Troy Brauntuch, Andy Coolquitt, and Jeff Williams present work at Lora Reynolds Gallery
Tue. August 4, 2015
Eddie Chambers in conversation with Morgan Quaintance at Ikon Gallery
Wed. July 29, 2015
Eddie Chambers and Morgan Quaintance will be in conversation at Ikon Gallery (Birmingham, United Kingdom) on July 30, 2015.
See how (and where) faculty spend their summer (part 2)
Thu. July 30, 2015
Last month, Dr. John Clarke closed a successful four-week season of the Oplontis Project, repacked his bags, and returned to the U.S. as a lecturer for the 2015 National Endowment for the Humanities Summer Institute at the University of Massachusetts, Amherst. He engaged the Institute theme, Advanced Challenges in Theory and Practice in 3D Modeling of Cultural Heritage Sites, by presenting the interactive 3D model of the Roman Villa of Poppaea, a UNESCO Cultural Heritage Site. The 25 participants, chosen from university and college teachers worldwide, took part in daylong activities under Clarke’s guidance, including hands-on sessions at UMass Amherst’s new Integrative Learning Center. Clarke returned to Italy to continue work on Leisure and Luxury in the Age of Nero: The Villas of Oplontis near Pompeii. This exhibition showcases eleven years of research at Oplontis and includes newly-rediscovered and restored wall paintings, monumental sculpture, jewelry, and coins. The exhibition will open at the Kelsey Museum of Archaeology at the University of Michigan in February 2016 before traveling to Montana State University and Smith College.
This July, Dr. Carma Gorman served as project faculty for a four-week National Endowment for the Humanities summer institute titled Teaching the History of Modern Design: The Canon and Beyond held at Drexel University in Philadelphia, Pennsylvania. Gorman presented her recent research on the impact of U.S. intellectual property law on mid-century modern design; led each Monday morning's opening discussions on the institute's themes of taste, gender, and globalism; advised participants on their group projects; accompanied the group on field trips to regional museums and archives; slept on a bracingly firm vinyl-encased dormitory mattress; and spent weekends in the "silent room" of Drexel's Hagerty Library (pictured) working on her book about the legal constraints that have shaped modern American industrial design.
Tim High continues working on a new hand-reduction screen print for an invitational exhibition entitled Anachronistic to open next Fall in Boulder, Colorado that will travel to New Zealand. He will resume working on a 22 x 30 inches Tin Toy Series color edition screen-print begun last year. High continues work on a woodcut print that will be included in a publication (Square Halo Publishers, Inc.). In August, High will be preparing for a solo show in late September at Southside Gallery in Oxford, Massachusetts. In correlation with the opening in late September, High will also conduct a workshop in silkscreen mono-printing at the University of Mississippi.
Astrid Runggaldier travels to Belize this summer. Runggaldier works on a Maya project where she has served as lab director for the past 4 years and is now also excavations director. She oversees lab operations recording objects from Preclassic (400 BC) to Colonial (1860s) that include Maya, Spanish, British, and American Confederate artifacts. While in Belize, Runggaldier will complete field reconnaissance trips to locate a lost confederate site.
Nassos Papalexandrou participated in a conference organized by the Swedish Archaeological Institute in Athens, Greece entitled Stuff of the Gods: The Material Aspects of Religion in Ancient Greece in early July. In the fall, he will travel to the National Gallery in Washington DC as a Paul Mellon Visiting Senior Fellow at the Center for Advanced Study in the Visual Arts. In Washington DC, Papalexandrou will compose the last chapter of his book, Monsters, Fear, and the Uncanny in the Preclassical Mediterranean. In the upcoming book, Papalexandrou draws from theories of response to new media, e.g. what Tim Gunning has called the "aesthetic of attraction" in film of the late 19th century, to illuminate the physical, psychological, and aesthetic dimensions of the monstrous during the 7th century BCE.
Monsters, Fear, and the Uncanny in the Preclassical Mediterranean:
Scholars understand the Orientalizing as the systematic adoption of new types of Near Eastern objects, styles, and iconographies by the status-seeking elites of Greece, Italy, and the Western Mediterranean. The problem of the perceptual software (physical and mental ways of engagement between viewing subjects with material and visual culture) introduced and mediated by orientalizing objects, styles, and iconographies cries for systematic analysis. To this end, my study case is the orientalizing cauldrons, large bronze vessels with exquisitely wrought attachments of sirens, lions, and unprecedentedly lifelike protomes of griffins rendered in aggressive postures. Today these technically intricate vessels remain outside the stereotypical categories of art historical analysis. Their figurative apparatus, however, imbued them with the attraction and affect usually acknowledged for great artworks of later eras. I explore the mutual entanglement of these objects with their viewers within a framework of a newly established aesthetic of rare and wondrous experiences.
Glenn Peers begins a research trip to investigate medieval Greek and Georgian manuscripts at the Vatican Library, the Holy Monastery of Vatopaidi on Mount Athos, and at Mestia in northwestern Georgia. At the Vatican Library, Peers will research an eleventh century Psalter on which he has worked with an Italian colleague (their co-edited volume will be out later this year). At the Holy Monastery of Vatopaidi, the manuscript is a mid-fourteenth century Typikon (monastic order of services) made in Trebizond on the Black Sea and with illustrations of saints and labors and zodiacs for the year.
At Mestia, Peers will work on an initiative with Georgian colleagues for study, conservation, and publishing the first illustrated Georgian manuscript, late ninth century, in Mestia, Svaneti, a region in the mountainous northwestern corner of the country that is inaccessible for large parts of the year. The travel is funded by the Center for European Studies and Center for Russian, East European & Eurasian Studies.
Heidi Powell heads to Ireland where she will remain through August 12, 2015. With Erica Wright, an Art Educator from Nevada, Powell will research community artists and art participation. They will also explore evidence of Ireland's core values in public engagement in the arts. Documentation of their journey will exist on their blog.
Elizabeth Chiles completes a year and a half long project with her colleagues in the collective Lakes Were Rivers (LWR). LWR shot a film at The Contemporary Austin’s Laguna Gloria site, completed a book, and will build an installation for the exhibition Strange Pilgrims. Alumni members of LWR includes Anna Krachey (MFA in Studio Art 2008), Mike Osborne (MFA in Studio Art, 2006), Adam Schreiber (MFA in Studio Art, 2007), and Barry Stone (MFA in Studio Art, 2001). In addition, Chiles will be traveling in Maine and Vermont, engage in the natural environments of each, and respond in her studio, working toward two exhibitions: a solo show in Austin in the spring and a three-person exhibition in Atlanta in 2016.