EASTLAND OUTDOOR ART MUSEUMCATHI BALL assistant professor at howard payne university Cathi Ball has completed work on the Eastland Outdoor Art Museum, a project conceived in her sketchbooks. This unique Museum is an attempt to make art history accessible to all the children of Eastland, Texas. The museum includes 42 works at 40 locations completed over the course of 3 years with 144 local volunteers and students. The project allows the students of Eastland access to world famous art while advertising the artist’s work. This community wide project has truly “painted the town.”

COLLABORATIVE/COMMUNITYFLECK 106

SESSION I

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WE’RE GREEN, PARTICIPATORY & PUBLIC!RANDY JEWART director of austin green art, www.austingreenart.org The mission of Austin Green Art is to help the community to fully understand the revolutionary calling that defines “sustainability” by visually representing it, inspiring people to engage it, and building participatory programs that give people a real feeling of its transformative power. We aspire to train a new generation of artists who serve their communities and to inspire a new generation of creative citizens. A Green Artist is an agent for change, uniquely qualified to merge environmental, social and economic considerations into collaborative projects that raise social network capital and community standards of sustainability.

CURLY, SHAGGY, GLEAMING, STREAMING, THE ART OF HAIR: AN INTIMATE RECYCLING PROGRAMROSEMARY MEZA-DESPLAS artist & educator at el centro college This presentation examines the history of recycling human hair to create art. The utilization of human hair in art can be traced back to Queen Victoria’s reign in the mid 19th century. The presentation examines the multiple ways human hair is used by contemporary artists. Artists “go green” by recycling a personal part of the human body - hair. Cultural perceptions and myths about hair will be discussed within an art historical context.

RED LISTEDCATHERINE PROSE assistant professor of art & gallery director at midwest-ern state university Pulitzer Prize winner Edward O. Wilson is quoted as saying that “destroying rainforest for economic gain is like burning a Renaissance painting to cook a meal.” Art certainly does not have the ability to correct global climate change, but it can educate and inform in an evocative rather than didactic manner. There is an abundant history of using nature as a metaphor to reflect and comment on morals, values and humankind. In the same respect, the use of nature as a metaphor emulates an attempt to place ourselves within nature. Today we face an unknown and unseen nature as it is being lost before we discover it and invented before we understand it.

GREEN ART/ENVIRONMENTALFLECK 108

SESSION I

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APPRECIATING LIFE THROUGH ARTTERRY BARRETT professor of art edu. & history, university of north texas This presentation will look at a diverse group of people responding directly to contemporary works of art and how these works affect their lives. Barrett has been working with elderly in assisted-living homes, cancer patients, autistic teenagers, 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 meaningful connections between contemporary art and their personal and communal lives.

THE STRUGGLE FOR MEANING BETWEEN THE ARTISTS AND THE 02.AUDIENCE, A BALANCE BETWEEN ARTIST & COMMUNITYJOE KAGLE professor of art, lone star college-kingwood 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/her talents and abilities to serve human beings through a team effort that make up for deficiencies in a single individual. Building this “creative-effort-team,” we must understand fundamental ingredients: 1) recruiting a team of dedicated individuals who use all their senses to communicate with each other; 2) mix in the dedication and passion of the focused creative effort; and 3) envision an ideate transcending the surface to universal humanity.

MOVING BEYOND IMAGE AND INTO COMMUNITY WITH: RELATIONAL AESTHETICS: PART IGEORGANNA TAPLEY artist & teacher at art alliance center, brazosport college, lee college This workshop has a structure that deals with the individual person as the artist and the teacher. When catastrophic things occur within communities it affects everyone. When hurricanes IKE and Katrina devastated the shores and lives of thousands, it was impossible for me to go into the classroom with the attitude of lessons as normal. The relational and artist parts of me collaborate with the participants to respond to the events in the world around us. I use these events to teach how artists with conscience might respond. The Art becomes the result and or response to these events.

ART & COMMUNITYFLECK 109

WORKSHOP: ART & COMMUNITY PART IFLECK 111

SESSION I

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VIRTUAL HUMANS AND LIVING WORLDS: A GRADUATE PROGRAM IN ARTS AND TECHNOLOGY AT UT DALLASMARJORIE A. ZIELKE, PH.D assistant professor at the ut dallas The University of Texas at Dallas offers a unique masters and MFA in Arts and Technology (ATEC). The ATEC program is one of the fastest growing degree plans at UT Dallas. A Ph.D program is also in the final phases of development. Students study the application of technology in art to produce interactive exhibits, computer games, training and simulations, web prdograms, animation, 3D modeling and other technology-based art media. Students can also combine the study of ATEC with Emerging Media and Communications (EMAC) to study the evolution of text and narrative within the context of arts and technology.

A GROWING UNIVERSITY: THE GRADUATE PROGRAMS AT UT ARLINGTONLEIGHTON MCWILLIAMS associate professor and assistant chair of art & art history at the university of texas, arlington 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: Visual Communication, Film/ Video, Glass and Intermedia. Their large department enrolls more than 800 undergraduate majors and boasts extensive facilities. Arlington is situated directly between Dallas and Fort Worth and is convenient to an extensive cultural experience, many world-class museums, and a growing economy.

PREPARING STUDENTS FOR EFFECTIVE PRACTICE AND LEADERSHIP IN ART EDUCATION CHRISTOPHER ADEJUMO associate professor of visual art studies/art edu-cation at the university of texas at austin The mission of the art education program at the University of Texas at Austin is to provide excellence in the preparation of art teachers, art museum educators and community art programmers. The aim of the program is to cultivate top-rated scholarship through institutional and community partnerships and research-based development of art education theory and practice. The art education faculty members are committed to helping students make connections between knowledge acquired in the classroom, student teaching in the public schools, and experiential learning in alternative settings in the community. The introduction of the program at the 2010 TASA conference will entail a detailed description of the degree options in the graduate art education program, which

are school focus, art museum education, and community-based art education.

PANEL: MASTERS SHOWCASEFLECK 106

SESSION II

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THE RETURNING VET AND FILM NOIR: THE PROBLEMATICDR. JOHN A. CALABRESE professor of visual arts at texas woman’s university Dr. Calabrese will present film noir clips and discourse related to the problematic. This means that the films attempt to deal with a problem without overtly stating it. Ostensibly these are 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 does not fit. He is often times forced to assume the position of a criminal who has to vindicate himself by overcoming various insurmountable obstacles. Each film presents variations on this theme.

THE ARTS TRIANGLE ARTSWALK PROJECTGARY WASHMON interim chair of visual arts, texas woman’s university A committee of faculty members was formed from the various departments 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 of the arts in the SOA. The concept of the Art Triangle came about through looking at a map of campus and noting that a line drawn around all of the buildings in the SOA created a triangular shape. Following this theme the concept of a connective experience tying these sites together began to emerge as an interactive tour or artswalk, featuring the various arts in non-traditional settings in and around the buildings on the map, where virtually anything could happen.

COLLABORATIVE PROJECTSCOLBY PARSONS associate professor of art at texas woman’s university Colby Parsons is a sculptor who has been involved in several collaborative projects. One in Denmark with sculptor Brian Boldon in 2006, one in Dallas with the painter/sculptor Mark Collop from 2007 – 2008, and one in Denton with electroacoustic composer Greg Dixon from 2008 up to now. These collaborations have incorporated a broad range of 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. Most of these have involved installation settings with some kind of interactive element inviting the viewer’s participation in the work.

LECTURE: ART & COMMUNITYFLECK 108

PANEL: COLLABORATIONFLECK 109

SESSION II

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LOW-RIDER BIKES IN HIGHER EDUCATION: A PROJECT BY THROW AWAY YOUTHFUTURE AKINS assistant professor of art education & visual studies, texas tech university Inspired by Chicano youth culture that involves “low-rider” bikes and hoping to motivate junior high students to consider art as a stepping stone towards attending college, Future Atkins co-created an art opportunity for low-income youth in Lubbock, Texas. Fourteen and fifteen year-olds enrolled in an art class where they created low-rider bikes with discarded parts and throw-away materials, while Texas Tech University art studio majors in a kinetic sculpture course created “dream bikes” using metals and fabrication work. Both sets of resulting bikes were displayed along with true low-rider bikes from the local community in a sidewalk parade. This presentation will dissect and discuss both student populations’ experiences and performances, community and academic reactions/feedback, fund-raising efforts and obstacles, cultural considerations and reactions based on social class, race and ethnicity.

WORKSHOP: ART & COMMUNITY PART IIFLECK 108

MOVING BEYOND IMANGE AND INTO COMMUNITY WITH: RELATIONAL AESTHETICS: PART IIGEORGANNA TAPLEY artist & teacher at art alliance center, brazosport col-lege, lee college This workshop deals with the person as the artist and the teacher. 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 be completed during the conference. Although this is the second part of a two-part workshop, if you missed part one, you can still participate in part two.

IRON POURMEET TRANSPORT VAN IN BACK OF FLECK AT 3:20BUTCH JACK lamar university DONNIE KEEN keen foundryAMY GERHAUSER st. edward’s universityJoin us! Come watch students and faculty pour their molds for the Charm Breacelet of

Texas and other projects.

SESSION II

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WEATHERGRAMS: A SPRING PEACE PROJECTJUDY STONE-NUNNELEY artist & educator Judy will present a hands-on workshop focusing on the creation of simple printed collages with found images, text, and expressive monoprints. Printed on recycled paper sacks, the Weathergrams are records of contemplation, shared observations of the natu-ral world, and messages of hope. The Weathergrams will be installed on campus for the Spring season and will recycle with the season’s weather.

PANEL: COLLABORATIVE PROJECTSARTS 113

IMAGILLABORATION: A NATIONAL SCULPTURE COLLABORATION PROJECT, THE LOGISTICAL CHALLENGES AND REWARDS OF WORKING, EXCHANG-ING, AND EXHIBITING THESE 3-D COMPOSITIONS ON A NATIONAL SCALEJACK GRON director/professor of fine art, texas a&m, corpus christi From 2007 – 2009, 106 sculptors representing 26 states across the country have joined together to undertake a collaborative art project of unprecedented proportions. Working in regional groups of 5 to 9 people, the artists have created an immense body of collaborative three-dimensional artwork. Each participant was to create a “seed” element, the beginning segment of a sculpture, which was then passed onto other group members who each added their own artistic element to every piece. Once the cycle of exchange was complete, each artist will have contributed to every sculpture, and there is one finished sculpture for each person participating.

A CAST IRON CHAIN FOR AMERICAMEREDETH “BUTCH” JACK professor of art at lamar university Meredith Jack will present his on-going project to cast an iron chain with a link cast in all 50 states of the union. This project is an extension of his involvement with the Iron Trail to the Arctic in 2008 and the in-state extension of the “chain” that is the Charm Bracelet for Texas, to be cast during the 2010 TASA conference. The academic iron casting community begun by Julius Schmidt in the 1950s, has grown and prospered. There are university iron foundry programs in most states and many independent artists have set up their own facilities. The “Cast Iron Chain” is an effort to bring all these disparate individuals into communication for the exchange of ideas, techniques, and aesthetic deliberations.

SESSION III

WORKSHOP: GREEN ART/ENVIRONMENTARTS 110

limit first 15 participants

WORKSHOP: INNOVATIONS IN FOUNDATIONS

ARTS 110limit first 20 participants

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TAKING IRON TO THE ARCTICDONNIE KEEN director of keen foundry in houston, tx In 2008 Donnie Keen of Keen Foundry in Houston led a 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 the arctic primarily from the PBS documentary‚ Gateway to the Arctic: the Brooks Range‚ which featured the village and its inhabitants. Collaborating with the Alaskan sculptor Patrick Garley, Keen has been instrumental in establishing a thriving artist/iron casting community in the US’s northern-most state. He will present the planning, logistics, and implementation of this ambitious endeavor and the five year reunion pour set for June 2013.

UTSA COLLABORATIVE EDITIONSKENT RUSH professor of art at the university of texas at san antonio Since 1983 the University of Texas at San Antonio has informally run UTSA Collaborative Editions (UTSACE). Professors Dennis Olsen and Kent Rush who head the printmaking program at UTSA have worked with the semester long visiting artist/faculty and faculty members to produce a substantial portfolio of wonderful prints primarily in lithography, intaglio and relief. Recently Kent Rush, in an effort to reach out to the community, offered the press to Dr. Ricardo Romo as a format for printing editions for local and regional Chicano/a and Mexican American artists. The two 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 30 have been printed and we are working with more artists with an anticipated total of 32 editions.

COLORED SLIPS AND THE CLAY SURFACESTAN IRVIN professor of art at st. edward’s universityCONNIE MCCREARY artist & educator at st. edward’s university 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 for application at various stages of drying, these types of liquid clays offer artists and potters many decorative options. SEU art faculty, Stan Irvin and Connie McCreary, will demonstrate various surface decoration and forming techniques using primarily colored clays and slips. They will present options for both low and high-fire. Workshop attendees are invited to participate in a hands on experience with slip decoration that can be employed by beginning students and offer some interesting options for more advanced exploration.

SESSION III

WORKSHOP: INNOVATIONS IN FOUNDATIONS

ARTS 110limit first 20 participants

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INNOVATIONS IN FOUNDATION CURRICULUMLESLIE MUTCHLER assistant professor of art, area head of 2D foundations at the university of texas at austin Mutchler’s interests in Foundations derive from the Bauhaus Preliminary Course and consequently bring relevance to these ideals. Foundations should be comprised of three equally emphasized components: craft (the teaching of technical proficiency), context (relevant vocabulary and history), and conceptual acuity (art and design as a pursuit of knowledge). For the last forty years many art departments have overlooked the critical potential of Foundations. “I thrive on working with young, fresh talented students that remain open and observant, malleable and motivated‚“ says Mutchler. “I hope to heighten the status of Foundations within the academic world, to bring about the new Bauhaus.”

FROM 2D TO CROSS-DISCIPLINARY SPACE: REVISING BEGINNING DESIGNERIC ZIMMERMAN assistant professor of art at st. edward’s university 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 course with this question in mind. Emphasizing design process, conceptualization, and the relationship between two, three, and four-dimensional thinking, in a laboratory type studio environment, this restructuring embeds learning hand skills and design principals with reading and discussion. The goal is to provide students with the tools to be both articulate and technically accomplished within a world that is increasingly cross-disciplinary. By providing them with technical skills and theoretical frameworks students are better prepared to engage and make in a variety of fields.

DRAWING STRUCTURE: BEGINNING DRAWING AND A DIY TEXTBOOKHOLLIS HAMMONDS area coordinator & assistant professor of art at st. edward’s university Drawing is possibly the most important foundational skill for the beginning artist. It is also one of the most popular subjects in art, with more drawing books on the market today than most other disciplines. Finding the right textbook for your course however is almost impossible. As faculty we find ourselves piecing together resources for our students, trying to 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 can‚ “find the right book‚“ just make one.

PANEL: INNOVATIONS IN FOUNDATIONSARTS 120

SESSION III

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COMPUTER INSTUCTION FOR DUMMIESPETER TUCKER assistant professor of media arts at suny fredonia, assistant professor of media arts at suny fredonia & st. edward’s university 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 technology in his or her own work, and may not be comfortable with technology, but would like to incorporate digital tools in their classroom. 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 attendees will be given access to a website created specifically for the workshop that has links to resources, ideas for assignments, and on-line tutorials.

WORKSHOP: TECHNOLOGYARTS 121

limit first 20 participants

SESSION III

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HUMAN RIGHTS ART & COMMUNITY EDUCATIONJENNY BRYSON CLARK south texas college political science facultyPROFESSOR RICHARD LUBBEN south texas college arts faculty We are entering our 5th year at South Texas College hosting an annual human rights art exhibition in conjunction with the Human Trafficking Conference sponsored by the Women’s Studies Committee. Jennifer Clark from the STC Political Science Department and Women’s Studies President would present an overview of the Sex Trafficking Conference and how 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 Exhibit Curator will show selected images from previous shows and discuss how artists have used their art to communicate a personal experience, open a dialogue or encourage self-reflection about the issue.

“CASH PAID FOR RAGS”: A SKETCHBOOK PERFORMANCECAROL FLUECKIGER associate professor of art, texas tech university This sketchbook performance is inspired by the 19th practice of recycling rags for paper. Many early American broadsides, children’s books, almanacs, and newspapers printed the phrase “Cash Paid for Rags” to solicit old cloth for use in paper-making. My project revisits the 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 the early American women’s movement and contemporary artifactsfrom my local thrift store. Research and ideas for this project were gathered at the American Antiquarian Society in Worcester, MA, and the TTU Women’s Studies Program.

DEPORTES PARA COMPARTIR Y LOS ALBERGUES ESCOLARES INGIGENAS(SPORTS FOR SHARING AND THE INDIGENOUS SHELTER SCHOOLS OF MEXICO)

R. COLOMBIK & J.B. COLOMBOK colombik studios in wimberly, texas Working in Collaboration with the Mexican Association of the United Nations and Deportes Para Compartir, we are developing a documentary project that will raise awareness about the cultural heritage of indigenous children that are educated and cared for in shelter schools. The shelters are located throughout the country and often provide the only means of insuring that children living in very remote communities can receive three meals a day as well as a fine general education. Deportes Para Compartir uses group sport activities to promote the United Nations millennial goals that include issues of gender equality and child health.

SESSION IV

PANEL: ART & ACTIVISMARTS 110

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ART, AESTHETICS, EDUCATION AND ACTIVISM DEALING WITH THE BORDER WALLDAVID FREEMAN visual arts faculty at south texas college Photography has been a tool for social and political change for many years and it can exude great educational authority. What better time than now for artists to utilize art as 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 the relationships of image, community, concept, and the cognitive process. In this political climate how do we produce a didactic principle and call authority into question and do it via digital photography.

CAN BORDER WALL ARTWORK CHANGE MINDS, INFLUENCE POLICY AND ALTER POPULAR CULTURE?TOM MATTHEWS assistant chair & visual arts faculty at south texas college The border wall controversy affects every citizen of the United States and Mexico in one way or another whether directly or indirectly. Teaching eight miles from the border in McAllen, Texas has heightened Matthews’ awareness of the effects the wall is having on our two countries and how these changes will impact our lives for years to come. He uses the classroom as an incubator to discuss the pros and cons of the wall and what artists can do to bring awareness to the situation. “Can border wall artwork change minds, influence policy and alter popular culture?” asks Matthews. “Yes, I believe it can.”

THE BORDER WALL AND THE COMMUNITY BASED ART EDUCATIONBRET LEFLER, PH.D art coordinator & assist. professor at the university of texas at brownsville & texas southmost college This presentation focuses on how art education majors at the University of Texas at Brownsville have addressed the needs of the community by developing an exhibition using the border 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 upper division students.

PANEL: COLLABORATIONARTS 114

SESSION IV

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WHAT ROLE CAN ART PLAY? BORDER WALLSCOTT NICOL visual arts faculty at south texas college The art of the modern and postmodern eras sought to establish its autonomy, “art for art’s sake,” leaving behind the societal functions of the past. In our time, art is not supposed to do something, it is merely supposed to be. This has led to the segregation of fine art, relegating it to the rarified world of galleries and museums, as distinct from daily life and the “real world.” This poses a dilemma for artists who seek to engage social or po-litical issues, such as the walls that are being 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 that inflicts itself so powerfully and destructively upon the “real world,” what role can art play?

PANEL: ART & COMMUNITYARTS 120

FUNDRED: ENGAGING IN A 300 MILLION DOLLAR DIFFERENCEMEL CHIN artist & keynote speaker This workshop will engage Texas artists and educators in a fun and simple art project with a powerful solution based mission. You will leave prepared to mobilize your community! The Fundred Dollar Bill Project reaches out to students of all ages to create Fundred Dollar Bills in hopes of gathering 300 million 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 in goods and service to transform the lead contaminated soils in New Orleans and ultimately every lead affected city.

SESSION IV

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WORKSHOP: TECHNOLOGYARTS 121

limit first 20 participants

REALITY COMMUNITY: FOSTERING A SENSE OF INVOLVEMENT IN THE CLASSROOM AND BEYONDJANA C. PEREZ assistant professor of graphic design, texas woman’s university Many students today believe that they possess a sense of community through social and screen media such as Twitter, Facebook, blogs and texting, often engaging in several of these simultaneously. Design students in particular, as learners and future practitioners of visual communication, must be able to function in both virtual and real communities. Are students really interacting in a communal way via technology or simply settling for a less active, internal dialogue? This presentation will outline the results of key objectives and projects incorporated into graphic design coursework that utilize both personal relationships and technology to create and contribute to the idea of community in and outside of the classroom.

BLOG, DESIGN, TECHNOLOGYDANIEL LIEVENS graphic designer & professor at st. edward’s university This presentation will discuss the use of blogs to archive work, present new work, and give students a venue for receiving and giving feedback outside of the traditional critique. We’ll look at the use of blogs from the student/user perspective as well as setting up and structuring of the blogs from the faculty perspective.

SESSION IV

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Every year at the tasa Annual Conference, conference attendees are invited to participate in the tasa One Cube Foot Exhibition. As TASA’s One Square Cube Exhibition’s title indicates, submissions for this show must be limited to one square foot, and submissions can be 2D or 3D. This year Robert Hite will judge the exhibition. There will be an opening reception for the exhibit on Saturday, April 10th, in the St. Edward’s University Fine Arts Gallery from 8:30 a.m. - 9:30 a.m., and will include an awards presentation.

NOTE: WORK FROM THE ONE CUBE FOOT EXHIBITION SHOULD BE PICKED UP FROM ARTS 140 BETWEEN 2:30 - 3:30PM. (UNLESS YOU HAVE MADE OTHER ARANGEMENTS TO HAVE

THE WORKS SHIPPED.)

ONE CUBE FOOT EXHIBITION2010

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CHRIS ADAMS texas tech universityBRUCE ALVES texas tech university

JARED APPLEGATE texas tech universityREBECCA BEALS texas tech universitySHELLY FORBIS texas tech university

SCOTTY HENSLER texas tech universitySARAH JAMISON texas tech universityBENJAMIN LAMB texas state university

KRIS LEINEN texas tech universityAIDAN LILLER st. edward’s university

SHANNON RAMOS texas tech universityEMILY SPECK st. edward’s university

KELLY WAGUESPACK st. edward’s universityCHRIS WALNOHA texas tech university

On Friday, April 9th, students from various schools in Texas will present their research in a poster session. The session will be held in the Ragsdale Center’s Mabee Ballroom B from 9 a.m. until 2 p.m.

POSTER PRESENTATIONS

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SAMANTHA ALEXEICHIK hardin-simmons university

ERICA BOGDEN st. edward’s universityMEAGEN CARNEY

st. edward’s universityALEXANDRA COODY

midwestern stateELIANA FANOUSmcmurry university

KENNETH FONTENOTtexas state university

SHANNON GOWEN texas state university

JACLYN HUDAK texas state universityBENJAMIN LAMB texas state university

AIDEN LILLERst. edward’s university

ALBERT LONGORIA texas state university

KRYSTAL MAESTAShardin-simmons university

REBECCA MARINO st. edward’s university

INTERCONNECTED: TASA JURIEDSTUDENT EXHIBITION 2010

ERIC MATHIStexas state universityCAITLIN MCCOLLO texas state universityMIGUEL ORTIZsul ross state universityKEVIN DEAN RAMLERsul ross state university CARI RITCHIEhardin-simmons universityBRI ANNA SATTERFIELDmidwestern state universityMICHAEL SCOTst.edward’s universityCALLIE SIMPSONst. edward’s universityEMILY SPECKst. edward’s universityTYLER TAILIAFERRO midwestern state universityKHRISTINE TUGANGUIst. edward’s universityASHLEY WATSONst. edward’s universitySIMON WELCH midwestern state university

JUROR: ERIC ZIMMERMAN artist & writer, ezimmerman.org

Fifty-four students from schools all over Texas applied for this juried exhibition. The exhibi-

tion reception will be Saturday, April 10, from 2:30-3:30 p.m., in the Fine Arts Gallery at St.

Edward’s University.

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president 2008 - 2010CATHIE TYLERparis junior college

president-elect 2009 - 2010GREG REUTERtexas a&m university-corpus christi

board member/recorder 2007 - 2010SUSAN WITTA-KEMPHsan antonio college

board member/academic affairs, professional standards 2007 - 2010GREG ELLIOTTuniversity of texas at san antonio

board member 2008 - 2012BILL SIMPSONtrinity valley community college

board member/treasurer 2008 - 2012, exhibitions coordinator, gallery networkLIZ YAROSZ-ASHmidwestern state university

board member/academic affairs,photography survey 2007 - 2010GARY GRIELDSstephen f. austin university

TASA BOARD OF DIRECTORS

board member/database 2008 - 2012BRIAN ROWtexas state university-san marcos

board member 2009 - 2012SANDRA BAKERbrazosport college

board member/newsletter 2007 - 2010KURT DYRHAUGlamar university

board member/membership 2008 - 2012OMAR HERNANDEZel centro college

staff member/executive assistantLINDA FAWCETThardin-simmons university

staff member/webmasterVICTORIA TAYLOR-GOREamarillo college

conference chair 2010HOLLIS HAMMONDSst. edward’s university

conference chair 2010ANGELA RODGERSst. edward’s university

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St. Edward’s University, School of HumanitiesThe Kozmetsky Center of Excellence in Global Finance at St. Edward’s University

The Still Water FoundationBlick Art Materials dickblick.com

Red River Paper redriverpaper.comGolden Artist Colors goldenpaints.comCheap Joe’s Art Stuff cheapjoes.com

Ampersand ampersandart.comJack Richeson & Company richesonart.com

Austin Museum of Art amoa.orgLady Bird Johnson Wildflower Center wildflower.org

Mexic-Arte Museum mexic-artemuseum.orgBlanton Museum of Art blantonmuseum.org

Guero’s restaurant on SoCo guerostacobar.comAustin Chronicle austinchronicle.com

Prismacolor prismacolor.comLiquitex liquitex.com

Smooth-On smooth-on.comOlmsted-Kirk Paper Company okpaper.com

Lucky13 lucky13mixology.comArt Lies artlies.org

CONFERENCE VENDORS

On Friday, April 9th in the Robert and Pearle Ragsdale Center, Mabee Ballroom B, several vendors will set up displays and materials to view or take. Vendors will set up around 8 a.m. and will be available until 2 p.m.

Art Lies www.artlies.orgPrismacolor Representative: Shelley Minus

Liquitex Representative: Peter AndrewBig Medium bigmedium.org

CONFERENCE SPONSORS & DONORS

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PILAR ARRIETAERICA BOGDAN

EMILY BORNEMAN MARY BRANTL

JESSICA BUIEWALLE CONOLY

BARBRA CURTINCAROLINE ECK

CHRISSY FLANIGANAMY GERHAUSER

HOLLIS HAMMONDSKELLY HANUS

DONAL HAUGHEY GUILLERMO HINOJOSA-CANALES

STAN IRVINMIRIAM JURGENSEN

DANIEL LIEVENSJUSTIN MARTIN

MICHAEL MASSEY

CONFERENCE VOLUNTEERS

CONNIE MCCREARYREBECCA MARINO JORGE MUÑOZTUAN PHAN KALETIA ROBERTS ANGELA RODGERSKATE ROSATINICOLE RYDERJENNAH SLINRANEMILY SPECKART THOMPSONBRENDA TORRESVICKI TOTTENKKRISTINE TUGANGUIKELLY WAGUESPACKLINDSEY WEBBMALINE WERNESSCOLLEEN WHITEMONICA WRIGHTERIC ZIMMERMAN

WE WOULD LIKE TO EXTEND OUR THANKS TO ALL VOLUNTEERS, ESPECIALLY THOSE WHOSE NAMES DIDN’T MAKE IT INTO THE PRINTED PROGRAM.

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SOUTH AUSTIN

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East 19th Street/East MLK Jr. Boulevard

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1 FLATBED PRESS

2830 East MLK

2 AUSTIN MUSEUM OF ART

823 Congress

3 MEXICAN AMERICAN

CULTURAL CENTER

600 River

4 HYATT REGENCY MOTEL

208 Barton Springs

5 ZAX PINTS AND PLATES

312 Barton Springs

6 THREADGILLS RESTAURANT

308 West Riverside

7 UCHI RESTAURANT

801 South Lamar

8 JO’S COFFEE

1300 South Congress

9 THE HIGHBALL

1141 South Lamar

10 GUERO’S TACO BAR

1412 South Congress

11 HOME SLICE PIZZA

1415 South Congress

12 SOUTH CONGRESS CAFE

1600 South Congress

13 VESPAIO

1610 South Congress

14 LA MEXICANA BAKERY

1924 South 1st Street

15 THE WOODLAND

1716 South Congress

16 MAGNOLIA CAFE SOUTH

1920 South Congress

17 GARDEN DISTRICT COFFEE

2810 South Congress

18 RUTA MAYA

3601 South Congress

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