AR +C MMUN T Y

2012 TASA ANNUAL

CONFERENCEAPRIL 8 –10AUSTIN, TX

A SHARED DIALOG OF GREEN ART, SOCIAL ACTIVISM, COLLABORATION AND COMMUNITY ART.

| 1

TABLE OF CONTENTSWelcome

Schedule

Biographies

Session Overview

Session One

Session Two

Session Three

Session Four

Student Spotlight

One Cube Foot Exhibition

Board of Directors

Sponsors, Donors, Volunteers

Vendors, Charm Bracelet for Texas

Austin Map

Notes

568121417202428293031323334

http://tasart.orghttp://tasa2012.wordpress.com

MESSAGE FROM THE PRESIDENT

CATHIE TYLERTASA President

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 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.

2 | | 3

HOLLIS HAMMONDSANGELA RODGERS

Conference Chairs

TEXAS ASSOCIATION OF SCHOOLS OF ART 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 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.

4 | | 5Welcome

SCHEDULETHURSDAY APRIL 8TH, 2011

FRIDAY APRIL 9TH, 2011

3:00 - 5:00p

8:00a

2:00 - 3:15p

2:00p

5:00p

3:30 - 4:45p

3:30p

12:30p

1:30p

5:00 - 7:00p

8:15 - 12:00p

9:00a - 12:30p

hyatt hotel

hyatt hotel

fleck hall

austin museum of art

ragsdale

dinner on your own (see page 33 for suggestions)

dinner on your own (see page 33 for suggestions)

breakfast on your own (see page 33 for suggestions)

5:00p

7:00p

8:15 - 2:00p

check-in and registration

bus leaves for St. Edward’s University

panel and workshop SESSION 1 (see pages 14-16)

set up for Iron Pour

bus leaves for Hyatt

panel and workshop SESSION 2 (see pages 17-19)

Iron Pour(meet transport van in the back of fleck at 3:20p)

lunch provided in Mabee Ballroom C

campus tour and Robert Hite exhibit

kick-off reception at the AMOA

registration in Mabee Ballroom Bdrop off artwork for One Cube Foot and TASA Student Juried Exhibitions

featured speakers in Mabee Ballroom BKen Dawson, Paul Hanna LectureCatherine Caesar, Art History PresentationStacy Schultz, Art History PresentationRobert Hite, St. Edward’s Sponsored Speaker

leaves for the Austin Museum of Art

bus leaves for Hyatt

vendors and student poster sessions in Mabee Ballroom B

SATURDAY APRIL 10TH, 2011

8:00a

8:15-9:30a

12:30 - 2:30p

2:30 - 3:30p

4:00 - 4:30p

6:00p

6:30p

7:30p

8:30p

9:00p

3:30p

4:30p

9:30 - 10:45a

9:30 - 10:45a

hyatt hotel

arts building

main building

arts building

flatbed press

hyatt hotel

macc

breakfast on your own (see page 33 for suggestions)

8:30 - 9:30a

bus leaves for St. Edward’s University

registration in Art Building

lunch provided in Maloney room (annual business meeting)

Interconnected TASA Student Juried Exhibition

tour of Flatbed Press

bus leaves for Mexican American Cultural Center

dinner banquet at the MACC

keynote address by Mel Chin

presentation of awards

bus leaves for Hyatt

members should pick up their work from arts 140 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 is reserved for those staying at the conference hotel

bus leaves for Flatbed Press

bus leaves for Hyatt

panel and workshop SESSION 3 (see pages 20-23)

panel and workshop SESSION 4 (see pages 24-27)

One Cube Foot Exhibition, Fine Arts Gallery(pastries and coffee provided)

6 | | 7Schedule Welcome

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. A conceptual artist, Chin’s 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 know mad 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. Working with scientists, Chin

found that the lead contamination in the soil in New Orleans was

at a hazardous level. To find 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.

MEL CHINKeynote Speaker

BIOGRAPHIESKEN DAWSON LITTLE

Paul Hanna Lecture

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, “Rose 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 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.

8 | | 9Biographies Biographies

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 nineteenth century art. Professor Schultz’s 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 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.

STACY SCHULTZArt History Presentation

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 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.

CATHERINE CAESARArt History Presentation

ROBERT HITESt. Edward’s Sponsored Speaker

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 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. 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 specifically 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.

BIOGRAPHIES

10 | | 11Biographies Biographies

SESSION OVERVIEWFRIDAY, APRIL 9th SATURDAY, APRIL 10th

2:00P 9:30A

3:30P

3:20P 11:00A

fleck 106 arts 110

fleck 108

arts 113

fleck 109arts 116

fleck 111arts 121

fleck 106 arts 114

fleck arts 113

fleck 108arts 120

fleck 109arts 121

fleck 109

Panel: Collaborative/Community Workshop: Green Art/Environmental

Panel: Green Art/Environmental

Panel: Collaborative Projects

Panel: Art & CommunityWorkshop: Innovations in Foundations

Workshop: Art & Community – Part 1Workshop: Technology

Panel: Masters Showcase Panel: Collaboration

Iron Pour Panel: Art & Activism

Lecture: Art & CommunityPanel Art & Community

Panel: CollaborationWorkshop: Technology

Workshop: Art & Community - Part 2

Multiplicity in Collaboration and Community

Borderland Youth: A Social Geography Revealed through Participatory Art Practice

Eastland Outdoor Art Museum

Human 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)

Art, Aesthetics, Education and Activism dealing with the Border Wall

Can border wall artwork change minds, influence policy and alter popular culture?

The Border Wall and Community Based Art Education

What Role Can Art Play? – Border Wall

Fundred: Engaging in a 300 Million Dollar Difference

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

Blog, Design, Technology

We’re green, participatory and public!

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

Red Listed

Virtual Humans and Living Worlds – Graduate Programs in Arts and Technology at UT

Dallas

A Growing University – The Graduate Art Programs at UT Arlington

The Arts Triangle Arts Walk Project

Collaborative Projects

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

The Returning Vet and FILM NOIR: The Problematic

Moving Beyond Image and into Community with Relational Aesthetics: Part 2

Appreciating Life Through the Art

The Struggle for Meaning Between the Artist and the Audience, a Balance

Between Artist and Community

Moving Beyond Image and into Community with Relational Aesthetics: Part 1

Colored Slips and the Clay Surface

Computer Instruction for Dummies

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

Weathergrams: A Spring Peace Project

12 | | 13Session Overview Session Overview

FLECK 108 2:30

PANEL: GREEN ART/ENVIRONMENTAL

We’re green, participatory and public!Randy Jewart

director of austin green art

www.austingreenart.org

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

understand the revolutionary calling that defines “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 qualified to merge environmental, social and economic

considerations into collaborative projects that raise social network

capital and community standards of sustainability.

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

Rosemary Meza-DesPlas

artist & educator

El Centro College

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 &

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.

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.

SESSION ONEFLECK 1062:30

PANEL: COLLABORATIVE/COMMUNITY

Multiplicity in Collaboration and Community

Sang-Mi Yoo assistant professor

Texas Tech 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 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.

Borderland Youth: A Social Geography Revealed through Participatory Art Practice

Jason Reedassistant professor

of photography

Texas State University

Eastland Outdoor Art MuseumCathi Ball

assistant professor

Howard Payne University

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 artists’ work. This community wide project has truly

“painted the town.”

14 | | 15Session One Session One

FLECK 1092:30

PANEL: ART & COMMUNITY

Appreciating Life Through ArtTerry Barrett

professor of art education

and 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.

The Struggle For Meaning Between The Artist And The Audience,A Balance between Artist and Community

Joe Kagleprofessor of art

Lone Star College

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

FLECK 1112:30

WORKSHOP: ART & COMMUNITY, PART 1

Moving Beyond Image and into Community with Relational Aesthetics:Part 1

GeorgannaTapley

artist & teacher at

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

1 SESSION TWOFLECK 1063:30

PANEL: MASTERS SHOWCASE

Virtual Humans and Living Worlds — Graduate Programs in Arts and Technology at UT Dallas

Marjorie A. Zielke, Ph.D.assistant professorUniversity 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.

A Growing University — The Graduate Art Programs at UT ArlingtonLeighton McWilliamsassociate professor,

assistant chair of art &

art history

University of Texas at 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.

Preparing Students for Effective Practice and Leadership in Art Education Christopher

Adejumoassociate professor of

visual art studies/art education

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.

Session One Session Two16 | | 17

FLECK 1083:30

LECTURE: ART & COMMUNITY

The Returning Vet and FILM NOIR: The ProblematicDr. John A. Calabreseprofessor of visual arts

Texas Woman’s University

Dr. Calabrese will present film noir clips and discourse related to

the problematic. This means that the films attempt to deal with a

problem without overtly stating it. Ostensibly these are thriller/

suspense films, 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 fit. He is oftentimes forced

to assume the position of a criminal who has to vindicate himself by

overcoming various insurmountable obstacles. Each film presents

variations on this theme.

FLECK 109 3:30

PANEL: COLLABORATION

The Arts Triangle Arts Walk ProjectGary Washmoninterim 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 Parsonsassociate professor of art

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.

Low-Rider Bikes in Higher Education: A Project by Throw Away YouthFuture Akinsassistant 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 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.

FLECK 1113:30

WORKSHOP: ART & COMMUNITY, PART 2

Moving Beyond Image and into Community with Relational Aesthetics:Part 2

Georganna Tapleyartist & teacher at

art alliance center

Brazosport College

Lee College

BACK OF FLECK3:20

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.

IRON POUR Butch JackLamar University

Amy GerhauserSt. Edward’s University

Donnie KeenKeen Foundry

Meet the transport van in the back of Fleck. Watch students and

faculty pour their molds for the Charm Bracelet of Texas and

other projects.

2

Session Two Session Two18 | | 19

ARTS 1109:30A

WORKSHOP: GREEN ART/ENVIRONMENTAL LIMIT FIRST 15 PARTICIPANTS

Weathergrams: A Spring Peace Project

SESSION THREE

Judy 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 1139:30A

PANEL: COLLABORATIVE PROJECTS

Imagillaboration – A National Sculpture Collaboration Project,the logistical challenges and rewards of working, exchanging andexhibiting these 3-D compositions on a national scale

Jack Grondirector/professor of fine art

Texas A&M at

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 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.

A Cast Iron Chain for AmericaMeredith

“Butch” Jackprofessor of art

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

Houston, TX

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 five year

reunion pour set for June 2013.

UTSA Collaborative EditionsKent Rush

professor of art

University of Texas at

San Antonio

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.

Session Three Session Three20 | | 21

ARTS 1169:30A

WORKSHOP: INNOVATIONS IN FOUNDATIONS LIMIT FIRST 20 PARTICIPANTS

Colored Slips And The Clay SurfaceStan Irvin

professor of art

St. Edward’s University

Connie McCrearyartist & educator

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-fire. 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.

ARTS 1209:30A

PANEL: INNOVATIONS IN FOUNDATIONS

Innovations in Foundation Curriculum

Leslie Mutchlerassistant professor of art

area head of 2d foundations

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 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.”

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

Eric Zimmerman

assistant professor of art

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 fields.

Drawing Structure: Beginning Drawing and a DIY Textbook

Hollis Hammonds

area coordinator & assistant

professor of art

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 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 can’t find the right book‚

just make one.

ARTS 1219:30A

WORKSHOP: TECHNOLOGY LIMIT FIRST 20 PARTICIPANTS

Computer Instruction for DummiesPeter Tucker

assistant professor

of media arts

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

specifically for the workshop that has links to resources, ideas for

assignments, and on-line tutorials.

Session Three Session Three22 | | 23

SESSION FOURARTS 11311:00A

PANEL: ART & ACTIVISM

Human Rights Art & Community EducationJennyBryson Clarkpolitical science faculty

South Texas College

Richard Lubbenvisual arts faculty

South Texas College

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 Women’s

Studies Committee. Jennifer Clark from the STC Political Science

Department and Women’s 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.

“Cash Paid for Rags” — a “sketchbook” performance

Carol Flueckigerassociate 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.

Deportes Para Compartir and the Albergues Escolares Indigenas(Sports For Sharing and the Indigenous Shelter Schools of Mexico)

Roger Colombikcolombik studios

Wimberly, Texas

Jerolyn Bahm Colombikcolombik studios

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 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.

ARTS 11411:00A

PANEL: COLLABORATION

Art, Aesthetics, Education and Activism dealing with the Border Wall

David Freemanvisual arts faculty

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 specific 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.

Can border wall artwork change minds, influence policy andalter popular culture?

Tom Matthewsassistant 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.”

Session Four Session Four24 | | 25

The Border Wall and Community Based Art Education

Bret Lefler, Ph.D.assistant professor, art ed.

adviser, art coordinator

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 specific research and curriculum to heighten

awareness for the need of community based art and arts education

within secondary and upper division students.

What Role Can Art Play? — Border Wall

Scott Nicolvisual arts faculty

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 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?

ARTS 12011:00A

PANEL: ART & COMMUNITY

Fundred: Engaging in a 300 Million Dollar Difference

Mel Chinartist & 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.

ARTS 12111:00A

WORKSHOP: TECHNOLOGYLIMIT FIRST 20 PARTICIPANTS

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

Jana C. Perezassistant 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, Technology

Daniel Lievensgraphic designer &

faculty member

St. Edward’s 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.

Session Four Session Four26 | | 27

STUDENT SPOTLIGHT Poster PresentationsOn 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.

Chris AdamsTexas Tech UniversityBruce AlvesTexas Tech UniversityJared ApplegateTexas Tech UniversityRebecca BealsTexas Tech UniversityShelly ForbisTexas Tech University

Scotty HenslerTexas Tech UniversitySarah JamisonTexas Tech UniversityBenjamin LambTexas State UniversityKris LeinenTexas Tech UniversityAidan LillerSt. Edward’s University

Shannon RamosTexas Tech UniversityEmily SpeckSt. Edward’s UniversityKelly WaguespackSt. Edward’s UniversityChris WalnohaTexas Tech University

Interconnected: TASA Juried Student ExhibitionFifty-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. Judge, Eric Zimmerman, artist & writer. www.ezimmerman.org

Samantha AlexeichikHardin-Simmons University

Erica BogdanSt. Edward’s University

Meagan CarneySt. Edward’s University

Alexandra CoodyMidwestern State University

Eliana FanousMcmurry University

Kenneth FontenotTexas State University

Shannon GowenTexas State University

Jaclyn HudakTexas State University

Benjamin LambTexas State University

Aidan LillerSt. Edward’s University

Albert LongoriaTexas State University

Krystal N. MaestasHardin-Simmons University

Rebecca MarinoSt. Edward’s University

Eric MathisTexas State University

Caitlin McCollomTexas State University

Miguel OrtizSul Ross State University

Kevin Dean RamlerSul Ross State University

Cari RitchieHardin-Simmons University

Bri Anna SatterfieldMidwestern State University

Michael ScotSt.Edward’s University

Callie SimpsonSt. Edward’s University

Emily SpeckSt. Edward’s University

Tyler TailiaferroMidwestern State University

Khristine TuganguiSt. Edward’s University

Ashley WatsonSt. Edward’s University

Simon WelchMidwestern State University

One Cube Foot ExhibitionEvery year at the tasa Annual Conference, conference attendees are invited to participate in the tasa One Cube Foot Exhibition. As tasa’s One Square Cube Exhibition’s title indicates, submissions for this show must be limited to one square foot, and submissions can be 2-d or 3-d. This year Robert Hite will judge the exhibition. There will be an opening reception for the exhibit on Saturday, April 10th, in the St. Edward’s University Fine Arts Gallery from 8:30 a.m. – 9:30 a.m., and will include an awards presentation.

Note: work from the One Cube Foot Exhibit should be picked up from arts 140 between 2:30 – 3:30p. (Unless you’ve made arrangements to have the work shipped)

Solar Powered Paper DollCarol Flueckiger

Student Spotlight One Cube Foot Exhibition 28 | | 29

Cathie Tylerpresident

paris junior college2008–2010

Susan Witta-Kemphboard member/recorder

san antonio college2007–2010

Bill Simpsonboard member

trinity valley community college2008–2012

Liz Yarosz-Ashboard member, treasurer,

annual exhibitions coordinator,gallery network

midwestern state university2008–2012

Sandra Baker board member

brazosport college2009–2012

Omar Hernandezboard member, membership

el centro college - dcccd2008–2012

Victoria Taylor-Gorestaff member, webmaster

amarillo college

Angela Rodgersconference chair

st. edward’s university2012

Greg Reuterpresident-electtexas a&m university-corpus christi2009–2010

Greg Elliottboard member/academic affairs, professional standardsuniversity of texas at san antonio2007–2010

Brian Rowboard member, databasetexas state university2008–2012

Gary Frieldsboard member, academic affairs,photography surveystephen f. austin university2007–2010

Kurt Dyrhaugboard member, newsletterlamar university2007–2010

Linda Fawcettstaff member, executive assistanthardin-simmons university

Hollis Hammondsconference chairst. edward’s university2012

Conference Sponsors & DonorsSchool of HumanitiesSt. Edward’s University

The Kozmetsky Center of Excellence in Global FinanceSt. Edward’s University

The Still Water Foundation

thestillwaterfoundation.org

Blick Art Materialsdickblick.com

Red River Paperredriverpaper.com

Golden Artist Colorsgoldenpaints.com

Cheap Joe’s Art Stuffcheapjoes.com

Ampersandampersandart.com

Jack Richeson & Companyrichesonart.com

Art Liesartlies.org

Austin Museum of Artamoa.org

Lady Bird Johnson Wildflower Centerwildflower.org

Mexic-Arte Museummexic-artemuseum.org

Blanton Museum of Artblantonmuseum.org

Guero’s restaurant on SoCoguerostacobar.com

Austin Chronicleaustinchronicle.com

Prismacolorprismacolor.com

Liquitexliquitex.com

Smooth-Onsmooth-on.com

Olmsted-Kirk Paper Companyokpaper.com

Lucky13lucky13mixology.com

Conference VolunteersPilar Arrieta

Erica Bogdan

Emily Borneman

Mary Brantl

Jessica Buie

Walle Conoly

Barbra Curtin

Caroline Eck

Chrissy Flanigan

Amy Gerhauser

Hollis Hammonds

Kelly Hanus

Donal Haughey

Guillermo Hinojosa-Canales

Stan Irvin

Miriam Jurgensen

Daniel Lievens

Justin Martin

Michael Massey

Connie McCreary

Rebecca Marino

Jorge Muñoz

Tuan Phan

Kaletia Roberts

Angela Rodgers

Kate Rosati

Nicole Ryder

Jennah Slinran

Emily Speck

Art Thompson

Brenda Torres

Vicki Totten

Khristine Tugangui

Kelly Waguespack

Lindsey Webb

Maline Werness

Colleen White

Monica Wright

Eric Zimmerman

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

TASA BOARD OF DIRECTORS

TASA Board of Directors Conference Sponsors, Donors, Sponsors30 | | 31

Conference VendorsOn Friday, April 9th 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 Lieswww.artlies.org

Shelley MinusPrismacolor Representative

Peter AndrewLiquitex Representative

Big Mediumbigmedium.org

Some of you may have heard about the in-progress project to cast an iron chain with links from all fifty

states; the Charm Bracelet for Texas is an extension of that idea. There are a number of academic iron

casting programs in art departments in Texas universities and each can cast a link for the national chain;

but Texas was previously a nation unto itself and it deserves a comparable project. Since TASA is the

statewide organization of those programs, it seems logical that it should be the venue for the project.

St. Edward’s University, the host institution for the 2012 conference, has offered to be the agent for

the production of this “linked”, but separate endeavor. We would like to invite every school in Texas,

attending the TASA this April, to bring a mold of a “charm” that represents their school to the 2012

conference to be filled as part of the iron pour.

The parameters are that the mold be either a set-sand or ceramic shell mold that will stand the high

temperature of cast iron. If the mold is ceramic shell, bring a metal trash can or similar container &

enough loose sand to use as a mother mold. The pattern can be any image, shape, or form, but should

not require more than 50 pounds to fill (including plumbing and pouring cup.) Each pattern should have

a “ring” incorporated to one side (corner, whatever) so that the collection can be attached to a common

steel chain with another steel ring, in the manner of a standard charm bracelet. It is envisioned that the

completed “bracelet” will travel between the participating institutions, so the image should take the

travails ofshipping into account in the design.

The pattern should be capable of multiple molds, just in case we have trouble casting at the conference.

Finish chasing the castings is the responsibility of the institution it represents and the final assembly will

be accomplished in Houston at Keen Foundry/Meredith Jack’s studio.

A Charm Bracelet for Texas

Flatbed Press 2830 East MLK

Austin Museum of Art823 Congress

Mexican American Cultural Center600 River

Hyatt Regency Austin Hotel208 Barton Springs

Zax Pints and Plates 312 Barton Springs

Threadgills Restaurant 308 W. Riverside

Uchi Restaurant801 S. Lamar

The Highball141 S. Lamar

Jo’s Hot Coffee Good Food 1300 S. Congress

town lake

lam

ar b

lvd

1st s

t

cong

ress

ave

35

oltorf st

riverside dr

19th st

6th st5th st

martin luther king jr blvd

barton springs rd

st. edward’s

tx statecapital

university of texas1

2

3

4

56

78

910 11

121314

1516

17

18

Guero’s Taco Bar1412 S. Congress

Home Slice Pizza1415 S. Congress

South Congress Cafe1600 S. Congress

Vespaio1610 S. Congress

Woodland1716 S. Congress

Magnolia Cafe South1920 S. Congress

La Mexicana Bakery1924 S. 1st

Garden District Coffee House2810 S. Congress

Ruta Maya Importing Co3601 S. Congress

Austin Food & Points of Interests

1 102 113 124 135 146 157 168 179 18

Vendors, A Charm Bracelet for Texas Austin Map32 | | 33

Notes Notes

NOTES DOODLES

34 | | 35

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