Fri. May 29, 2015
In memory of Greg Ploetz, Deb, his widow, will create the Greg Ploetz Art Scholarship for students in the Studio Art program to be awarded annually for the next ten years.
Ploetz was a Longhorn football player and alumnus of the Department of Art and Art History. He received his BFA in Studio Art in 1972. Ploetz was awarded a prestigious scholarship, given to the best art student, to attend a residency in Maine. Greg went on to receive an MFA in Studio Art in 1975 from the university.
“Art was his true love and passion,” said Deb.
Greg taught art and coached football in high schools and colleges for over forty years. In 2009 he left his last teaching position in Aledo, Texas.
“He was the most brilliant teacher I’ve ever known,” Deb told The Dallas Morning News. “He did such a wonderful job getting his point across.”
A three-year letterman at defensive tackle, Ploetz helped the Longhorns claim three Southwest Conference Championships in 1968, 1969, and 1971. In those three seasons, Texas posted a 28-4-1 record (19-2 in the SWC) and finished the season ranked among the Top 20 each year.
Ploetz was a starter for the 1969 National Championship team and played in Texas’ "Game of the Century” national-title winning victory over Arkansas with a hairline fracture in his ankle that year. After sitting out the 1970 season, Ploetz returned to the Longhorn team in 1971 and went on to earn All-Southwest Conference honors.
Greg passed away this May after suffering for more than a decade of complications from dementia and frontal lobe damage. On May 24, a celebration of life for Greg was held at the Fort Worth Botanic Garden.
He leaves behind his wife, Deb, and two children, Erin Ploetz-Cherkassky and Beau Ploetz.
Greg’s life and challenges have been chronicled in the Fort Worth Star-Telegram, The Denver Post, and The Dallas Morning News. The family asks that in lieu of flowers, donations be made to the Greg Ploetz Art Scholarship. For information on giving to the Ploetz scholarship, contact Andrea Keene 512/ 471–9270.
Thu. May 28, 2015
INGZ defines themselves as a feminist anti-racist art action group. They collaborate on exhibitions, publishing, lectures, interventions and art making to promote conversation about the many expressions of identity. Fluid and strategic, INGZ attacks white supremacist capitalist patriarchy by creating space to be heard, to listen, and to experiment in the field of the visual. INGZ includes Uchenna Itam (PhD student in Art History), Julia Neal (PhD student in Art History), Rebecca Giordano (MA student in Art History), and Natalie Zelt (PhD student in American Studies).
Describe your individual research focus.
Itam: I am interested in contemporary artistic practices in the United States with a focus on performativity and the diasporic African experience.
Neal: I research 20th century art from the United States, and consider virtuality, sound, and identity within global contexts between 1940s–70s.
Giordano: My research comes from a place of genuine curiosity with an aim toward teaching. I am compelled to the exploration of the political through visual forms and aesthetic practices by women and people of color from 1968 onward. Particularly, I consider the consistently political forms of conceptualism and systems art that targeted invisibility and erasure as well as the politics of labor. My eye rests where the line between art and politics is untraceable.
Zelt: I study contemporary art from the United States with focus on photography and identity.
How did you four meet?
INGZ: We met as colleagues in Dr. Cherise Smith's seminar Historicizing the Politics of Identity during the fall 2013 semester.
What was the impetus for starting INGZ?
INGZ: With Dr. Smith's Historicizing the Politics of Identity as both a real and conceptual backdrop, we compelled each other to put into practice our own negotiations for ethical and responsible curating. A smaller seminar allowed us to build an intimate space for learning and a sense of camaraderie that could foster new projects and creative intervention. With and through challenging curriculum, our time in Dr. Smith’s seminar was an invaluable educational experience for professionalism in the arts. INGZ is a testament to a trajectory of a spirited class experience catalyzed and synthesized for tangible, durable forms of practice outside the classroom.
The Visual Arts Center's call for exhibition proposals was timely. We are transients and new to Austin, experiencing the city through various lenses, from isolated educational spaces at the university, to East Austin neighborhoods and different classed social scenes. We wanted to work with an artist who engaged with socioeconomic issues akin to those affecting Austin communities. Though we came together to begin with a project, INGZ is as much about us forging a new model of collectivity and curatorial process as it is about our commitment to promoting and presenting artwork. What we do is a practice.
Your first curatorial project was LaToya Ruby Frazier: Riveted, what was the thinking behind the exhibition?
INGZ: We prefaced Frazier's name to emphasize the primacy of her photographic practice and discursive identity in relation to art, activism, teaching, and criticism. First, we were adamant about organizing an exhibition of work that we all valued, and secondly, work that manifested a consciousness about intersections of race, gender, class, and nationality. The term "riveted" followed after striving to provide enough space and time for audiences to encounter multiple aspects in Frazier's work. We succeeded in obtaining two venues for displaying her work, hence "riveted" was used as a moniker linking both shows. We decided to work on this exhibition only after Frazier graciously decided to work with us.
Why did you use two on-campus spaces for the exhibition?
INGZ: LaToya Ruby Frazier: Riveted consists of two exhibitions and was intentionally designed as such. Curatorially, the two-shows-under-one-heading structure allowed us to push the show in many more directions. We were able to present two very different narratives and offer two residencies that included a variety of student-centered events. As with any show, the venue draws a specific audience. It was exciting to see the range of visitors who were able to see Frazier’s work because there were two distinct shows in two different kinds of galleries. After INGZ received support from Dr. Cherise Smith, associate director of the Warfield Center and associate professor in the Department of Art and Art History, we immediately broadened our scope for the possibilities of what to put on view. It was a quick, deliberate, and conscientious choice. Having a second semester-long exhibition was the next logical step in what would have just been a one-month show at the Visual Arts Center.
What did you learn from the processing of managing the exhibition and public programming?
INGZ: If you need things done, you do it. For most of us, this wasn’t new work at all. What we learned was that we don’t need to rely on old methods and forms. We can apply our know-how and passion to do things the way we envision. The experience of engaging with the multiple institutional and bureaucratic levels of UT Austin reinforced our existing skillsets as professional scholars and curators, as well as committed activists and educators.
What is next for INGZ?
INGZ: The question of "what's next" implies finality for our first project. In reality, we have built some incredible relationships that will have an enduring impact on our anti-racist and feminist commitments as scholars and curators. We are working towards maintaining respectful, challenging, and professional approaches to the privilege of representing art on behalf of artists. Ideas abound.
Individually, what is the next step in your research?
Itam: I’m preparing for qualifying exams in the fall, so I’ll spend the summer reading.
Neal: I'll be in Middlebury, Vermont this summer to learn German, a seven-week 24 hour tabula rasa of my fluency in French.
Giordano: This summer I will be completing my thesis on the work of Mierle Laderman Ukeles, which suddenly has become about the immateriality of the readymade. I will be working as a research assistant on an upcoming book project and am currently pursuing positions in museum education.
Zelt: Right now, I am reading for my comprehensive exams in the fields of American Studies, Critical Race and Gender Studies, and Contemporary Art/Photography in the United States. Inspired by my research and work with LaToya Ruby Frazier’s work, I am considering intergenerational self-portraiture as a means of upsetting representational histories.
LaToya Ruby Frazier: Riveted was previously on view at:
Thu. May 28, 2015
"I am interested in subverting the history of 'straight' photography, one predominately made by heterosexual men. I use the camera as a tool to lie, exaggerate, and conceal. In my staged photographic montages, I hijack the authority of advertising tropes. My photographs explore androgyny and question gender roles enforced in advertisements by juxtaposing traditionally masculine elements with those traditionally feminine.
The production of my photographs occurs entirely in my studio; I take on the role of a laboratory technician, a toucher of objects. I create fictions that are low-tech and DIY. I am drawn to synthetic materials for their efficient and commonplace qualities. The objects are identifiable but derailed from their prescribed function. The pathetic becomes glamorous."
Describe your background.
Bryan Martello: I moved to Austin two years ago to begin my Studio Art graduate studies. Before moving here, I was living in Boston where I’m originally from. I got a BFA in photography from the Massachusetts College of Art, and then worked for the AIDS Action Committee of Massachusetts for a few years.
Why did the Studio Art program at UT Austin appeal to you?
BM: I was drawn to studying at UT Austin for many reasons. The biggest was the work that was associated with the program — from both students and faculty. I was impressed and familiar with many of the faculty and wanted to work closely with them. Once I visited the MFA studios, I also was impressed by the current graduate student’s work and felt like this was a community I wanted to be a part of.
Your work can be humorous, familiar, and disconcerting — sometimes all at once. Would you describe how you decide what to portray?
BM: In my work, I look to hijack the authority of advertising tropes. I’m very interested in the affect my images can have on the viewer, which is often why I use humor, the familiar, and things disconcerting. There is a dark humor in the work that is on one hand funny and on the other hand really uncomfortable. There is an awkwardness to the objects I make that is integral to my work.
You're wrapping up your second year in the graduate program. What has been the most dramatic change in your process?
BM: I think the most dramatic change in my process since beginning here at UT Austin has been the use of my studio. My entire process revolves around the studio, and it is where all the objects are made and all the photographs are taken. As a result of that, I’ve been more interested in materials and the overall materiality of the photograph itself.
What has been the best thing about being in Austin?
BM: The best part of Austin, especially for a graduate student, is that it’s a really easy and fun city. There is enough going on to keep the city interesting and exciting, but there is also a lot of time and space available which makes art making easier than in other cities.
Martello was recently awarded the Martha Leipziger-Pearce Endowed Scholarship in Art and the Graduate Named Endowed Fellowship from the Graduate School. Martello also received the William and Bettye Nowlin Endowed Presidential Fellowship in Photography in 2014 and the Russell Lee Endowed Presidential Scholarship in Photography in 2013.
Thu. May 28, 2015
Describe your background.
Rachel Stuckey: I'm a third generation Austinite who grew up enthusiastically participating in my high school film literacy course, Center for Young Cinema classes, and youth events at SXSW and Austin Film Festival. I spent the first couple years of my undergraduate studies at the Savannah College of Art and Design's film program and finished at the University of Colorado at Boulder's Experimental Film program, which is where I received my BFA. While in Boulder, I worked for the International Film Series and First Person Cinema, an avant-garde film showcase that has run since 1955. I also taught an after school video art class hosted by Boulder LGBT Pride and the Boulder Museum of Contemporary Art. I moved back to Austin to do freelance film and video work and establish Experimental Response Cinema, a volunteer-run micro cinema.
Why did the Studio Art program at UT Austin appeal to you?
RS: After several years of work and study in exclusively film and video environments, I wanted to expand beyond the relatively small community of experimental cinema for my graduate studies by working in a mixed-disciplinary program. Transmedia's video/digital media/performance hybrid approach, nestled within a larger studio art program, along with the department's awesome faculty, UT's research resources, and the media arts community in Austin — UT was a perfect fit. I also hope to teach, so having the opportunity to TA has been wonderful.
You're wrapping up your second year in the graduate program. You've been working on a new project, Welcome to my Homepage!. How does this work depart or act as a continuation of your previous video work?
RS: Welcome to my Homepage! is a net.art project that, unlike my single-channel video works, is changing all the time. It's an expanding cyber-dwelling that begins with the recognizable layout of a house and reaches further and further into the abstract ether of the web. It houses smaller video works and other digital art works as I make them and is also hyperlinked with projects I've made on New Hive and Tumblr, meaning unsuspecting users of those sites could encounter a doorway that routes them into the Homepage!.
It's part memory palace, part drafting board for new ideas, part net experiment. Homepage! also features a residency program, Welcome to my Guest Room!, where interested visitors can sign up to do whatever project they want in the attic space. Recently I've been using elements from Homepage! for a narrative video installation, T0WARD CY83RGN0S1S, that explores ways net-culture can manifest offline as technological occultism and internet-borne disorders.
You recently had an exhibition at Hello Project in Houston. What did you learn from the experience?
RS: Jon Hopson, Hello Project's director, approached me with the idea of building a show around a single-channel video work I had made. It was a nice push to start thinking more spatially about my video work in a very practical way, which has since influenced my practice in general. The installation included a single channel video, It Takes All Sorts, projected on an entire wall with surround sound audio that located the viewer in the middle of patronizing conversations, medical tests, and intercom announcements. Across the room were a collection of looping videos on monitors and arrangements of gaudy artificial flowers featured in the video, dimly lit in deep purple and hot pink.
Do you have any other shows coming up?
RS: I'll have a new projector performance in the New Media Art and Sound Summit in Austin on Thursday, June 11, and It Takes All Sorts will be screened in an experimental film event curated by Dani Leventhal at the Women's Studio Workshop in Rosendale, New York, this August.
Thu. May 28, 2015
“My options were to continue in the professional world or to take a risk to pursue what I love,” described Hayley Woodward (BA in Art History, 2013). “I decided to follow my passion and apply to graduate school.”
Woodward will be attending Tulane University to study Post-Conquest mapmaking in Central Mexico. She received a full tuition waiver and generous stipend.
“Dr. Guernsey was present through my entire graduate school application process,” said Woodward. “She was also my mentor as an undergraduate.”
As a junior, Woodward discovered her interest in art of the Ancient Americas while in a Mesoamerican art history course taught by Dr. Julia Guernsey. Woodward recalled that Guernsey “breathed life into the ancient wall murals, animal figurines, and monumental stone effigies of the Pre-Columbian world.”
“I was hooked,” said Woodward.
She presented her paper, The Hollow Baby Genre: Implements of Elite Domiciles and Evidence of a Pan-Mesoamerican Tradition, at the Department of Art and Art History’s inaugural Undergraduate Art History Research Symposium, as well as at the South-Central Conference on Mesoamerica. Immediately after graduating, she traveled to Belize to do fieldwork at the Late Classic Maya sites of La Milpa and Hun Tun.
“At UT Austin, I was able to fully explore Mesoamerican art, using numerous resources such as the Art and Art History Collection, Benson Latin American Collection, Fine Arts Library, and many helpful professors and graduate students,” described Woodward. “My professors always went above and beyond for their students.”
After graduation, Woodward returned to Dallas and eventually began working at Samuel Lynne Galleries. She gained experience in all aspects of the gallery, from writing press releases and researching artists to working with clients and creating promotional materials.
“As an Art History major, I learned how to research, write, and communicate information in a succinct manner,” remarked Woodward. “That is exactly what I did on a daily basis at Samuel Lynne Galleries, in a contemporary art setting.”
This fall, Woodward will move to New Orleans to continue her research under Dr. Elizabeth Hill Boone, the Martha and Donald Robertson Chair in Latin American Art at Tulane. Boone is a renowned expert on Mexica (Aztec) manuscripts and received her MA and Phd in Art History from the Department of Art and Art History in 1974 and 1977.
“An interest in the Ancient Americas must run in my blood,” laughed Woodward. “While a student in Latin American Studies at George Washington University, my father took a course with Dr. George Stuart, the renowned National Geographic Archaeology Editor. While at UT Austin, I studied with his son, Dr. David Stuart, professor in the Department of Art and Art History. It is a small world indeed!”