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11Flatbred Press

Austin Museum of Art

Mexican American Cultural Center

Hyatt Regency Austin Hotel

Zax Pints and Plates

Threadgills Restaurant

Uchi Restaurant

Jo’s Hot Coffee Good Food

The Highball

Guero’s Taco Bar

Home Slice Pizza

12 South Congress Cafe

13 Vespaio

La Mexicana Bakery

Woodland

Magnolia Cafe South

Garden District Coffee House

Ruta Maya Importing Co.

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2830 East MLK

823 Congress Ave.

600 River St.

208 Barton Springs Rd.

312 Barton Springs Rd.

308 W. Riverside Dr.

801 S. Lamar Blvd.

1300 S. Congress Ave.

1141 S. Lamar Blvd.

1412 S. Congress Ave.

1415 S. Congress Ave.

1600 S. Congress Ave.

1610 S. Congress Ave.

1924 S. 1st St.

1716 S. Congress Ave.

1920 S. Congress Ave.

2810 S. Congress Ave.

3601 S. Congress Ave.

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Table of ContentsWelcome Message

Speaker BiosPoster Presentations

TSA Board of DirectionsSponors & Donors

VolunteersSchedule

Room AssignmentsSession Information

NotesAustin Map

St. Edward’s Map

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10 - 11

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18 - 21

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Back Cover

2012Austin Texas

APRIL 8 10-annual conferenceart community+

Notes

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Notes

44

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, infl uences, policies and actions

that artists and communities engage in both at the local and global level. With over 40

Message

Cathie TylerTASA President

Hollis Hammonds & Angela RodgersConference Chairs

5

Welcome Welcome to Austin and the TASA Conference at St. Edward’s University.

It promises to be an outstanding program of speakers, events and forums around the

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-fi lled conference.

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.

Mel Chin 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 refl ects his concern for the environment

and social consciousness. His work is often

exhibited or installed in public spaces beyond

the traditional confi nes of the gallery or

museum. A conceptual artist, Chin’s body of

work ranges from earthworks to animated fi lms.

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 fi rst season of the PBS

series art21 (Art in the Twenty First Century).

KEYNOTE SPEAKER

6

ChinMel 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 fi nd 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.

43

Notes

Notes

42

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

LittlePAUL HANNA LECTURE

7

Ken Dawsonpage 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.

Catherine 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

SchultzART HISTORY PRESENTATIONS

8

CaesarCatherine Stacy

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.

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 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, fi lm, 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.

Notes

Notes

41

Notes

40

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

refi ned 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 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 specifi cally

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.

Robert HiteST. EDWARD’S SPONSORED SPEAKER

9

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.

Juror: Eric Zimmerman artist & writer, ezimmerman.org

Chris Adams, Texas Tech University

Bruce Alves, Texas Tech University

Jared Applegate, Texas Tech University

Rebecca Beals, Texas Tech University

Shelly Forbis, Texas Tech University

Scotty Hensler, Texas Tech University

Sarah Jamison, Texas Tech University

10

Poster Presentations

Benjamin Lamb, Texas State University

Kris Leinen, Texas Tech University

Aidan Liller, St. Edward’s University

Shannon Ramos, Texas Tech University

Emily Speck, St. Edward’s University

Kelly Waguespack, St. Edward’s University

Chris Walnoha, Texas Tech 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.

Arts 121 Workshop: TECHNOLOGY • limit fi rst 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 & Faculty Member at St. Edward’s University

39

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 fi ne art, relegating it to the rarifi ed 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 infl icts itself so powerfully and destructively

upon the “real world,” what role can art play?

38

Arts 120 Panel: ART & COMMUNITY

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.

Fifty-four students from schools all over Texas applied for this juried exhibition. The exhibition reception will be Saturday, April 10, from 2:30-3:30 p.m., in the Fine Arts Gallery at St. Edward’s University.

Juror: Eric Zimmerman artist & writer, ezimmerman.org

Samantha Alexeichik, Hardin-Simmons UniversityErica Bogdan, St. Edward’s UniversityMeagan Carney, St. Edward’s UniversityAlexandra Coody, Midwestern State UniversityEliana Fanous, McMurry UniversityKenneth Fontenot, Texas State UniversityShannon Gowen, Texas State UniversityJaclyn Hudak, Texas State UniversityBenjamin Lamb, Texas State UniversityAidan Liller, St. Edward’s UniversityAlbert Longoria, Texas State UniversityKrystal N. Maestas, Hardin-Simmons UniversityRebecca Marino, St. Edward’s University

Eric Mathis, Texas State UniversityCaitlin McCollom, Texas State UniversityMiguel Ortiz, Sul Ross State UniversityKevin Dean Ramler, Sul Ross State UniversityCari Ritchie, Hardin-Simmons UniversityBri Anna Satterfi eld, Midwestern State UniversityMichael Scot, St. Edward’s UniversityCallie Simpson, St. Edward’s UniversityEmily Speck, St. Edward’s UniversityTyler Tailiaferro, Midwestern State UniversityKhristine Tugangui, St. Edward’s UniversityAshley Watson, St. Edward’s UniversitySimon Welch, Midwestern State University

11

Poster Presentations

Cathie Tyler, Paris Junior CollegePresident 2008-10

Greg Reuter, Texas A&M University-Corpus ChristiPresident-Elect 2009-10

Susan Witta-Kemph, San Antonio CollegeBoard Member/Recorder 2007-10

Greg Elliott, University of Texas at San AntonioBoard Member/Academic Affairs, Professional Standards 2007-10

Bill Simpson, Trinity Valley Community CollegeBoard Member 2008-12

Liz Yarosz-Ash, Midwestern State UniversityBoard Member/Treasurer 2008-12/Annual Exhibitions Coordinator, Gallery Network

Gary Fields, Stephen F. Austin UniversityBoard Member/Academic Affairs,Photography Survey 2007-10

Brian Row, Texas State University-San MarcosBoard Member/Database 2008-12

Sandra Baker, Brazosport CollegeBoard Member 2009-12

Kurt Dyrhaug, Lamar UniversityBoard Member/Newletter 2007-10

Omar Hernandez, El Centro College-DCCCDBoard Member/Membership 2008-12

Linda Fawcett, Hardin-Simmons UniversityStaff Member/Executive Assistant

Victoria Taylor-Gore, Amarillo CollegeStaff Member/Webmaster

Hollis Hammonds, St. Edward’s UniversityConference Chair 2010

Angela Rodgers, St. Edward’s UniversityConference Chair 2010

12

TASA Board of Directors Can border wall artwork change minds, infl uence 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, infl uence policy and alter popular culture?” asks

Matthews. “Yes, I believe it can.”

The Border Wall and Community Based Art EducationBret Lefl er, Ph.D., Assistant Professor/Art Ed. Adviser/Art Coordinator 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

specifi c research and curriculum to heighten awareness for the need of community based art and arts education within

secondary and upper division students.

37

36

Deportes Para Compartir and the Albergues Escolares Indigenas(Sports For Sharing and the Indigenous Shelter Schools of Mexico)Roger Colombik and Jerolyn Bahm Colombik, 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 fi ne

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.

Arts 114 Panel: COLLABORATION

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 tremendous

educational authority. What better time than now for artists to utilize art as a tool of enlightenment and education on

the specifi c 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.

13

Conference Sponsors & DonorsSt. Edward’s University, School of Humanities

The Kozmetsky Center of Excellence in Global Finance at St. Edward’s UniversityThe Still Water Foundation

Blick Art Materials, dickblick.comRed River Paper, redriverpaper.com

Golden Artist Colors, goldenpaints.comCheap Joe’s Art Stuff, cheapjoes.com

Ampersand, ampersandart.comJack Richeson & Company, richesonart.com

Art Lies, artlies.orgAustin Museum of Art, amoa.org

Lady Bird Johnson Wildfl ower Center, wildfl ower.orgMexic-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.com

14

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 RodgersKate Rosati

Nicole Ryder Jennah SlinranEmily Speck Art ThompsonBrenda TorresVicki TottenKhristine Tugangui Kelly WaguespackLindsey WebbMaline WernessColleen WhiteMonica WrightEric Zimmerman

Volunteers

We would like to extend our thanks to all volunteers especially those whose names didn’t make it into the printed program.

Session 4

35

Arts 113 Panel: ART & ACTIVISM

Human Rights Art & Community EducationJenny Bryson Clark, South Texas College Political Science FacultyRichard Lubben, South Texas College Visual Arts Faculty

We are entering our 5th year at South Texas College hosting an annual human rights art exhibition in

conjunctions with the Human Traffi cking 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

Traffi cking 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-refl ection 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 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.

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 fi nd ourselves piecing together resources for our

students, trying to balance technique with concept, and often failing at fi nding source material that is truly appropriate

for a specifi c course. Sometimes you have to take matters into your own hands, and if you can’t fi nd the right book…

just make one.

Arts 121 Workshop: TECHNOLOGY • limit fi rst 20 participants

Teaching Software on the Fly or Resources for Teaching Technology or How to teach computer stuff you don’t know or Computer Instruction for DummiesPeter Tucker, 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 specifi cally for the workshop that has links

to resources, ideas for assignments, and on-line tutorials.

34

Schedule

15

8APRIL

THURSDAY3:00 – 5:00p *Check-in and registration at the Hyatt

5:00p Bus leaves from the Hyatt for the Austin Museum of Art

5:00 – 7:00p *Kick-off reception at the Austin Museum of Art

7:00p Bus leaves for the Hyatt

Dinner on your own (See Map on pg 46 for suggestions)

Schedule * - Off-campus venue

† - Members should pick up their work from ARTS140 between 2:30 – 3:30p.

(Unless you’ve made arrangements to have the work shipped).

‡ - Students should pick up their work from the Fine Arts Gallery at 3:30p.

Bus use reserved for those staying at the conference hotel.

Schedule Legend:

16

FRIDAY Breakfast on your own (See map on page 46 for suggestions)

8:00a *Bus leaves for St. Edward’s University

8:15a – 12:00p Registration in Mabee Ballroom B

Drop off of artwork for One Cube Foot & TASA Student

Juried Exhibitions

8:15a – 2:00p Vendors & Student Poster Sessions in Mabee Ballroom B

9:00a – 12:30p Featured Speakers in Mabee Ballroom A

Ken Dawson, Paul Hana Lecture

Catherine Caesar, Art History Presentation

Stacy Schultz, Art History Presentation

Robert Hite, St. Edward’s Sponsored Speaker

12:30p Lunch provided in Mabee Ballroom C

1:30p Campus Tour & Robert Hite exhibit

2:00 – 3:15p Panel & Workshop SESSION I (see pgs 22 - 25)

3:30 – 4:45p Panel & Workshop SESSION II (see pgs 26 - 29)

2:00p Set up for Iron Pour

3:30p Iron Pour (meet transport van in back of fl eck at 3:20)

5:00p Bus leaves for Hyatt

Dinner on your own (See map on page 46 for suggestions)

9APRIL Arts 120 Panel: INNOVATIONS IN FOUNDATIONS

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 bringing

relevance to these ideals. Foundations should be comprised of three equally emphasized components: craft (the

teaching of technical profi ciency), 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 fi elds.

33

UTSA Collaborative EditionsKent Rush, Professor of Art at the University of Texas at San Antonio

Arts 116 Workshop: INNOVATIONS IN FOUNDATIONS • limit fi rst 20 participants

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-fi re. 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.

32

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.

SATURDAY Breakfast on your own (See map on page 46 for suggestions)

8:00a *Bus leaves for St. Edward’s University

8:15 – 9:30a Registration in Art Building

8:30 – 9:30a †One-Cube Foot Exhibition, Fine Arts Gallery

(pastries & coffee provided)

9:30 – 10:45a Panel & Workshop SESSION III (see pgs 30 - 34)

11:00a – 12:15p Panel & Workshop SESSION IV (see pgs 35 - 39)

12:30 – 2:30p Lunch provided in Maloney room

(Annual Business Meeting)

2:30 – 3:30p ‡Interconnected TASA Student Juried Exhibition

3:30p Bus leaves for Flatbed Press

4:00 – 4:30p *Tour of Flatbed Press

4:30p Bus leaves for Hyatt

6:00p *Bus leaves for Mexican American Cultural Center

6:30p *Dinner Banquet at the Mexican American Cultural Center

7:30p Keynote Address by Mel Chin

8:30p Presentations of Awards

9:00p Bus leaves for Hyatt17

10APRI

L

Panel: COLLABORATIVE/COMMUNITYMultiplicity in Collaboration and CommunityBorderland Youth: A Social Geography Revealed through Participatory Art PracticeEastland Outdoor Art Museum

18

Panel: GREEN ART/ENVIRONMENTAL

Room Assignments

Fleck106

Fleck108

We’re green, participatory and public!

Curly, Shaggy, Gleaming, Streaming, The Art of Hair: An Intimate Recycling Program

Red Listed

Friday, April 9, 2:00pmSession 1

Fleck109

Panel: ART & COMMUNITYAppreciating Life Through Art

The Struggle For Meaning Between The Artist And The Audience,

A Balance between Artist and Community

Eastland Outdoor Art Museum

Fleck111

Workshop: ART & COMMUNITY – Part 1 Moving Beyond Image and into Community with: Relational Aesthetics: Part 1

A Cast Iron Chain for AmericaMeredith “Butch” Jack, Professor of Art at Lamar University

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.

Taking Iron to the ArcticDonnie Keen, Director of Keen Foundry in Houston, Texas

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 fi ve year reunion pour set for June 2013.

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Session 3Arts 110 Workshop: GREEN ART/ENVIRONMENTAL • limit fi rst 15 participants

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 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.

Arts 113 Panel: COLLABORATIVE PROJECTS

Imagillaboration – A National Sculpture Collaboration Project, the logistical challenges and rewards of working, exchanging 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 twenty-six states across the country have joined together to

undertake a collaborative art project of unprecedented proportions. Working in regional groups of fi ve 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 fi nished sculpture for each person participating.

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Friday, April 9, 3:30pm

Panel: MASTERS SHOWCASE Virtual Humans and Living Worlds – Graduate Programs in Arts and Technology at UT DallasA Growing University – The Graduate Art Programs at UT Arlington Preparing Students for Effective Practice and Leadership in Art Education

Fleck106

Session 2

Lecture: ART & COMMUNITY

Fleck108

The Returning Vet and FILM NOIR: The Problematic

Fleck109

Panel: COLLABORATIONThe Arts Triangle ArtsWalk Project

Collaborative Projects

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

Fleck111

Workshop: ART & COMMUNITY – Part 2 Moving Beyond Image and into Community with: Relational Aesthetics: Part 2

Fleck

IRON POURMeet transport van in back of Fleck at 3:20pm

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Saturday, April 10, 9:30am

Workshop: GREEN ART/ENVIRONMENTALWeathergrams: A Spring Peace Project limit fi rst 15 participants

Arts110

Session 3

Panel: COLLABORATIVE PROJECTS

Arts113

Imagillaboration – A National Sculpture Collaboration Project, the logistical challenges and

rewards of working, exchanging and exhibiting these 3-D compositions on a national scale

A Cast Iron Chain for America

Taking Iron to the Arctic

UTSA Collaborative Editions

Arts120

Panel: INNOVATION IN FOUNDATIONSInnovations in Foundation Curriculum

From 2D to Cross-Disciplinary Space – Revising Beginning Design

Drawing Structure: Beginning Drawing and a DIY Textbook

Arts121

Workshop: GREEN ART/ENVIRONMENTAL Teaching Software on the Fly or Resources for Teaching Technology or How to teach

computer stuff you don’t know or Computer Instruction for Dummies

limit fi rst 20 participants

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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 fi fteen 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.

Moving Beyond Image and into Community with: Relational Aesthetics: Part 2Georganna Tapley, artist & teacher at art alliance center, brazosport college, 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.

Fleck IRON POUR

Butch Jack, Lamar University, Amy Gerhauser, St. Edward’s University, Donnie Keen, Keen Foundry Watch students & faculty pour their molds for the Charm Breacelet of Texas, and other projects.

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Fleck 111 Workshop: ART & COMMUNITY – Pt. 2

Meet Transport Van in the Back of Fleck 3:20

Fleck 109 Panel: COLLABORATION

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.

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Saturday, April 10, 11:00am

Panel: ART & ACTIVISMHuman Rights Art & Community Education“ Cash Paid for Rags” A “sketchbook” performance Deportes Para Compartir and the Albergues Escolares Indigenas(Sports For Sharing and the Indigenous Shelter Schools of Mexico)

Arts113

Session 4

Panel: COLLABORATION

Arts114

Art, Aesthetics, Education and Activism dealing with the Border Wall Can border wall artwork change minds, infl uence policy and alter popular culture? The Border Wall and Community Based Art Education

Arts120

Panel: ART & COMMUNITY Fundred: Engaging in a 300 Million Dollar Difference

Arts121

Workshop: TECHNOLOGY Reality Community: Fostering a Sense of Involvement in the Classroom and Beyond

Blog, Design, Technology

limit fi rst 20 participants

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Session 1Fleck 106 Panel: COLLABORATIVE COMMUNITY

Borderland Youth:A Social Geography Revealed through Participatory Art PracticeJason Reed, Assistant Professor of Photography at Texas State University-San Marcos

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 refl ect upon

the cross-cultural, human experiences existent within this signifi cant 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.

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 fi ctive nature of a space that

is both idealized and conditioned by our society refl ects 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.

Multiplicity in Collaboration & CommunitySang-Mi Yoo, Assistant Professor at Texas Tech University

Dr. Calabrese will present fi lm noir clips and discourse related to the problematic. This means that the fi lms

attempt to deal with a problem without overtly stating it. Ostensibly these are thriller/suspense fi lms, 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 fi t. He is oftentimes forced to assume the position of a criminal who has to vindicate himself by

overcoming various insurmountable obstacles. Each fi lm presents variations on this theme.

Preparing Students for Effective Practice and Leadership in Art EducationChristopher Adejumo, Associate Professor of Visual Art Studies/Art Education 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.

Fleck 108 Lecture: ART & COMMUNITY

The Returning Vet and FILM NOIR: The ProblematicDr. John A. Calabrese, Professor of visual arts at Texas Woman’s University

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Session 2Fleck 106 Panel: MASTERS SHOWCASE

Virtual Humans and Living Worlds – Graduate Programs in Arts and Technology at UT DallasMarjorie A. Zielke, Ph.D., Assistant Professor at the University of Texas at Dallas

The 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 fi nal 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.

A Growing University – The Graduate Art 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 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.

26 23

Fleck 108 Panel: GREEN ART / ENVIRONMENTAL

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 3! 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.”

The mission of Austin Green Art is to help the community to fully understand the revolutionary

calling that defi nes “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 qualifi ed to merge environmental, social and economic considerations

into collaborative projects that raise social network capital and community standards of sustainability.

Session Info

Eastland Outdoor Art MuseumCathi Ball, Assistant Professor at Howard Payne University

We’re Green, Participatory and Public!Randy Jewart, Director of Austin Green Art, austingreenart.org

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 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.

Red ListedCatherine Prose, Assistant Professor of Art & Gallery Director at Midwestern 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 refl ect 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.

Fleck 109 Panel: ART & COMMUNITY

Appreciating Life Through ArtTerry Barrett, Professor of Art Education & Art 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 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.

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Curly, Shaggy, Gleaming, Streaming, The Art of Hair:An Intimate Recycling ProgramRosemary Meza-DesPlas, Artist & Educator at El Centro 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.

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 defi ciencies 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.

Fleck 111 Workshop: ART & COMMUNITY – Pt. 1

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The Struggle For Meaning Between The Artist And The Audience,A Balance between Artist and CommunityJoe Kagle, Professor of Art, Lone Star College-Kingwood

Moving Beyond Image and into Community with:Relational Aesthetics: Part 1Georganna Tapley, Artist & Teacher at Art Alliance Center, Brazosport College, Lee College