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campus map front cover

schedule 2

message from the president 6

message from the conference chairs 7

speakers 10

session I 16

session II 22

session III 28

session IV 34

exhibitions 40

about tasa 44

austin keypoints map back cover

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Welcome to Austin and the TASAConference 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 exceptionalgathering of stimulating, informative

and down-right fun with fellow artists

and friends.

TASA President,

Cathie Tyler

Message from the

pridt

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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 keynotespeech and workshop from

Houston-born artist Mel Chin,

we hope this will be an exciting

fun-filled conference.

Conerence Chairs,

Hollis Hammonds &

Angela Rodgers

MESSAGE FROM thecrc chirs

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BOARD OF DIRECTORS

PRESIDENT 2008 to 2012Cathie Tylerparis junior college

PRESIDENT-ELECT 2009 to 2010Greg Reuter

texas a&m university-corpus christi

BOARD MEMBER/RECORDER 2007 to 2012Susan Witta-Kemphsan antonio college

BOARD MEMBER/MEMBERSHIP 2008 to 2012Omar Hernandezel centro collegedcccd

STAFF MEMBER/EXECUTIVE ASSISTANTLinda Fawcett

hardin-simmons university

STAFFMEMBER/WEBMASTERVictoria Taylor-Goreamarillo college

CONFERENCE CHAIR 2012Hollis Hammondsst. edwards university

CONFERENCE CHAIR 2012Angela Rodgersst. edwards university

BOARD MEMBER/ACADEMIC AFFAIRSGREG ELLIOTTuniversity of texas at san antonio

BOARD MEMBER 2008 to 2012Bill Simpson

trinity valley community college

BOARD MEMBER/TREASURER 2008 to 2012/ANNUALEXHIBITIONS MANAGERLiz Yarosz-Ashmidwestern state university

BOARD MEMBER/ACADMIC AFFAIRSphotography survey 2007 to 2012Gary Frieldsstephen f. austin university

BOARD MEMBER/DATABASE 2008 to 2012Brian Row

texas state university-san marcos

BOARD MEMBER 2009 to 2012Sandra Bakerbrazosport college

BOARD MEMBER/NEWSLETTER 2007 to 2012

Kurt Dyrhauglamar university

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KEYNOTE SPEAKER

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.

MELchin

A conceptual artist, Chins body of work ranges from earthworks to

animated films. For Chin, art has the power to provoke greater so-

cial awareness and a sense of responsibility in the viewer. Through

his community actions, he has engaged innercity neighborhoods and

helped to rejuvenate local economies.

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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 inthe 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. AfterKatrina 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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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 Universityof Texas at San Antonio.

Since 1993, he has maintained a studio and alternative exhibitionspace, 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 facetedcareer, his artwork and its development over his lifetime.

keni

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ART HISTORY PRESENTATION

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 EleanorAntin 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

cr

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ART HISTORY PRESENTATION

stacychulHer dissertation, The Female Body in Performance: Themes

of Beauty, Body Image, Identity, and Violence, has evolved intothe 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.

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, andSan 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.

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sponsored speaker

robert

hi

Born in 1956 in rural Virginia, Robert Hite attended Virginia Com-monwealth University in Richmond and the Corcoran School of Art in

Washington, D.C. After studying traditional ink brush painting in Ma-

laysia, 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 Centraland South America, as well as Europe and Asia. Working within and

between painting, sculpture and photography, Hites highly refined tech-

nique 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 presen-

tation 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.

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session

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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 personaland 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.

Multiplicity inCollaboration

and Community

sang-mi yoo

assistant proessortexas tech university

Borderland Youth: ASocial Geography Revealed

through ParticipatoryArt Practice

jason reedassistant proessor o photography

texas state university-san marcos

SESSION ONE

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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.

SESSION ONE

Eastland Outdoor

Art Museumcathi ballassistant proessorhoward payne university

Fleck 108 Panel: Green Art/Environmental

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

understand the revolutionary calling that defines sustainabilityby 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.

Were green, participatory

and public!randy jewartdirector o austin green artwww.austingreenart.org

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SESSION ONEThis 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.

Curly, Shaggy,

Gleaming, StreaminGThe Art of Hair: An Intimate

Recycling Programrosemary meza-desplas

artist & educator

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.

Red Listedcatherine prose

assistant proessor o artgallery director

midwestern state university

SESSION ONE

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This presentation will look at a diverse group of people respondingdirectly 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.

Fleck 109 Panel: Art & Community

SESSION ONE

Appreciating LifeThrough Art

terry barrettproessor o art education & art history,university o north texas

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 TheArtist And The Audience, A

Balance between Artistand Community

joe kagle

proessor o artlone star college-kingwood

SESSION ONE

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This workshop has a structure that deals with the individual personas 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.

SESSION ONE

Moving Beyond Image andinto Community with

Relational Aesthetics:Part 1

georganna tapley

artist & teacherart alliance centerbrazosport college

lee college

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session

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The University of Texas at Dallas (UT Dallas) offers a unique mastersand 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 andtechnology.

SESSION two

Fleck 106 Panel: Masters Showcase

Virtual Humansand LivingWorlds -

Graduate Programs in Arts

and Technology at UT Dallas

marjorie a. zielke, ph.d.

assistant proessoruniversity o texas at dallas

A Growing University The

Graduate Art Programsat UT Arlington

leighton mcwilliams

associate proessor

assistant chair o art & art history

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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The mission of the art education program at the University of Texasat 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 forEffective Practiceand Leadershipin Art Educationchristopher adejumo

associate proessor o visual

art studies/art education

Fleck 108 Lecture: Art & Community

the returning vet and filmnoir: the problematic

dr. john a. calabreseproessor o visual artstexas womans 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.

SESSION two

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SESSION 2

Fleck 109 Panel: Collaboration

The Arts TriangleArtsWalk Project

gary washmon

interim chair o visual arts

A committee of faculty members was formed from the variousdepartments 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 orartswalk, featuring the various arts in non-traditional settings;

in and around the buildings on the map, where virtually anything

could happen.

Collaborative Projects

colby parsonsassociate proessor o arttexas womans 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 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 involvedinstallation settings with some kind of interactive element inviting

SESSION two

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SESSION two

Low-Rider Bikes in HigherEducation: A Project byThrow Away Youth

uture akinsassistant proessorart 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 resultingbikes 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 111 Workshop: Art & Community Part 2

Moving Beyond Image andinto Community with: Re-lational Aesthetics: Part 2

georganna tapleyartist & teacherart alliance centerbrazosport collegelee college

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 inpart two.

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SESSION two

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.Fleck Iron Pour

butch jacklamar universityamy gerhauser

st. edwards universitydonnie keen

keen oundry

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session

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Arts 110 Workshop: Green Art/EnvironmentalLimit rst 15 participants

Judy will present a hands-on workshop focusing on the creation of

simple printed collages with found images, text, and expressive mono-

prints. Printed on recycled paper sacks, the Weathergrams are re-

cords 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.

Arts 113 Panel: Collaborative Projects

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 groupsof five to nine people, the artists have created an immense body of col-

laborative 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.

SESSION three

Weathergrams: ASpring Peace Project

judy stone-nunneleyartist & educator

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 grondirector/proessor o ne arttexas a&m, corpus christi

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SESSION three

Meredith Jack will present his on-going project to cast a cast iron chainwith 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 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, whichfeatured 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.

A Cast Iron Chainfor Americameredith butch jackproessor o artlamar university

Taking Iron tothe Arcticdonnie keendirector o keen oundryhouston, tx

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SESSION three

Since 1983 the University of Texas at San Antonio has informally

run utsa Collaborative Editions (utsace). Professors Dennis Olsenand 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.

Arts 116 Workshop: Innovations in FoundationsLimit rst 20 participants

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 surfacedecoration 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.

UTSA CollaborativeEditions

kent rushproessor o art

university o texas at san antonio

Colored Slips And TheClay Surface

stan Iivinproessor o art

st. edwards universityconnie mccrearyartist & educator

st. edwards university

SESSION three

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Arts 120 Panel: Innovations in Foundations

Mutchlers interests in Foundations derive from the

Bauhaus Preliminary Course- and consequently bringingrelevance 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 arestructuring 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 accomplishedwithin 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.

SESSION three

Innovations in Founda-tion Curriculumleslie mutchlerassistant proessor o artarea head o 2d oundationsuniversity o texas at austin

From 2D to Cross-Dis-ciplinary Space Revis-ing Beginning Designeric zimmermanassistant proessor o artst. edwards university

SESSION three

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SESSION three

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.

Arts 121 Workshop: Technology

Limit rst 20 participants

This workshop will provide participants with the tools andresources 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-lineopportunities 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.

Drawing Structure:Beginning Drawing and

a DIY Textbookhollis hammonds

area coordinator & assistant proessorst. edwards university

Teaching Software on the Fly or

Resources for Teaching Technol-ogy or How to teach computer

stuff you dont know or Comput-

er Instruction for Dummies

peter tucker

assistant proessor o media artssuny redonia & st. edwards university

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sessionur

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SESSION FOURArts 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 TraffickingConference 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 orencourage self-reflection about the issue.

Human Rights Art &

Community Education

jenny bryson clarksouth texas college

political science acultyproessor richard lubben

south texas college visual arts aculty

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 CashPaid 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.

Cash Paid for Rags: A

sketchbook performance

carol fueckigerassociate proessor o art


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SESSION FOUR

Working in Collaboration with the Mexican Association of the

United Nations and Deportes Para Compartir, we are developing adocumentary 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 114 Panel: Collaboration

Deportes Para Compartir and the

Albergues Escolares Indigenas

(Sports For Sharing and the

Indigenous Shelter Schools of

Mexico)

roger colombikjerolyn bahm colombikcolombik studios in wimberly texas

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 enlightenmentand 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.

Art, Aesthetics, Education

and Activism dealing withthe Border Wall

david reemanvisual arts acultysouth texas colltege

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SESSION FOUR

The border wall controversy affects every citizen of the United Statesand 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.

Can border wall artworkchange minds, influence

policy and alter popular

culture?

tom matthewsassistant chairvisual arts aculty

south texas 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 atheme. 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.

The Border Wall and

Community BasedArt Education

bret lefer, ph.dassistant proessor

art ed. advisorart coordinator

university o texas at brownsvilletexas southmost college

SESSION FOUR

SESSION FOUR

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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 merelysupposed 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 120 Panel: Art & Community

What Role Can Art Play?

Border Wallscott nicolvisual arts acultysouth texas college

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 BillProject 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.

Fundred: Engaging in a 300

Million Dollar Differencemel chinkeynote speaker

SESSION FOUR

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SESSION FOUR

Arts 121 Workshop: TechnologyLimit rst 20 participants

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 projectsincorporated 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.

Reality Community: Fostering

a Sense of Involvement in the

Classroom and Beyondjana c. perez

assistant proessor o graphic design

texas womans university

This presentation will discuss the use of blogs to archive work, presentnew 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.

Blog, Design, Technology

daniel lievensgraphic designeraculty member at st.

edwards university

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ehibiis

oneone cube foot exhibition

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one cube foot exhibition

Every year at the TASA annual conference,

conference attendees are invited to

participate in the tasa One Cube Foot

Exhibition. As TASAs One Square Cube

Exhibitions 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

14th, in the St. Edwards University Fine

Arts Gallery from 8:30 a.m. 9:30 a.m.,

and will include an awards presentation.

Note:work rom the One Cube Foot Ex-hibit should be picked up rom arts140

between 2:30 3:30p. (Unless youvemade arrangements to have the work

shipped)

solar powered paper doll

Carol Flueckiger

poster presentations

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chris adams


bruce alves


jared applegat


rebecca beals


shelly forbistexas tech university

scotty hensler


poster presentations

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.

sarah jamison


kris leinen


shannon ramos


chris walnoha


benjamin lambtexas state university

aidan liller


student juried exhibition

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Fifty-four students from schools all over Texas applied for this juried ex-

hibition. The exhibition reception will be Saturday, April 14, from 2:30-

3:30 p.m., in the Fine Arts Gallery at St. Edwards University.

Samantha Alexeichik


Erica Bogdan


Meagan Carney


Alexandra Coody


Eliana Fanous

mcmurry university

Kenneth Fontenot

texas state university

Shannon Gowen


Jaclyn Hudak


Benjamin Lamb


Aidan Liller


Albert Longoria


Rebecca Marino


Eric Mathis


Miguel Ortiz

sul ross state university

Kevin Dean Ramler

sul ross state university

Cari Ritchie


BriAnna Satterfield


Michael Scot

st.edwards university

Callie Simpson


Emily Speck


Tyler Tailiaferro


JUROR: Eric Zimmerman

Khristine Tugangui


Ashley Watson


Simon Welch


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but

a

membership numbers

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professors164

adjuncts

53

students153

9artists

201 students

62

adjunc

ts

122professors

9artists 2corporate

groups

Last Year march 7, 2012

conference sponsors & donors

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The Still Water Foundation

Blick Art Materialsdickblick.com

Red River Paperredriverpaper.com

Golden Artist Colorsgoldenpaints.comCheap Joes Art Stuff

cheapjoes.com

Ampersandampersandart.com

Jack Richeson & Companyrichesonart.com

Art Liesartlies.org

Smooth-Onsmoothon.com

Austin Museum of Artamoa.org

Lady Bird Johnson Wildflower Centerwildflower.org

Mexic-Arte Museummexic-artemuseum.org

Blanton Museum of Artblantonmuseum.orgGueros restaurant on SoCo

guerostacobar.com

Austin Chronicleaustinchronicle.com

Prismacolorprismacolor.com

Liquitexliquitex.com

Olmsted-Kirk Paper Companyokpaper.com

Lucky13lucky13mixology.com

conference vendors

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Art Lieswww.artlies.org

Big Medium

bigmedium.org

Prismacolor Representative:Shelley Minus

Liquitex Representative:Peter Andrew

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.

social media

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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 informa-tion.

You can also subscribe to ouriCal eed and ollow our eventschedule.

Facebook: TASA Art (Group)

759 members (+210)

Twitter: @tasart

1,101 ollowers (+667)

Linkedin: TASA Art Group

541 members (+263)

Total number of emails sent...

This year to date: 37All o last year: 56

FINANCIAL NUMBERS

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expense revenue profit/loss

0 $14,775.69 $14,775.69

$1,900.00$ 0 -$1,900.00

$4,294.20 $13.78 -$4,280.42

$4,806.57 $883.82 -$3,922.75

$56,430.77 $62,809.28 $6,378.51

$585.00 -$585.00

$2,804.17 $1,771.91 -$1,032.26

$670.74 $1,560.00 $889.26

0 0 0

0 $180.00 $180.00

$329.02 $458 $128.98

$732.94 $1,470.69 $737.75

$302.56 $1,131 $828.44

$139.64 $130 -$9.64

$4,324.64 $5870 $1,545.36$110.62 $601.75 $491.13

$630.91 $650 $19.09

$4,068.24 $4,790 $721.76

$96.69 0 -$96.69

0 $99 $99

0 $55 $55

0 $80 $80

0 $50 $50

$161.76 $45 -$116.76

$3,573.66 $3,850 $276.34*$764.95 0 -$764.95

$87,003.42 $101,274.92 $14,271.50

*$276.34 o the Summer Shindig Proceeds were donated to the American RedCross.**This amount is based on the balance on 3/7/12 plus the current pendingchecks/deposits.

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 ShindigThe Texas Show 2012

TOTAL

2011-12 Beginning Balance:2011-12 Ending Balance:

$34,382.91

$48,654.41**

conference volunteers

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Pilar Arrieta

Erica Bogdan

Emily Borneman

Mary Brantl

Jessica Buie

Walle Conoly

Barbra Curtin

Caroline EckChrissy Flanigan

Amy Gerhauser

Hollis Hammonds

Kelly Hanus

Kelly Waguespack

We would like to extend our thanks to all volunteers, especially those

whose names didnt make it into the printed program.

Donal Haughey

Guillermo

Hinojosa-Canales

Stan Irvin

Miriam Jurgensen

Daniel Lievens

Justin Martin

Michael MasseyConnie McCreary

Rebecca Marino

Jorge Muoz

Maline Werness

Colleen White

Tuan Phan

Kaletia Roberts

Angela Rodgers

Kate Rosati

Nicole Ryder

Jennah Slinran

Emily Speck

Art ThompsonBrenda Torres

Vicki Totten

Khristine Tugangui

Lindsey Webb

Monica Wright

Eric Zimmerman

1 Ruta Maya Coffee

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S.

Congress

S.Co

ngre

ss

oltorf

oltorf

S.lam

ar

S.

lama

r

ih-35

ih-35

s.

1st

bartonsprings

1

2

3

45

67

8

910

11

12

1 Ruta Maya Coffee

2 garden district coffee house

3 magnolia cafe south

4 la mexicana bakery

5 vespaio

6 homeslice pizza7 south congress cafe

8 guero's taco bar

9 jo's coffee

10 uchi restaurant

11 the highball

12 threadgill's

13

13 hyatt regency hotel

14

14 austin museum of art

1515 mexican american cultural center

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community

art+

tasa 2012

Documents