Professional Documents
Culture Documents
community
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tasa 2012
april 12th-april 14th
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table of contents
campus map schedule message from the president message from the conference chairs speakers session I session II session III session IV exhibitions about tasa austin keypoints map
president
Welcome to Austin and the TASA Conference at St. Edwards University. It promises to be an outstanding program of speakers, events and forums around the topics of Community and Art. After 42 years, the members of the Texas Association of Schools of Art, though well versed in both topics, are in for a exceptional gathering of stimulating, informative and down-right fun with fellow artists and friends. TASA President,
Cathie Tyler
We would like to welcome you and thank you for being a part of Art + Community, the 42nd Annual TASA conference, hosted by St. Edwards University. Weve had a lot of fun planning this years conference, and hope you enjoy whats in store. The 2012 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. Conference Chairs,
conference chairs
BOARD OF DIRECTORS
PRESIDENT 2008 to 2012
Cathie Tyler paris junior college
STAFFMEMBER/WEBMASTER
Victoria Taylor-Gore amarillo college
speakers
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 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.
MEL
chin
KEYNOTE SPEAKER
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A conceptual artist, Chins 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).
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.
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Ken Little was born in Canyon,Texas in 1947. He received a BFA from Texas Tech in 1970, and an mfa from the University of Utah in 1972. He has worked in various media including: bronze, ceramics, neon, performance, wood, steel, cast iron, $1 bills, shoes, and other found objects. His work has been featured in over 35 one person exhibitions, 200 group exhibitions, 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.
little
PAUL HANNA LECTURE
ken
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 artists web site is found at www.kenlittle.com. Ken Littles talk will cover his multi faceted career, his artwork and its development over his lifetime.
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Catherine Caesars 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. Caesars paper will investigate Robert Smithsons 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.
CATHERINE caesar
stacy
schulz
ART HISTORY PRESENTATION
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 womens studies to nineteenthcentury art. Professor Schultzs 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 Artists 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 2012 TASA conference.
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Born in 1956 in rural Virginia, Robert Hite attended Virginia Commonwealth University in Richmond and the Corcoran School of Art in Washington, D.C. After studying traditional ink brush painting in Malaysia, he worked as a studio assistant with Washington Color School painter Leon Berkowitz. Informed both by a rich southern narrative tradition and a closeness to natural environments, Hites 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, Hites highly refined technique and meticulous attention to detail produce illusions that are both confounding and transformative. In the photographic series Imagined Histories, Hite resituates his architectural sculptures in outdoor settings, magnifying the effects of dislocation and displacement that is central to all his imagery. In 1997, Hite and his family moved to a 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. Edwards University, and will give a lecture presentation of his work at the 2012 TASA conference. An exhibition of his photographs will be on display in the Scarborough Phillips Library at St. Edwards University. While a visiting artist, Hite will install a new sculpture specifically designed for the St. Edwards 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.
robert
hite
sponsored speaker
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session
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one
SESSION ONE
Fleck106 Panel: Collaborative/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.
Guided by a conceptual framework of reciprocity, Borderland Youth at Texas State University is working collaboratively with various communities of youth living in the US/Mexico border region to creatively reflect upon the cross-cultural, human experiences existent within this significant social geography. By utilizing participatory art practices we are able to create a public body of work that functions as a tangible mechanism to activate social awareness and provide access to a more realistic, complex, and complete story of the US/Mexico border and its residents. The resulting work is exhibited, published, and ultimately archived at Texas State University.
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SESSION ONE
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.
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SESSION ONE
Curly, Shaggy, Gleaming, StreaminG The Art of Hair: An Intimate Recycling Program
rosemary meza-desplas artist & educator
SESSION ONE
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 Victorias 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 Listed
catherine prose assistant professor of art gallery director 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 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.
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SESSION ONE
Fleck 109 Panel: Art & Community
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.
To understand the artist, we start with what makes an artist the creator that he becomes: the Complete Artist Communicator. To accomplish this, the 21st century artist uses all his/her talents and abilities to serve human beings through a team effort that make up for deficiencies in a single individual. Building this creative-effort-team, we must understand fundamental ingredients: 1) recruiting a team of dedicated individuals who use all their senses to communicate with each other; 2) mix in the dedication and passion of the focused creative effort; and 3) envision an ideate transcending the surface to universal humanity
The Struggle For Meaning Between The Artist And The Audience, A Balance between Artist and Community
joe kagle professor of art lone star college-kingwood
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SESSION ONE
Moving Beyond Image and into Community with Relational Aesthetics: Part 1
georganna tapley artist & teacher art alliance center brazosport college lee college
This workshop has a structure that deals with the individual person as the artist and the teacher. When catastrophic things occur within communities it affects everyone. When hurricanes IKE and Katrina devastated the shores and lives of thousands, it was impossible for me to go into the classroom with the attitude of lessons as normal. The relational and artist parts of me collaborate with the participants to respond to the events in the world around us. I use these events to teach how artists with conscience might respond. The Art becomes the result and or response to these events.
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session
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two
SESSION two
Fleck 106 Panel: Masters Showcase
Virtual Humans and LivingWorlds Graduate Programs in Arts and Technology at UT Dallas
marjorie a. zielke, ph.d. assistant professor 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 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.
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.
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SESSION two
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 2012 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.
SESSION 2
Preparing Students for Effective Practice and Leadership in Art Education
christopher adejumo associate professor of visual art studies/art education
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SESSION 2
Fleck 109 Panel: Collaboration
SESSION two
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. 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 20072008, 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
Collaborative Projects
colby parsons associate professor of art texas womans university
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SESSION two
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 cocreated 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.
Moving Beyond Image and into Community with: Relational Aesthetics: Part 2
georganna tapley artist & teacher art alliance center brazosport college lee college
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SESSION two
Fleck Iron Pour
butch jack lamar university amy gerhauser st. edwards university donnie keen keen foundry
Meet transport van in back of Fleck t 3:20 .Watch students & faculty pour their molds for the Charm Breacelet of Texas, and other projects.
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session three
SESSION three
Arts 110 Workshop: Green Art/Environmental
Limit first 15 participants
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 seasons weather.
Imagillaboration A National Sculpture Collaboration Project, the logistical challenges and rewards of working, exchanging and exhibiting these 3-D compositions on a national scale
jack gron director/professor of fine art texas a&m, corpus christi
From 20072009, 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.
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SESSION three
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 instate extension of the Chain that is the Charm Bracelet for Texas, to be cast during the 2012 TASA conference. The academic iron casting community begun by Julius Schmidt in the 1950s, has grown and prospered. There are university iron foundry programs in most states and many independent artists have set up their own facilities. The Cast Iron Chain is an effort to bring all these disparate individuals into communication for the exchange of ideas, techniques, and aesthetic deliberations. 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 USs northern-most state. He will present the planning, logistics, and implementation of this ambitious endeavor and the five year reunion pour set for June 2012.
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Since 1983 the University of Texas at San Antonio has informally run utsa Collaborative Editions (utsace). Professors Dennis Olsen and Kent Rush who head 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.
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SESSION three
Arts 120 Panel: Innovations in Foundations
Mutchlers 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. How might two-dimensional design courses better respond to contemporary cross-disciplinary space and student needs? St. Edwards University Art department recently undertook a restructuring of its two-dimensional design course with this question in mind. Emphasizing design process, conceptualization, and the relationship between two, three, and four-dimensional thinking, in a laboratory type studio environment, this restructuring embeds learning hand skills and design principals with reading and discussion. The goal is to provide students with the tools to be both articulate and technically accomplished within a world that is increasingly cross-disciplinary. By providing them with technical skills and theoretical frameworks students are better prepared to engage and make in a variety of fields.
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Drawing is possibly the most important foundational skill for the beginning artist. It is also one of the most popular subjects in art, with more drawing books on the market today than most other disciplines. Finding the right textbook for your course however is almost impossible. As faculty we find ourselves piecing together resources for our students, trying to balance technique with concept, and often failing at finding source material that is truly appropriate for a specific course. Sometimes you have to take matters into your own hands, and if you cant find the right book just make one.
Teaching Software on the Fly or Resources for Teaching Technology or How to teach computer stuff you dont know or Computer Instruction for Dummies
peter tucker assistant professor of media arts suny fredonia & st. edwards 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 incvorporate digital tools in their classroom. I will discuss what technology is important, what is absolutely necessary, and what you can teach with no budget. The heart of the workshop explores teaching resources, tutorials and on-line opportunities for both teacher and student to learn and explore digital technologies. Workshop attendees will be given access to a website created specifically for the workshop that has links to resources, ideas for assignments, and on-line tutorials.
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session
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SESSION FOUR
Arts 113 Panel: Art & Activism
We are entering our 5th year at South Texas College hosting an annual human rights art exhibition in conjunctions with the Human Trafficking Conference sponsored by the Womens Studies Committee. Jennifer Clark from the STC Political Science Department and Womens 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.
This sketchbook performance is inspired by the nineteenth-century practice of recycling rags for paper. Many early American broadsides, childrens 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 womens 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 Womens Studies Program.
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SESSION FOUR
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.
Deportes Para Compartir and the Albergues Escolares Indigenas (Sports For Sharing and the Indigenous Shelter Schools of Mexico)
roger colombik jerolyn bahm colombik colombik studios in wimberly texas
Art, Aesthetics, Education and Activism dealing with the Border Wall
david freeman visual arts faculty south texas colltege
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SESSION FOUR
Can border wall artwork change minds, influence policy and alter popular culture?
tom matthews assistant chair visual arts faculty south texas college
The border wall controversy affects every citizen of the United States and Mexico in one way or another whether directly or indirectly. Teaching eight miles from the border in McAllen, Texas has heightened Matthews awareness of the effects the wall is having on our two countries and how these changes will impact our lives for years to come. He uses the classroom as an incubator to discuss the pros and cons of the wall and what artists can do to bring awareness to the situation. Can border wall artwork change minds, influence policy and alter popular culture? asks Matthews. Yes, I believe it can.
This presentation focuses on how art education majors at the University of Texas at Brownsville have addressed the needs of the community by developing an exhibition using the border wall as a theme. It also includes specific research and curriculum to heighten awareness for the need of community based art and arts education within secondary and upper division students.
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SESSION FOUR
The art of the modern and postmodern eras sought to establish its autonomy, art for arts 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?
SESSION FOUR
What Role Can Art Play? Border Wall
scott nicol visual arts faculty south texas college
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SESSION FOUR
Arts 121 Workshop: Technology
Limit first 20 participants
SESSION FOUR
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.
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. Well 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.
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exhibitions
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one
Carol Flueckiger
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poster presentations
chris adams
texas tech university
sarah jamison
texas tech university
bruce alves
texas tech university
kris leinen
texas tech university
jared applegat
texas tech university
shannon ramos
texas tech university
rebecca beals
texas tech university
chris walnoha
texas tech university
shelly forbis
texas tech university
benjamin lamb
texas state university
scotty hensler
texas tech university
aidan liller
st. edwards university
On Friday, April 13th, students from various schools in Texas will present their research in a poster session. The session will be held in the Ragsdale Centers Mabee Ballroom B from 9 a.m. until 2 p.m.
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Rebecca Marino
st. edwards university
Khristine Tugangui
st. edwards university
Erica Bogdan
st. edwards university
Eric Mathis
texas state university
Ashley Watson
st. edwards university
Meagan Carney
st. edwards university
Miguel Ortiz
sul ross state university
Simon Welch
midwestern state university
Alexandra Coody
midwestern state university
Eliana Fanous
mcmurry university
Cari Ritchie
hardin-simmons university
Kenneth Fontenot
texas state university
BriAnna Satterfield
midwestern state university
Shannon Gowen
texas state university
Michael Scot
st.edwards university
Jaclyn Hudak
texas state university
Callie Simpson
st. edwards university
Benjamin Lamb
texas state university
Emily Speck
st. edwards university
Aidan Liller
st. edwards university
Tyler Tailiaferro
midwestern state university
Albert Longoria
texas state university Fifty-four students from schools all over Texas applied for this juried exhibition. The exhibition reception will be Saturday, April 14, from 2:303:30 p.m., in the Fine Arts Gallery at St. Edwards University.
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about tasa
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membership numbers
9 artists
9 artists 2
corporate
groups
122 professors
201
students
62
a
ts unc dj
Last Year
march 7, 2012
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Austin Museum of Art amoa.org Lady Bird Johnson Wildflower Center wildflower.org Mexic-Arte Museum mexic-artemuseum.org Blanton Museum of Art blantonmuseum.org Gueros restaurant on SoCo guerostacobar.com Austin Chronicle austinchronicle.com Prismacolor prismacolor.com Liquitex liquitex.com Olmsted-Kirk Paper Company okpaper.com Lucky13
lucky13mixology.com
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conference vendors
On Friday, April 13th in the Robert and Pearle Ragsdale Center, Mabee Ballroom B, several vendors will set up displays and materials to view or take. Vendors will set up around 8 a.m. and will be available until 2 p.m.
Art Lies
www.artlies.org
Big Medium
bigmedium.org
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social media
Facebook: TASA Art (Group) 759 members (+210) If you dont receive our emails and would like to be added to our mailing list, subscribe through tasart.org or email communications@aigaaustin. org. Other Communications Flickr (photos): flickr.com/photos/ tasart The photos document most of our TASA events from 2004-2011. Website: tasart.org for all information. Total number of emails sent... This year to date: 37 All of last year: 56 You can also subscribe to our iCal feed and follow our event schedule.
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FINANCIAL NUMBERS
2011-12 Beginning Balance: 2011-12 Ending Balance:
administrative membership dues student group reimbursements chapter development supplies, admin and operations events Artist Ranch 2011 2011 Annual Membership Party 2011 Annual Membership Party Artist Breakfast Series Creative Mass Art Speak Finding Grants Reel Artist Small Talks Making Faces screening Lounge Bowl Whats New With Easels Get on Press! Workshop The Mix Student Portfolio Review Preparing and Speaking About Your Portfolio Self Promotion in the Digital Age Resume Workshop Brand You Student Picnic Summer Shindig The Texas Show 2012 TOTAL
$34,382.91 $48,654.41**
expense 0 $1,900.00$ $4,294.20 $4,806.57 $56,430.77 $585.00 $2,804.17 $670.74 0 0 $329.02 $732.94 $302.56 $139.64 $4,324.64 $110.62 $630.91 $4,068.24 $96.69 0 0 0 0 $161.76 $3,573.66 $764.95 $87,003.42 revenue $14,775.69 0 $13.78 $883.82 $62,809.28 -$585.00 $1,771.91 $1,560.00 0 $180.00 $458 $1,470.69 $1,131 $130 $5870 $601.75 $650 $4,790 0 $99 $55 $80 $50 $45 $3,850 0 $101,274.92 profit/loss $14,775.69 -$1,900.00 -$4,280.42 -$3,922.75 $6,378.51 -$1,032.26 $889.26 0 $180.00 $128.98 $737.75 $828.44 -$9.64 $1,545.36 $491.13 $19.09 $721.76 -$96.69 $99 $55 $80 $50 -$116.76 $276.34* -$764.95 $14,271.50
*$276.34 of the Summer Shindig Proceeds were donated to the American Red Cross. **This amount is based on the balance on 3/7/12 plus the current pending checks/deposits.
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conference volunteers
Pilar Arrieta Erica Bogdan Emily Borneman Mary Brantl Jessica Buie Walle Conoly Barbra Curtin Caroline Eck Chrissy Flanigan Amy Gerhauser Hollis Hammonds Kelly Hanus Kelly Waguespack
Donal Haughey Guillermo Hinojosa-Canales Stan Irvin Miriam Jurgensen Daniel Lievens Justin Martin Michael Massey Connie McCreary Rebecca Marino Jorge Muoz Maline Werness Colleen White
Tuan Phan Kaletia Roberts Angela Rodgers Kate Rosati Nicole Ryder Jennah Slinran Emily Speck Art Thompson Brenda Torres Vicki Totten Khristine Tugangui Lindsey Webb Monica Wright Eric Zimmerman
We would like to extend our thanks to all volunteers, especially those whose names didnt make it into the printed program.
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1 Ruta Maya Coffee 2 garden district coffee house 3 magnolia cafe south 4 la mexicana bakery 5 vespaio 6 homeslice pizza 7 south congress cafe 8 guero's taco bar 9 jo's coffee 10 uchi restaurant 11 the highball 12 threadgill's 13 hyatt regency hotel 14 austin museum of art 15 mexican american cultural center
S. lamar
S. Congress
14
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15
12 13 11 10 9 8 7 6 5 3
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barton spring
S. l
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s. 1st
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S. Congress
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