4

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

(TEXAS ASSOCIATION OF SCHOOLS OF ART)

Conference Chairs

tasa conference 2010

He was born in Houston, Texas in 1951, he 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 innercity 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 were featured in the first season of the pbs series art21 (Art in the

Twenty First Century).

mel chinKEYNOTE SPEAKER

5

His most recent project, the Fundred Dollar Bill Project, is an innovative artwork made of millions of drawings. This creative collective action is intended to support Operation Paydirt, an extraordinary art/science project uniting three million children with educators, scientists, health care professionals, designers, urban planners, engineers and artists. After Katrina had 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 d.c. where we will request from Congress an even exchange of Fundred Dollars for 300 million dollars worth of aid for New Orleans.

Fundred Dollar Bill Project

6

ART HISTORY PRESENTATIONHer 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.

7

catherinecaesar

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 courses in the California State University system (CSU Northridge, CSU Fullerton, CSU San Bernardino, and

San Diego State University) ranging from women’s studies to nineteenthcentury 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.

8

ART HISTORY PRESENTATIONstacy shultz

ST. EDWARD’S SPONSORED SPEAKERBorn 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

9

robert hite

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 nineteenthcentury 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. 10

11

PAUL HANNA LECTUREken little

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, numerous national publications, and

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, “Rrose Amarillo”, in downtown San Antonio. His work is included in many public and private collections around the country. Collections include The Contemporary Art Museum, Honolulu Hawaii, The City of Seattle, The Nelson Gallery of the University of California at Davis, Microsoft Corporation, 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.

*Dinner on your own (See map on page 2 for suggestions)

SCHEDULE

hyatt

amoa

3:00-5:00 PM Check in & registration

5:00 PM Bus leaves for the Austin Museum of Art (AMOA)

5:00-7:00 PM Kick-off reception at the Austin Museum of Art

7:00 PM Bus leaves for Hyatt

off campus venue

off campus venue

thursday

12

SCHEDULE

hyatt 9:00 AMBus leaves for St. Edward’s University

*Breakfast on your own (See map on page 2 for suggestions)

rags 8:15 AM-12:00 PM Registration in Mabee Ballroom BDrop off artwork for One Cube Foot and TASA student Juried Exhibitions

8:15-2:00 PMVendors and Student Poster Sessions in Mabee Ballroom B

off campus venue

thursday

rags 9:00-12:30 PMFeatured speakers in Mabee Ballroom A:Ken DawsonCatherine CaesarStacy SchultzRobert Hite

12:30 PMLunch provided in Mabee Ballroom C

1:30 PMCampus Tour & Robert Hite exhibit

2:00 PMSet up for Iron Pour

fleck 14

fleck 2:00-3:15 PMPanel and WorkshopSESSION 1 (see pgs.)

3:30-4:45 PMPanel and WorkshopSESSION 2 (see pgs.)

3:30 PMIron Pour(meet transport van in back of fleck at 3:20

5:00 PM Bus leaves for Hyatt

*Dinner on your own (See map on page 2 for suggestions)

fridaySCHEDULE

hyattSCHEDULE

8:00 AMBus leaves for St. Edward’s University

*Breakfast on your own (See map on page 2 for suggestions)

8:15-9:30 AMRegistration in Art Building

8:30-9:30 AMOne-Cube Foot Exhibition, Fine art Gallery (Pastries and coffee provided)

9:30-10:45 AMPanel and WorkshopSESSION 3 (see pgs.)

arts

off campus venue

16

saturday

11:00-12:15 AMPanel and Workshop SESSION 4 (see pgs.)

arts

main 12:30-2:30 PMLunch provided in Maloney room (Annual Bussiness Meeting)

11:00-12:15 AMInterconnected TASA Student Juried Exhibition

arts

SCHEDULE

17

saturday

flatbed 3:30 PMBus leaves for Flatbed Press4:30 PMBus leaves for Hyatt

hyatt 6:00 PMBus leaves for Mexican American Cultural Center

off campus venue

off campus venue

18

mexican american cultural center

6:30 PMDinner Banquet at the Mexican Cultural Center

7:30 PMKeynote Address by Mel Chin

w8:30 PMPresentations of Awards

9:00 PMBus leaves for Hyat

off campus venue

19

saturdaySCHEDULE

Fleck 106 Panel: Collaborative/Community

Sang-Mi YooAssistant professor at Texas Tech University

20

Multiplicity in Collaborationand Community 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.

session 1FRIDAY

Borderland Youth: A Social Geography Revealed through Participatory Art PracticeGuided 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.

Jason ReedAssistant professor of photography at Texas State UniversitySan Marcos

21

Fleck 106 Panel: Collaborative/Community

session 1FRIDAY

Eastland Outdoor Art MuseumCathi 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 3½ years with 144 local volunteers and students. The project allows the students of Eastland access to world famous art while advertising the artist ‘work. This community wide project has truly “painted the town”.

Fleck 106 Panel: Collaborative/Community

Cathi BellAssistant professor at Howard Payne University

22

We’re green, participatoryand public!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, uniquelyqualified to merge environmental, social and economic considerations into collaborative projects that raise social network capital and community standards of sustainability.

Fleck 108 Panel: Green Art/Environmental

Randy JewartDirector of Austin Green Art,austingreenart.org

23

session 1FRIDAY

Curly, Shaggy, Gleaming, Streaming, The Art of Hair: An Intimate Recycling ProgramThis 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 nineteenth 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 in an art historical context.

Fleck 108Panel: Green Art/Environmental

RosemaryMeza-DesPlasArtists and educator at El Centro College

24

Red ListedPulitzer 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.

Catherine ProseAssistant professor of art and gallery director at Midwestern State University

session 1FRIDAY

Panel: Green Art/EnvironmentalFleck 108

25

Appreciating Life Through Art 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 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 meaningful connections between contemporary art and their personal and communal lives.

Fleck 109Panel: Art and Community

Terry BarrettProfessor of art education and art history at Universityof North Texas

26

Joe KagleProfessor of Art, Lone Star College Kingwood

27

The Struggle For Meaning Between The Artist And The Audience, A Balance between Artist and CommunityTo 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.

session 1FRIDAY

Fleck 109Panel: Art and Community

Fleck 111Workshop: Art and Community - Part 1

Artist and teacher at Art Alliance Center, Brazosport College, Lee College

Georganna Tapley

28

Moving Beyond Image and into Community with: Relational Aesthetics: Part 1This 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.

Virtual Humans and Living Worlds: Graduate Programs in Arts and Technology at UT DallasThe University of Texas at Dallas (UT 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 programs, animation, 3-d 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.

Panel: Masters Showcase

Assistant Professor at the University of Texas Dallas

Majorie A. Zielke

session 2FRIDAY

Fleck 106

29

Panel: Masters Showcase

A Growing University: The Graduate Art Programs at UT ArlingtonUT 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 Communications, 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.

Associate professor and assitant chair of art and art history at the University of Texas Arlington

Leighton McWilliams

30

Fleck 106

Preparing Students for Effective Practice and Leadership in Art Education The mission of the art education program at UT 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.

Associate professor of visual art studies/art edcuation at the Unistersity of Texas Austin

ChristopherAdejumo

31

session 2FRIDAY

Fleck 106Panel: Masters Showcase

The Returning Vet and FILM NOIR: The ProblematicDr. 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 oftentimes 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.

Lecture: Art and Community

Professor of visual arts at Texas Woman’s University

Dr. John A. Calabrese

32

Fleck 108

Interim chair of visual arts, Texas Woman’s University

GaryWashmon

Panel: CollaborationThe Arts Triangle Arts Walk ProjectA 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.

33

session 2FRIDAY

Fleck 109

Interim chair of visual arts, Texas Woman’s University

Colby ParsonsPanel: Collaboration

34

Collaborative ProjectsColby 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.

Fleck 109

Low-Rider Bikes in Higher Education: A Project by Throw Away YouthInspired 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.

Assistant professor of art education and visual studies, Texas Tech Univeristy

Future Akins

session 2FRIDAY

Fleck 109Panel: Collaboration

Artist and teacher at Art Alliance Center, Brazosport College, Lee College

Georganna Tapley

Workshop: Art and Community Part 2

36

Moving Beyond Image and into Community with Relational Aesthetics: Part 2This 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.

Fleck 111

Meet transport van in back of Fleck at 3:20Watch students and faculty pour their molds for the Charm Bracelet of Texas and other projects.

Lamar UniversityButch JackIron Pour

St. Edward’s University

Amy Gerhauser

Keen FoundryDonnie Keen

37

session 3SATURDAY

Fleck

Weathergrams: A Spring Peace ProjectJudy 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 natural world, and messages of hope. The Weathergrams will be installed on campus for the Spring season and will recycle with the season’s weather.

Artist and educator

Judy Stone-Nunneley

Workshop: Green Art/Environmental (limit 15 people)

38

Arts 110

Imagillaboration- A National Sculpture Collaboration Project, The logistical challenges and rewards of working, exchanging and exhibiting these 3-D compositions on a national Scale From 2007–2009, 106 sculptors representing twenty-six states 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 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.

Director/professor of fine art, Texas A&M, Corpus Christi

Jack GronPanel: Collaborative Projects

39

session 3SATURDAY

Arts 113

A Cast Iron Chain for America 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 “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 1950’s, 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.

Professor of art at Lamar University

Meredith “Butch” Jack

Panel: Collaborative Projects

40

Arts 113

Taking Iron to the ArcticIn 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.

Director of Keen Foundry in Houston, Texas

Donnie Keen

41

Panel: Collaborative Projects

session 3SATURDAY

Arts 113

UTSA Collaborative EditionsSince 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.

Professor of art at the University of Texas at San Antonio

Kent RushPanel: Collaborative Projects

42

Arts 113

Colored Slips and the Clay SurfaceThere 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.

Professor of art at St. Edward’s University

Steve IrvinWorkshop: Innovations in Foundations (Limit 20 people)

Artist and educator at St. Edward’s University

Connie McCreary

43

session 3SATURDAY

Arts 116

Innovations in Foundation CurriculumMutchler’s interests in Foundations derive from the Bauhaus Preliminary Course- and consequently bringing 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.”

Assistant professor of Art, Area head of 2D foundations at the University of Texas at Austin

Leslie Mutchler

Panel: Innovations in Foundations

44

Arts 120

From 2D to Cross-Disciplinary Space: Revising Beginning DesignHow 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.

Assistant professor at St. Edward’s University

Eric Zimmerman

Panel: Innovations in Foundations

45

session 3SATURDAY

Arts 120

Drawing Structure: Beginning Drawing and a DIY TextbookDrawing 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’t find the right book… just make one.

Area coordinator and Assistant professor of art at St. Edward’s University

Hollis Hammonds

Panel: Innovations in Foundations

46

Arts 120

Assistant professor of media arts at Suny Fredonia and St. Edward’s University

Peter TuckerWorkshop: Technology (Limit 20 people)

Teaching Software on the FlyThis 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 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 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.

47

session 3SATURDAY

Arts 120

Human Rights Art and Community EducationWe are entering our 5th year at South Texas College hosting an annual human rights art exhibition in conjunctionswith 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.

South Texas College political science faculty

Jenny Bryson Clark

Panel: Art and Activism

South Texas College visual arts faculty

Richard Lubben

48

session 4SATURDAY

Arts 113

Associate professor of art at Texas Tech University

Carol Flueckiger

Panel: Art and Activism

49

“Cash Paid for Rags” A “sketchbook” PerformanceThis “sketchbook performance” is inspired by the nineteenth-century 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 “artifacts” from 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.

session 4SATURDAY

Arts 113

Deportes Para Compartir and the Albergues Excolares Indigenas (Sports for Sharing and the Indigenous Shelter School of Mexico)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.

Colombik Studios in Wimberly, TX

Rodger and Jerolyn Bahm Colobik

Panel: Art and Activism

50

Arts 113

Visual arts faculty at South Texas College

David Freeman

Panel: Collaboration

51

Art, Aesthetics, Education and Activism: Dealing with the Border WallPhotography 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 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.

session 4SATURDAY

Arts 114

Can Border Wall Artwork Change Mind, Influence Policy, and Alter Popular CultureThe 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.”

Assistant chair and visual arts faculty at South Texas College

Tom Matthews

Panel: Art and Activism

52

session 4SATURDAY

Arts 114

The Border Wall and Community Based Art EducationThis 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.

Bret LeflerPanel: Art and Activism

Ph.D. Assistant professor/Art education advisor/Art coordinator at the University of Texas at Brownsville and Texas Southmost College

53

session 4SATURDAY

Arts 114

What Role Can Art Play? - Border WallThe 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 political 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?

Visual arts faculty at South Texas College

Scott NicolPanel: Art and Activism

54

session 4SATURDAY

Arts 114

Artist and Keynote speaker

Panel: Art and Community

Mel Chin

55

Fundred: Engaging in a 300 Million Dollar DifferenceThis 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 4SATURDAY

Arts 114

Reality Community: Fostering a Sense of Involvement in the Classroom and BeyondMany 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.

Assistant professor of graphic design at Texas Woman’s University

Jana C. Perez

Workshop: Technology (Limit 20 People)

56

session 4SATURDAY

Arts 121

Blog, Design, TechnologyThis 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.

Graphic Designer and faculty member at St. Edward’s University

Daniel Lievens

Workshop: Technology (Limit 20 People)

57

session 4SATURDAY

Arts 121

President2008-2010

Cathie TylerParis Junior College

Greg ReuterTexas A&M University at Corpus Christi

Susan Witta-KemphSan Antonio College

Greg ElliotUniversity of Texas at San Antonio

Bill SimpsonTrinity Valley Community College

Liz Yarosz-AshMidwestern University

Gary FieldsStephen F. Austin University

President-Elect2008-2010

Recorder2008-2010

Academic Affairs2007-2010

Board Member2008-2012

Treasurer2008-2012

Academic Affairs2008-2012

58

tasaBOARD MEMBERS

Database2008-2012

Brian RowTexas State University at San Marcos

Sandra BakerBrazosport College

Kurt DyrhaugLamar University

Omar HernandezEl Centro College- DCCCD

Linda FawcetHardin-Simmons University

Victory Taylor-GoreAmarillo College

Hollis Hammonds &Angela RodgersSt. Edward’s University

Board Member2009-2012

Newsletter2007-2010

Membership2007-2010

Executive Assistant2008-2012

Webmaster2008-2012

Conference Chairs2008-2012

59

tasaBOARD MEMBERS

Future Akins Texas Tech UniversityTerry Barrett, Ph.D. University of North TexasDr. John A. Calabrese Texas Woman’s UniversityJenny Bryson Clark South Texas CollegeRoger Colombik Texas State University-San MarcosJerolyn Bahm Colombik Colombik Studios in Wimberley, TexasRosemary Meza-DesPlas El Centro CollegeCarol Fluekiger Texas Tech UniversityDavid Freeman South TexasAmy Gerhauser St. Edward’s UniversityJack Grohn Texas A&M, Corpus ChristiHollis Hammonds St. Edward’s UniversityStanley Irvin St. Edward’s UniversityMeredith Jack Lamar UniversityRandy Jewart Austin Green ArtJoe Kagle Lone Star College-KingwoodDonnie Keen Keen Foundry in Houston, TexasBret Lefler, Ph.D. Texas at Brownville and Texas Southmost CollegeDaniel Lievens St. Edward’s UniversityRichard Lubben South Texas CollegeTom Matthews South Texas College

panels & workshopsLIST OF PRESENTERS

60

Leighton McWilliams University of TexasLeslie Muchler University of Texas at AustinScott Nicol South Texas CollegeJudy Stone-Nunnely Brewer High School, Ft. Worth, TXColby Parsons Texas Woman’s UniversityJana C. Perez Texas Woman’s UniversityCatherine Prose Midwestern State UniversityJason Reed Texas State University-San MarcosKent Rush University of Texas at San AntonioGeorganna Tapley Brazosport College and Lee CollegePeter Tucker SUNY Fredonia and St. Edward’s UniversityGary Washmon Texas Woman’s UniversitySang-Mi Yoo Texas Tech UniversityMarjorie A. Zielke, Ph.D. University of Texas at DallasEric Zimmerman St. Edward’s University

61

panels & workshopsLIST OF PRESENTERS

Pilar ArrietaErica BogdanEmily Borneman Mary Brantl Jessica BuieWalle Conoly Barbra CurtinCaroline EckChrissy FlaniganAmy Gerhauser Hollis HammondsKelly HanusDonal Haughey Guillermo Hinojosa-Canales Stan Irvin Miriam JurgensenDaniel Lievens Justin MartinMichael Massey Connie McCrearyRebecca Marino Jorge Muñoz Tuan Phan Kaletia Roberts Angela Rodgers

volunteersCONFERENCE

Kate RosatiNicole Ryder Jennah SlinranEmily Speck Art ThompsonBrenda TorresVicki TottenKhristine Tugangui Kelly WaguespackLindsey WebbMaline WernessColleen WhiteMonica WrightEric ZimmermanWe would like to extend our thanks to all volunteers, especially those whose names didn’t make it into the printed program.Student Spotlight

62

St. Edward’s UniversityThe Kozmetsky Center of Excellence in

Global FinanceThe Still Water Foundation

Blick Art MaterialsRed River Paper

Golden Artist Colors Cheap Joe’s Art Stuff

Ampersand Jack Richeson & Company

Art LiesAustin Museum of Art

Lady Bird Johnson Wildflower Center Mexic-Arte Museum

Blanton Museum of Art Guero’s restaurant on SoCo

Austin ChroniclePrismacolor

LiquitexSmooth-On

Olmsted-Kirk Paper CompanyLucky13

63

INFORMATIONsponsors and donors

School of HumanitiesSt. Edward’s University

Still Water Foundationdickblick.comredriverpaper.comgoldenpaints.comcheapjoes.comampersandart.comrichesonart.comartlies.orgamoa.orgwildflower.orgmexic-artemuseum.orgblantonmuseum.orgguerostacobar.comaustinchronicle.comprismacolor.comliquitex.comsmooth-on.comokpaper.comlucky13mixology.com