Department of Art and Art History Faculty

See how (and where) faculty spend their summer (part 2)

Thu. July 30, 2015


man seated at table being filmed by crew
Image courtesy of John Clarke.

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.

red chair with white table in library
Image courtesy of Carma Gorman.

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.

detail of hand carving wood block
Image courtesy of Tim High.

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.

two women sitting at table with artefacts
Image courtesy of Astrid Runggaldier.

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.

office filled with books and library cart of books
Image courtesy of Nassos Papalexandrou.

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.

aerial image of vatican library
Image courtesy of Glenn Peers.

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.

two women posing for photo
Image courtesy of Heidi Powell.

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.

three people in forest filming
Image courtesy of Elizabeth Chiles.

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.

Read part one of our series.

Eddie Chambers in conversation with Marsha Lowe

Thu. July 16, 2015

white overlapping hexagon and cube forms on green background

Eddie Chambers was interviewed by Marsha Lowe as part of No Colour Bar: Black British Art in Action 1960–1990, an exhibition at Guildhall Art Gallery.

The Industrial Design Reader, edited by Carma Gorman, listed in Fast Company's 35 Books Every Designer Should Read

Thu. July 16, 2015

book cover for The Industrial Design Reader

The Industrial Design Reader, edited by Carma Gorman, was included in Fast Company's list of 35 Books Every Design Should Read.

Michael Smith film screening at Hales Gallery

Thu. July 16, 2015

photograph of film screening in gallery with lights off
Image courtesy of artist and gallery.

During Hales Gallery's Positions series, work by Michael Smith and William Wegman will be screened July 14–18, 2015. A special evening screening and reception will be head July 16, 2015.

Dr. Christina Bain Honored with 2015 Regents’ Outstanding Teaching Award

Mon. July 13, 2015

woman wearing colorful necklace and green shirt posted for portrait

Dr. Christina Bain, one of eleven faculty members from The University of Texas at Austin, has been chosen to receive 2015 Regents' Outstanding Teaching Awards by the Board of Regents of The University of Texas System.

The awards program is one of the nation's largest monetary teaching recognition programs in higher education, honoring outstanding performance in the classroom and dedication to innovation in undergraduate instruction.

Dr. Bain is an Associate Professor of Art Education. Her research interests focus on the intersection of theory with practice in art education. More specifically, her research examines the preparation and development of art teachers, both at the preservice and inservice levels, with topics including the development of teacher identity, curricular development, technology integration, arts integration, and material culture.

She is the author of Pixels are Not Paint: A Qualitative Study of the Effectiveness of the Digitalfolio as a Learning Strategy in a College Digital Art Classroom and has contributed chapters to Matter Matters: Art Education and Material Culture Studies and Remembering Others: Making Invisible Histories of Art Education Visible.

In the past, Dr. Bain has been recognized with awards including: the Texas Art Educator of the Year Award in 2011, the Texas Art Education Association’s Higher Educator of the Year Award in 2005, and the National Art Education Association Student Chapter Sponsor Award in 2009.

Each honoree will receive $25,000 and be recognized at ceremony August 19 at the JW Marriott in Austin.

“There is nothing more important at a university than good teaching,” said UT Austin President Gregory L. Fenves. “I thank the UT System and Board of Regents for recognizing the work of these talented faculty members, and I thank the recipients — at UT Austin and across the UT System — for inspiring their students every day.”

Established in 2008, the Regents' Outstanding Teaching Awards program recognizes educators who deliver the highest quality of instruction in the classroom, the laboratory, the field or online.

Faculty members undergo a series of rigorous evaluations by students, peer faculty members and external reviewers. The review panels consider a range of activities and other criteria in their evaluations including outstanding teaching, mentoring, personal commitment to students and motivating students in the classroom.

“These amazing educators are responsible for helping to prepare the next generation of great leaders,” said Paul Foster, chairman of the Board of Regents.

“The efforts of these faculty members significantly enhance the educational experiences of our students, and the UT Board of Regents is pleased to have this opportunity to honor them.”

The full list of 2015 Regents' Outstanding Teaching Awards is available here.

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