ASU Art Museum

Gravity was Everywhere Back Then, A New Installation by Brent Green
2010-09-04 00:00 - 2010-12-31 00:00 (America/Phoenix)
This fall, the ASU Art Museum will host a new exhibition by well-known artist and filmmaker Brent Green titled, Gravity Was Everywhere Back Then. The project is inspired by the true story of an idiosyncratic house in Louisville, owned by hardware store clerk Leonard Wood. When his wife Mary was diagnosed with cancer, Leonard started building the house room by room, with the tragic hope that his labor would save his wife. Even after Mary’s death, Wood continued to build the house. Over the next 20 years, he strove to bring something as tangible and powerful as his love for Mary into the world.
Gravity Was Everywhere Back Then will feature Green’s version of Wood’s house, transplanted and reconstructed from the artist’s studio in rural Pennsylvania. The house, along with sculptural elements and structures, will be installed in one of the ASU Art Museum’s galleries, where it will appear to be both constricted by and bursting out of the space. Video and sound pieces will be shown inside and around the house to create an immersive environment.
Green will be in residence for three weeks at the ASU Art Museum, Aug. 16 – Sept. 3, installing the exhibition and interacting with students and school groups. Students from MetroArts High School in Phoenix, guided by Sue Chenoweth, and ASU Intermedia students, guided by Angela Ellsworth and Gregory Sale, will work closely with Green in the gallery as he installs his house, sculpture and films.
Green lives and works in a barn in Cressona, PA. His work is a regular feature at Sundance and he has performed at The Hammer Museum, The Wexner Center and The Getty Museum of Art. In 2007, Green screened three works and performed a live soundtrack at the 11th Annual ASU Art Museum Short Film and Video Festival. Recent solo shows include Site Santa Fe (2009) and the Contemporary Art Museum, St. Louis (2008). Upcoming exhibitions and performances include the Museum of Modern Art, New York; Berkeley Museum of Art, CA; Site Santa Fe Biennial; the American Visionary Art Museum, Baltimore; and Diverse Works, Houston. As part of MoMA’s exhibition of Creative Capital artists (Green is a 2005 Creative Capital Grant recipient), the Museum will host a screening of several of Green’s short films followed by a live performance with members of the music group Califone and indie rock legends Fugazi.
For more information, contact Heather Lineberry, Senior Curator and Interim Associate Director of the ASU Art Museum, 480.965.5272 and heather.lineberry@asu.edu .
About the Artist: Brent Green in residence: Aug. 16 – Sept. 3, 2010

Lasting Impressions: Japanese Prints from the ASU Art Museum
2010-08-28 00:00 - 2010-11-27 00:00
Lasting Impressions will feature approximately 60 Japanese prints spanning from the 18th century to contemporary artists. It also includes essays on the prints researched by the fall 2009 Japanese Art History Seminar class taught by Dr. Claudia Brown, professor of Asian art history, School of Art, Herberger Institute of Design and the Arts. This project continues the museum’s efforts to transcend the students’ traditional experiences at ASU with direct curatorial experience beyond classroom walls. This will be the first Japanese print exhibition from the print collection of the ASU Art Museum, Jules Heller Print Study Room.

11th Annual Family Exhibition - What Moves Us: Art of Transportation from the Permanent Collection
2010-05-29 00:00 - 2010-08-07 00:00
What moves you? How do you get from one place to another?
Walking, driving a car, riding a bike and traveling by train are all ways to move from here to there. This exhibition highlights these and other modes of transportation in paintings, sculpture and prints. Hands-on activities throughout the exhibition will get your imagination (creativity?) moving, too!
A special event each summer, the annual Family Fun Day is a day of fun that brings our family exhibition even more to life. This free event is scheduled for July 10, from 10 a.m. – 2 p.m., and annually draws more than 1,000 visitors for art making projects, performances and a visit from a PBS character from Eight/KAET.
Support for this annual family exhibition and event is provided by the Scottsdale Art League. The 2010 family exhibition and Family Fun Day are organized by Heather Findling, Windgate intern, and Jean Makin, print collection manager, with educational outreach organized by Andrea Feller, interim curator of education.
For more information contact Jean Makin at 480.965.2787 or jean.makin @asu.edu.

Signs and Signals from the Periphery, an Installation by Dinh Q Lê
2010-05-01 00:00 - 2010-09-18 00:00
Signs and Signals from the Periphery is an installation of new work by internationally acclaimed multimedia artist Dinh Q Lê. It features a series of photographs and sculptures inspired by the lively and inventive street commerce in Vietnamese cities. The works document and recreate the system of signs that signal the availability of certain goods and services. Transported on bicycles and motorbikes, they are quickly assembled on sidewalks and curbs each day. Le’s installation explores the rapidly changing economy of Vietnam, which favors small and transient businesses, and larger issues of global economies and labor.
This exhibition was made possible by the Helme Prinzen Endowment, Mikki and Stanley Weithorn and the Elizabeth Leach Gallery, Portland.

Ceramic Design: Manufactured Brilliance and Beauty in Daily Life
2010-04-10 00:00 - 2010-08-24 00:00
Ceramic Design: Manufactured Brilliance and Beauty in Daily Life , guest curated by Bobby Silverman, demonstrates how artists and industrial designers use an intimate understanding of ceramic materials and manufacturing processes combined with an intelligent and witty attitude to produce works that are both functional and beautifully crafted as well as conceptually challenging. The exhibition challenges basic assumptions and long held beliefs that many associate with the ceramic arts.

From the Headlines: Selections from the Print Collection at ASU Art Museum
2010-03-24 00:00 - 2010-06-26 00:00
This selection of prints from the ASU Art Museum collection focuses on works on paper that deal with topics addressed in news media. Currently available to view in the museum’s multipurpose room, this exhibition closing date is subject to change.

From the ASU Art Museum Permanent Collection
2010-03-13 00:00 - 2010-05-15 00:00
Selected pieces of contemporary art from the ASU Art Museum permanent collection.

Forged Power: Ferran Mendoza, Alvaro Sau and William Wylie. A Moving Targets initiative.
2010-02-20 00:00 - 2010-05-29 00:00
Feb. 19: Friday Conversations @11 with curator John Spiak, 11 a.m.
Feb. 19: Spring Season Reception, from 7-9pm. Free and open to the public.
Ferran Mendoza & Alvaro Sau, Outdoors, High Definition Video, 2009 William Wylie, Carrara series, Cavatori, The Block, Dust, Friction, Digital Video, 2006
In the digital age, the way we engage with physical work has drastically shifted. Such shifts are not new and have occurred over the course of human history – from the invention of simple tools to the industrial revolution, to our current digital society. But as technologies continue to advance, our control and power appear to diminish not only in our work, but also of our bodies. The body’s relationship to work continues to be less physical. We use mechanical arms to lift both heavy and light objects into place and vacuums now roam floors on their own. A document that once took the entire use of one’s arm to hand write can now be created with light touches of computer keys. With voice activation and eye-tracking technologies entering the mainstream consumer market, the hand may soon be removed altogether from the process of work.
Spanish artists Ferran Mendoza and Alvaro Sau traveled the Basque-French border region. The artists refer to it as “this kind of frontier land which we call the outdoors,” a territory of Europe where the “most archaic ways of living coexist with the omnipresent industrial world.” Using their cameras, Mendoza and Sau captured in high definition video the residents of this seemingly isolated region in their daily routines and surroundings. The result of their journey is the video Outdoors (2008), a 56-minute work that delivers a composition of portraits. These portraits provide fleeting glimpses of individuals who take pride in their independence, work and know-how. Their knowledge of their tools, their environment and how their bodies interact with each is clear and poetic; they perform their tasks as if every specific activity or action has been choreographed.
In the historic quarries of Carrara, Italy, the cavatori (stonecutters) have worked for centuries excavating large slabs of white marble from the earth. Through a fellowship exchange, artist William Wylie was provided the opportunity to spend time observing the everyday operations and interactions of the men who work in these famous quarries, the very quarries used by artists from Michelangelo to Louise Bourgeois. What at first appears to be a focus on machinery is soon realized to be a study of human activity and control. While trucks and machinery within these digital videos appear to struggle and battle to complete tasks, the cavatori work with their hands – making precision measurements and chiseling slight grooves. The artist captures in his Carrara series, Cavatori, The Block, Dust, and Friction (2006), the gestural engagements of the hand and body as the stonecutters work together, using signals and whistles, to coordinate their movements within the noise and chaos of the industrial site. Together these four videos demonstrate that the actions of work can be perceived as beautiful in and of themselves.
The individuals captured in these videos control their own actions by working with their hands and bodies. They do more than just push a button; they exert human energy and create an effect through the power of their own body. Retaining the capability of doing work or accomplishing tasks with the use of the physical body, their forged power is a reaffirmation of human capability.
The exhibition will feature five video works by the artists. William Wylie will be in attendance at ASU Art Museum to present a free lecture on a yet to be determined date. He will also meet with students and classes while in Tempe.
This exhibition and programs are generously supported by Helme Prinzen Endowment, ASU Art Museum Advisory Board, ASU School of Art and the Department of Photography, and Northlight Gallery at ASU.
Forged Power is an ASU Art Museum Moving Targets Initiative.

Wanxin Zhang: A Ten Year Survey
2010-01-30 00:00 - 2010-05-01 00:00
Wanxin Zhang: A Ten Year Survey provides an in-depth survey of San Francisco-based artist Wanxin Zhang.
Inspired by the soldiers of the Qin terra cotta army unearthed in Xian, China in 1974, Zhang’s large-scale terra cotta figures cross over from history into today’s culture. His works are marked at once by a collision of cultures; manner of dress, hair fashion and calligraphy are drawn from Chinese culture while American peculiarities are added as ironic twists.

Altered States: Paintings by Gordon Cheung from the Stéphane Janssen Collection
2010-01-09 00:00 - 2010-04-10 00:00
Arizona State University Art Museum will present the first solo exhibition by British artist Gordon Cheung in a U.S. museum. The ASU Art Museum is recognized for presenting groundbreaking contemporary artists and art forms, often in their first museum exhibition.
Cheung’s paintings explore our world in fantastic landscapes. He combines collage, Japanese ink brushwork, photographic transfers, oil and spray paint on top of stock listings from the distinctively pink London Financial Times</i>; the contrast of Cheung’s images with streams of numbers seem to predict the recent global financial crisis. The exhibition will also present four new video works by the artist.
Cheung was born in London in 1975 to Chinese parents and earned his MA from the Royal College of Art in 2001.He currently lives and works in London.
Past Exhibitions:
Defining Sustainability: From the ASU Art Museum Collection

Strange Brew: The Gerry and Daphina Cramer Teapot Collection
2009-12-15 00:00 - 2010-02-19 00:00
The ASU Art Museum Ceramics Research Center is pleased to present Strange Brew: the Gerald and Daphna Cramer Teapot Collection. The collection is comprised of more than 50 teapots that range from the utilitarian to decorative and sculptural works of art. The collection is on loan but will be gifted to the museum in the near future.
The teapot form, used for centuries for brewing tea, is one of the most familiar household objects. Easily accessible, audiences will take delight in the myriad shapes and aesthetic approaches artists take for this exhibition. While rich in history and tradition, contemporary teapots have long held a fascination with ceramic artists in that they are challenging to construct: the spout, handle, body and lid must all be integrated into a unified whole. A variety of techniques have been incorporated in the Cramer Collection including hand-built, wheel-thrown or molded. Conceptually, the works on exhibition range from whimsy, humor or social satire. Artists Ted Saupe, Bob Rose, Noi Volkov and Chuck Aydlett use their teapots as a canvas to draw on, creating a narrative storyline while Wally Keeler, Ken Ferguson and James Lawton are still committed to working within the history of function.
Artists represented in the collection range from established and under-recognized American ceramists and those from abroad. Some of the artists represented in the Cramer Collection include Ralph Bacerra, Ken Ferguson, Wally Keeler (U.K.), Julia Galloway, Jeff Oestreich and George Walker (U.K.). Phoenix-area artists include Farraday Newsome, Jeffrey Reich, Sandra Luehrsen and Junya Shao.
The Cramer Collection was formerly owned by Santa Fe resident Sandy Besser, recognized as a pioneering art collector who amassed one of the finest ceramic teapot collections in the U.S. in the 1970s and 80s. According to Besser, “the collection has nothing to do with the function of the teapot or any fascination with the ritual of the tea ceremony. The concern is with the varied approaches to a single form within the same medium. Interpretation is unrestrained except for the constants of container, handle, lid and spout.”
Gerald Cramer, an internationally-recognized financier, has long ties to Arizona State University; he has been a frequent lecturer at the business school. In 1973 he founded and is currently Chairman Emeritus of Cramer Rosenthal McGlynn, an investment management firm based in New York. He has been a winter resident of Phoenix for more than 25 years. His wife, Daphna, born in Israel, served in the Israeli Air Force and is a former Miss Israel.
On behalf of the ASU Art Museum and Ceramics Research Center, we extend our gratitude to the Cramers for their willingness to share the collection for future generations.
Past Exhibitions: Native Confluence: Sustaining Cultures

Canalscape for Metro Phoenix: Installation and Exhibition
2009-11-07 00:00 - 2009-12-01 00:00
Canalscape proposes the creation of vital urban hubs where canals meet major streets. This mixed-use “urban infill” would provide highly desirable places to gather by the water as well as an alternative to sprawl. Unlike Amsterdam and Venice, much smaller cities with urbanized canals throughout, Phoenix’s trademark would be distributed canalscape, reflecting its unique quality of being a “network” city as well as a region that creatively intersperses urban living into a breathtaking desert landscape. Canalscape would contribute to a sustainable and authentic Desert Urbanism for Metro Phoenix.
Dr. Nan Ellin and her students will create a canalscape in the museum’s entryway and Nymphaeum. Water features and plants will create an environment to view project ideas and information about the history of Phoenix’s canals and prospects for the future.
For more information, see: ASU Office of the President podcast on Canalscape: http://president.asu.edu/node/667 ASU Canalscape website: http://canalscape.asu.edu/ AIA Canalscape Competition: http://aia-phoenixmetro.org/wp-content/uploads/2009/03/canal-comp-rules.pdf
Opening Reception: Nov. 10, 6-8 p.m. Dance performance by Dulce Dance Company, choreography by Mary Fitzgerald (ASU), music by Julian Peterson.
Closing: panel discussion, “The Tao of Canalscape” – moderated by Nan Ellin, Director, Planning, ASU Dec. 1, 6 p.m. Panel includes: Eric Iwerson, Planner, City of Tempe James Labar, Historian, ASU and Salt River Project Laurie Lundquist, Artist Mark Stapp, Director, Masters of Real Estate Development, ASU

Nowhere to Hide: Three Artists in the Desert
2009-10-10 00:00 - 2010-02-20 00:00
Nowhere to Hide presents the work of three artists who live in Phoenix and have explored definitions of sustainability in their multi-media artworks. Their approaches range from photography to sound sculpture and gouache paintings.
Julie Anand’s brilliantly-hued photographs present her found objects like specimens and begin to tell stories of the people who have traveled along the same path – their habits and preoccupations.
Richard Lerman is a well-known sound artist whose work often explores the inevitable trade-offs in our interaction with the land, how even green systems and solutions impact our environment.
Carrie Marill has created a series of gouache paintings which represent environmental problems and solutions brought on and devised by humans.
All of the artists in the exhibition grapple with issues of personal responsibility and control, sustainable systems that inevitably require compromise and the complex, global challenges of humans living on earth.
Visit the About section of our Web site or our blog for project details.
Additional Events: Season Opening Reception Oct. 9, 7-9 PM

Defining Sustainability: From the ASU Art Museum Collection
2009-09-19 00:00 - 2010-01-30 00:00
Students from the Herberger Institute for Design and the Arts and the School of Sustainability will work with Dr. Claudia Mesch, art history, and Julie Anand, photography, from the School of Art, to explore art and sustainability issues raised by artworks in the ASU Art Museum’s permanent collection. The exhibition will include both past and present examples of artists exploring human interaction with the land, urbanization, natural and manmade materials, pollution, cultural sustainability and sustainable processes, and will explore how artists have brought issues of sustainability to a broader community, encouraged participation and dialog, and proposed creative solutions.
The exhibition, curated by Mesch and Heather Lineberry, Senior Curator and Interim Director of the ASU Art Museum, will include historic precedents, like the 19th century Hudson River school painters who painted classic American landscapes with encroaching signs of industrialization, as well as selections of work by contemporary artists like Matthew Moore, who has created compelling land art works on his family’s farm in the middle of the suburbs in West Phoenix, and Eddie Dominguez, who uses ceramics to explore human history and impact on the earth.
The students in the seminar will bring their different disciplines to their discussions and research. As the conversation deepens, the projects that emerge from the class will be accessible to the public in the gallery on a class bulletin board and on the website including a class blog. Class sessions with guest speakers from the fields of art, science and the humanities will be open to the public. The students in the seminar will also interact with the artists in residence during the larger fall season.
Visit the About section of our Web site or our blog for project details.

I'm Keeping an Eye on You
2009-09-19 00:00 - 2009-12-12 00:00
Through personal, established relationships, casual encounters, forced institutional interactions or contact from a safe distance, we often overstep our boundaries. Whether we are conscious or not of our boundary breaking, at one time or another we are all guilty of intruding into other people’s lives and space. What may pass as uneventful for one individual may be the cause of great anxiety and fear for another. I’m Keeping an Eye on Youexplores the broad and lasting effects of our curiosity and intrusions upon others.
Artists featured in I’m Keeping an Eye on You include: Mounira Al Solh (Amsterdam/Beirut); Rachel Garfield (London); Charlotte Ginsborg (London); Pia Greschner (Berlin); Myung-Soo Kim (Tempe); Yaron Lapid (London); Jeff Luckey (New York/Berlin); Johnna MacArthur (Los Angeles); Michael Mohan (Los Angeles); and Corinna Schnitt (Hamburg).
Organized by John Spiak, ASU Art Museum curator, I’m Keeping an Eye on You premiered as a Video Project Space at Aqua Art Miami in December 2008. This project is made possible by the generosity of Aqua Art Miami and Friends of the Arizona State University Art Museum.
The Moving Targets initiative builds on the museum’s long history of exploring the role of new media in the arts. The museum presented its first media exhibition in 1993, Nam June Paik: Time for Change and represented the U.S. at the 1995 Venice Biennale, Italy art exhibition with the work of five installations by Bill Viola. The ASU Art Museum supports emerging artists and critically acclaimed practitioners of new genres through solo exhibitions, including William Kentridge, Shirin Neshat, Jim Campbell, Pipilotti Rist, Gary Hill and Francesco Torres. In 1997, the museum developed an annual short film and video festival, which continues to present the work of international artists. The ASU Art Museum Short Film and Video Festival is held each April; look for its 14th annual screening during April 2010. As technology penetrates all aspects of art, the museum strives to present the most innovative and engaging works.
Past Exhibitions:
Social Studies: Project 5 – Alone Together in the Dark, by artist Jillian McDonald Social Studies: Project 4- Giambarra, with artist Paulo Nenflidio ASU Art Museum Short Film and Video Festivals

Native Confluence: Sustaining Cultures
2009-08-29 00:00 - 2009-11-29 00:00
For centuries, native peoples have practiced sustainable living, having a cultural and spiritual connection to the environment and a deep respect for the balance of natural and rhythmic cycles of plant, animal and human life which has always been nurtured and guarded. In Native Confluence, three Native American artists (or groups of artists) from Arizona and New Mexico will each spend one week per month in residence.
Prior to opening, all of the artists together will conceptualize a theme or direction for the project, which will then be continually developing throughout their residencies at the museum, inspired through the lens of the collective. The first artist in residence will start the project knowing that later artists will add or subtract to the piece over a period of time. In the end, there will be a true collaborative installation that has been inspired by material, cultural and personal creativity.
The project will include an installation in progress within the gallery at the CRC as well as seep outside onto the exterior walls of the building. It is anticipated that materials to be used will include clay, adobe, dirt, stone, branches and other organic materials.
Native Confluence speaks to a native worldview in terms of inter-generational methods of practicing sustainability. It’s this approach to organic materials – tools from ancestral traditions – that allow new doors to open. This idea is holistic in its approach; the idea of sustainability is consciousness about the whole – whole community, world and self.
Participating artists:
Nora Naranjo Morse, Espanola, NM
Athena & Bill Steen, Canelo Project, Elgin, AZ
The Postcommodity Collective (Kade Twist, Steven Yazzie, Nathan Young and Raven Chacon)
Tentative residency schedule:
Aug. 24-29, First artist residency – The Postcommodity Collective. Exhibition project opens to the public August 29
Sept. 21-25, 2nd residency – Nora Naranjo Morse, who will return for opening reception Oct. 9
Nov. 9-14, 3rd residency-Athena & Bill Steen, in conjunction with the Green build conference (tours at museum on Friday & Saturday)
Visit the About section of our Web site or our blog for project details.

Hits from the 60s & 70s: Selections from the ASU Art Museum Print Collection
2009-06-27 00:00 - 2010-10-29 00:00
Hits from the 60s & 70s highlights prints made by internationally known artists from the ASU Art Museum Print Collection. Artists include John Chamberlin, Jasper Johns, Robert Indiana, Roy Lichtenstein, Louise Nevelson, Frank Stella and Andy Warhol.
Visit the About section of our Web site or our blog for project details.

NADIA HIRONAKA: The Late Show
2008-10-18 00:00 - 2009-01-25 00:00
Conversations @ 11
Friday, Oct. 17, 11 a.m. – Artist Nadia Hironaka

Opening Reception
Friday, Oct. 17, 7-9 p.m.

NADIA HIRONAKA: The Late Show
In her multi-channel video installation, The Late Show, Nadia Hironaka expands the cinematic experience into the realm of the gallery environment. Synthesizing video projection, videos on monitors and audio, Hironaka entices the viewer to imagine characters leaving the confines of the projected image and entering the real space of the gallery. Using an abandoned drive-in movie theater as her point of departure to examine the convergence of cinematic and real space, Hironaka also asks us to reflect on how mood and emotion are constructed within the context of film.
About the artist
Nadia Hironaka currently lives in Philadelphia. She is currently teaching full time at The Maryland Institute College of Art, in the Video Department and did her undergraduate studies at The University of the Arts, Penn. (’97). She went on to earn an MFA from the School of the Art Institute of Chicago (’99). Hironaka’s work has recently exhibited at the following venues: Vox Populi, Philadelphia (solo); The Pennsylvania Academy of Fine Arts, Philadelphia (solo); Caracas Museum of Art, Caracas, Venezuela; The Fabric Workshop and Museum, Philadelphia; Art Space, Richmond, Virginia; Moore College of Art and Design, Philadelphia; The Brattleboro Museum of Art, Brattleboro, Vermont; and was included in the 2001 ASU Art Museum Short Film and Video Festival.
ASU Art Museum Presentation
Organized by John Spiak, ASU Art Museum Curator, The Late Show will be installed in the Arizona State University Art Museum’s Nelson Fine Arts Center location.
Nadia Hironaka: The Late Show, organized by curator John Spiak, is an ASU Art Museum Moving Targets initiative. Support for this exhibition provided by the ASU Art Museum Advisory Board, the FUNd at Arizona State University and the Friends of the ASU Art Museum. In-kind support provided by Executive Flooring Systems, Inc., Phoenix, Arizona.
Duration
The Late Show (October 18, 2008 – January 25, 2009) is open at the ASU Art Museum: Tuesday, 11 a.m. – 8 p.m. (summer hours: Tuesday, 11 a.m. – 5 p.m.); Wednesday – Saturday, 11 a.m. – 5 p.m.; Sunday, 1-5 p.m.; Closed Monday and holidays
More information: John Spiak, spiak@asu.edu.

ASU Herberger College School of Art Faculty Exhibition
2008-10-18 00:00 - 2009-01-25 00:00
Recent works created by the faculty will be exhibited in the bi-annual ASU Herberger College School of Art Faculty Exhibition at the ASU Art Museum. The exhibition offers students and the public an opportunity to see the talents of the ASU Herberger College School of Art faculty. This year’s exhibition will feature work in media as diverse as painting, photography, drawing, sculpture, intermedia, fiber and ceramics, as well as research by art history and art education professors.
Participating faculty: Julie Anand, Susan Beiner, Jerry Bleem, Daniel R. Britton, Becky I. Chader, Sam Chung, Julie Codell, Dan Collins, Tom Eckert, Angela Ellsworth, Ron Gasowski, Denis Gillingwater, J. Eugene Grigsby, Jr., James Hajicek, Hilary Harp,
Mary Hood, William Jenkins, Mark Klett, Muriel Magenta, Stephen Marc, Kathryn Maxwell, Ellen Murray Meissinger, Mary Neubauer, John Obuck, Mark Pomilio,
John Risseeuw, Gregory Sale, Betsy Schneider, Jerry Schutte, Nancy Serwint, Forrest Solis, Mary Stokrocki, Clare Verstegen, James R. White.

Selections from the Ovitz Family Collection
2008-06-07 00:00 - 2008-09-28 00:00
NOW: Selections from the Ovitz Family Collection
NOW: Selections from the Ovitz Family Collection presents works by international contemporary artists. Dating from 2006 to 2008, the works illustrate recent trends in contemporary art that are fresh from the artists’ studios. These works are also recent acquisitions to the Ovitz Family Collection that highlights both established and emerging artists. Michael and Judy Ovitz began collecting art in the 1970s, and are listed among the world’s top collectors by publications such as ARTNews and Art & Antiquities.
Exhibition Artists
Artists featured in NOW include Mark Bradford, Rachel Harrison, Richard Hughes, Jamie Isenstein, Katy Moran, Anselm Reyle, Stephen G. Rhodes, Sterling Ruby, Andro Wekua, and Thomas Zipp. Richard Hughes and Andro Wekua will also be part of Life on Mars: 55th Carnegie International opening in May 2008. Rachel Harrison is featured in the 2008 Whitney Biennial.
ASU Art Museum Presentation
Organized by Andrea Feller, ASU Art Museum Interim Curator of Education, will be installed in the Arizona State University Art Museum’s Nelson Fine Arts Center location.
Duration
NOW: Selections from the Ovitz Family Collection (June 7 through September 28, 2008) is open at the ASU Art Museum: Tuesday, 11 a.m. – 8 p.m. (summer hours: Tuesday, 11 a.m. – 5 p.m.); Wednesday – Saturday, 11 a.m. – 5 p.m.; Sunday, 1-5 p.m.; Closed Monday and holidays

EXPLORING DREAMS: Images from the Permanent Collection
2008-05-17 00:00 - 2008-09-28 00:00
9th ANNUAL FAMILY FUN DAY
Saturday, July 12
10am – 2pm
EXPLORING DREAMS: Images from the Permanent Collection
Throughout history, dreams have inspired artists to capture their spirit and bring the imaginary to life. Exploring Dreams presents artwork that echoes the dreamlike, surreal images encountered in the depths of sleep and in the shades of waking. The exhibition examines the concepts and science of dreams: what dreams are and their purpose and meanings. To further enhance viewer’s experience during the visit, hands-on and informational activities at the gallery are specially designed to encourage visitors to explore their own dreams through images and text.
The annual Family Exhibition at the ASU Art Museum is part of the museum’s InterLab initiative that presents projects that involve collaboration with multiple disciplines, infusing a multi-level appreciation of the artwork, enriching the viewing experience and demonstrating the relevance of art to people’s lives.
This summer’s dream-inspired theme is also highlighted by this year’s Family Fun Day on Saturday, July 12, 2008, 10 a.m. – 2 p.m. Family Fun Day celebrates rich arts and cultural environments in local communities and encourages increasing community engagements for valley families year round. Free to the pubic, this year’s Family Fun Day provides hands-on activities, such as making dream-catcher and other dream-inspired arts and craft; it also entertains families and visitors with dance, music and theatrical performances suitable for all ages. CONDER Dance, AZ Opera in a Box and other local groups and volunteers will showcase their best performances throughout the day, spreading all the fun and joy across gallery spaces.
Channel Eight, Arizona PBS (KAET), brings Sister Bear of the Berenstain Bears for photos with children and offers children a fun activity to do. Rocky and the Puckpatrol from the Phoenix Roadrunners will also be here! China Mist offers free refreshments.
Exhibition Artists
Artists represented in the exhibition include: Steve Adams, Larry Anderson, Karel Appel, Alexander Archipenko, Arnold Belkin, Stephen Bird, Emil Bisttram, Louis Bouche, Robert Brady, Enrique Arciniega Campos, Beth Cavener-Stichter, Marc Chagall, Enrique Chagoya, Sally Chandler, Jiman Choi, Chema Cobo, Van Deren Coke, Alejandro Colunga, Sam Coronado, Philip Curtis, Salvador Dali, Alan Davie, James G. Davis, Roy De Forest, W.P. Eggers, Fritz Eichenberg, John Flannagan, Mary Frank, L. Gazari, David Gilhooly, Oscar Gillespie, Leonel Gongora, Denise Green, Bernard Greenwald, Arthur Hahn, Bernard Jager, Tamarra Kaida, Stephanie Kaldis, Kurt Kranz, Max Lehman, Los Carpinteros, Michael Lucero, Andy Nasisse, Dagoberto Nolasco, Wolfgang Oppermann, Charles Rain, Don Reitz, John Rise, Claudette Schreuders, Larry Schuh, Brad Shanks, Jaune Quick-to-See Smith, Sergio Soave, Frederic Taubes, Petar Topljak, Agnese Udinotti, Jerry Uelsmann, Beth Van Hoesen, Jindra Vikova, Andy Villarreal, Jan Voss, Ron Wagner, Paul Wonner, and Janis Wunderlich.
ASU Art Museum Presentation
Organized by Justin Germain, ASU Art Museum Windgate Curatorial Intern and Jean Makin, ASU Art Museum Print Curator , Exploring Dreams will be installed in the Arizona State University Art Museum’s Nelson Fine Arts Center location.
Duration
Exploring Dreams (May 17 through September 28, 2008) is open at the ASU Art Museum: Tuesday, 11 a.m. – 8 p.m. (summer hours: Tuesday, 11 a.m. – 5 p.m.); Wednesday – Saturday, 11 a.m. – 5 p.m.; Sunday, 1-5 p.m.; Closed Monday and holidays
Support
The Annual Family Exhibition — Exploring Dreams: Images from the Permanent Collection is made possible in part through an investment by the ASU Art Museum Advisory Board, IKEA, Changing Hands Bookstore, China Mist, and the Friends of the ASU Art Museum.

More information contact John Spiak at spiak@asu.edu.
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SUSAN BEINER: SYNTHETIC REALITY
2008-03-15 00:00 - 2008-08-02 00:00
Friday Conversation On Exhibitions
Friday, March 28, 11 a.m.
ASU Herberger College School of Art assistant professor and artist Susan Beiner
A gallery talk about the artist’s work and her current ceramics installation. Organized by Peter Held, Susan Beiner: Synthetic Reality takes place in the ASU Art Museum Ceramic Research Center.
Artist Reception
Friday, March 28, 7-9 p.m.
Susan Beiner: Synthetic Reality holds a joint reception with Josh Greene: Some Parts Might Be Greater Than the Whole and Carl Andre/Tim Hawkinson. The artist reception is in both the ASU Art Museum and its Ceramics Research Center. The evening includes Night Acts: Transfix organized by ASU Herberger College School of Theatre and Film assistant professors Rachel Bowditch and Jacob Pinholster.
SUSAN BEINER: SYNTHETIC REALITY
What you see is not always what you get. In our digitized, photo-shopped world, reality is often altered and manipulated. Reality television shows seem unreal. With today’s technology, many products we use daily are manufactured with artificial materials or manipulated DNA aided by scientific processes, reshaping what was once all natural. Biotechnology allows for genetically altered foods grown in controlled environments, gene splicing produces cloned animals and hybridization of consumer products has changed our lives forever. Ethical issues continue to challenge these advancements. What are the costs of scientific efficiency versus environmental and health concerns?
Taking more than a year to complete, Synthetic Reality is the most ambitious mixed-media installation project created by Arizona State University Herberger College School of Art ceramic faculty member Susan Beiner. A childhood interest in the sciences, stimulated by her father’s vocation as a chemist, has lead to a recent fascination with making what is organic into synthetic. Clay and ceramic materials are natural materials mined from the earth; additional industrial materials (foam, Plexiglas and rubber) assist the artist in making an engineered environment. A fascination with opposites is employed as an artistic strategy: natural and contrived; minimal to baroque; and handmade versus industrial. “My interest is fueled by elements of layering, fragmentation, multiplication, juxtaposition and complication collecting in a room-sized gallery,” Beiner says.
This project is composed primarily of slip-cast porcelain forms that are altered and glazed with a luscious palette of colors. Seductive in materials, saturated hues of green, blue, yellow and peach activate the high-relief “plant life.” Colors flux together, mirroring the activities of microbes, leech ponds or aerial topography. The walls and floor of the gallery are encrusted with organic ceramic forms that interlock with one another, enveloping the viewer in a teeming sea of barnacled life. The repetition of forms, similar to cloning, becomes an artificial environment transporting the viewer into another world, at times familiar, yet foreign.
Trained in classical ceramic forms, Beiner’s career has steadily progressed from an object maker influenced by 18th-century European court porcelains to the creation of large-scale environments. A trend in the ceramics field, where artists are not confined to the past, but embrace an interdisciplinary postmodernist approach to their studio practice, Beiner’s latest tour de force is a heroic effort to enlighten us on the growing complexities of our lives.
Peter Held, curator of ceramics in ASU Art Museum Ceramics Research Center, curates this exhibition.
ASU Art Museum Presentation
Organized by Peter Held, Susan Beiner: Synthetic Reality takes take place in the ASU Art Museum Ceramic Research Center at Arizona State University.
Duration
Susan Beiner: Synthetic Reality (March 15-August 2, 2008) is open at ASU Art Museum Ceramic Research Center at Arizona State University Tuesday, 11 a.m. – 8 p.m. (summer hours: Tuesday, 11 a.m. – 5 p.m.); Wednesday – Saturday, 11 a.m. – 5 p.m.; Sunday, 1-5 p.m.; Closed Monday and holidays.
Support
This exhibition is supported by the Independence Foundation, Philadelphia, a Herberger College of the Arts Research & Creativity grant and members of CLA.

MONUMENTAL PROPORTIONS: Selections from the permanent Collection
2008-03-15 00:00 - 2008-09-07 00:00
Reception
Friday, March 28, 7-9pm
Joint reception at both the Main Museum and Ceramics Research Center
locations for the exhibitions:
March 28 evening includes NightActs
MONUMENTAL PROPORTIONS
A selection of monumental works from the Arizona State University Art Museum and loans for the community.
Artists Work Scheduled For Exhibition
Leon Golub, Nam June Paik, Adriana Verajão, Enrique Chagoya, Oscar Oiwa, Pierre Alechinsky, Karel Appel, Derek Boshier, Deborah Butterfield, Sandra Ramos Lorenzo,
José Bechara and Jun Kaneko.
ASU ART Museum Presentation
Organized by Curatorial Assistant Elisa Benavidez, Monumental Proportions will be installed in the Arizona State University Art Museum Nelson Fine Arts Center location.
Duration
Monumental Proportions (March 15 through September 7, 2008) is open Tuesday, 11 a.m. – 8 p.m. (summer hours: Tuesday, 11 a.m. – 5 p.m.); Wednesday – Saturday, 11 a.m. – 5 p.m.; Sunday, 1-5 p.m.; Closed Monday and holidays.
Support
This exhibition is made possible by Friends of the ASU Art Museum.

JOSH GREENE: SOME PARTS MIGHT BE GREATER THAN THE WHOLE
2008-02-18 00:00 - 2008-05-18 00:00
FRIDAY CONVERSATION ON EXHIBITIONS
Friday, March 21, 11 a.m.
Josh Greene, Artist and John Spiak, Curator, ASU Art Museum
A gallery talk about the artists’ work and his current Social Studies project at the museum.
ARTIST RECEPTION
Friday, March 28, 7-9 p.m.
Josh Greene: Some Parts Might Be Greater Than the Whole holds a joint reception with Carl Andre/Tim Hawkinson and Susan Beiner: Synthetic Reality . The artist reception is in both the ASU Art Museum and its Ceramics Research Center. The evening includes Night Acts Transfixorganized by ASU Herberger College School of Theatre and Film assistant professors Rachel Bowditch and Jacob Pinholster.
JOSH GREENE: SOME PARTS MIGHT BE GREATER THAN THE WHOLE
San Francisco-based artist Josh Greene is the second artist in residence for the Social Studies initiative of the ASU Art Museum, an exhibition series in which the Museum turns over a complete gallery to an artist to explore their social interactive approach.
Greene’s Some Parts Might Be Greater than the Whole is an exploration of how and where inspiration is found. Through community engagement, the artist will use the “safe zone” of the Museum gallery to allow relationships to move forward and develop. Unlike traditional public space in the United States where contact and relationship building with strangers is often contrary to social norm, or even a traditional Museum exhibition in which interactions mostly occur between viewer and object, the space provided is continually adjusted by Greene to encourage social interactions. Through this community engagement, one of the most important ASU commitments, the results of these interactions takes the work and the artist beyond the Museum’s traditional exhibition structure.
It is often said by Museum visitors that a work of art inspires them, but is it the actual work of art that inspires or is it the artist’s vision and inspiration? In traditional art world models, a work of art is created in the solitude of an artist’s studio, shipped to an exhibition space, installed by preparators, and when that process is complete, allowed to be viewed by the patron. Within that format the “human factor” of each work on exhibition is often present only in text form, with credit and wall panels providing brief background on the artist and possible motive for creation of that work.
The artist residencies of the Social Studies initiative are an attempt to open the creative process, making the “human factor” relevant beyond didactic labels and documentation, creating actual relationships through artistic practice. This is a unifying theme throughout Greene’s past projects. Often using the source of labor, work and play, Greene has developed such projects as Service-Works, which provides a monthly project grant to individuals, the amount of each month’s grant determined by how much money he earns as a waiter on a specific night in a fine-dining restaurant in San Francisco; Unlicensed Therapist which consisted of creating a venue dedicated to conversation; Luncheon, a weekly luncheon prepared for the administrators of an alternative art space in San Francisco; and Sophie Calle’s Bed, in which the artist wrote to artist Sophie Calle and asked to borrow her bed to help him through a break-up process.
During an initial exploratory visit to Arizona in January of 2008, Greene met with individuals throughout the community and visited sites of interest. He conceptualized possibilities of projects that might be realized, but is extremely interested in interactions and the generation of ideas with Museum visitors.
In The Artists Own Words:
“This is kind of a unique set up in that it is a refined institutional setting, but the Museum has made it into a laboratory of sorts where there is room for things to evolve and change.”
“I am doing a number of different projects during my stay in Arizona. Some projects will be ephemeral gestures, while others will be more involved. I want to leave room to respond to the environment, the viewers and my own experiences. The list of potential ideas and current projects is growing and evolving. Some things will definitely happen, others will likely not.”
COMPLETED
See Josh interviewed for 3TV’s Good Morning Arizona show.
Watch the video created by Arizona Republic reporter Chad Graham:
The Arizona State University Art Museum invites you to be part of the creative process by engaging with Greene from February 18 through April 4.
For more information on the artist please visit his website at:
http://www.josh-greene.com
Exhibition Catalogue
An exhibition catalogue documenting the residency and project will be available in fall of 2008.
ASU Art Museum Presentation
Organized by John Spiak, Josh Greene: Some Parts Might Be Greater Than the Wholewill take place in the Arizona State University Art Museum’s Nelson Fine Arts Center.
Duration
Josh Greene: Some Parts Might Be Greater Than the Whole (February 18 through May 18, 2008) is open at the ASU Art Museum: Tuesday, 11 a.m. to 9 p.m., Wednesday through Saturday from 11 a.m. to 5 p.m., and Sunday 1 p.m. to 5 p.m., closed Monday. Josh Greene will be in residence February 18 through April 4.
Support
This exhibition was supported in part by Friends of the ASU Art Museum.
More information contact John Spiak at spiak@asu.edu.

HOGARTH LOOKS AT HANDEL'S LONDON
2008-02-16 00:00 - 2008-05-18 00:00
Full List of Public Programs Listed Below
HOGARTH LOOKS AT HANDEL’S LONDON
Hogarth Looks at Handel’s London is an exhibition of British eighteenth century engravings by William Hogarth (1697-1764), who was a friend of George Frideric Handel (1685-1759). Among the highlights are:

An engraving of the famous Hogarth self-portrait.
The series “The Rake’s Progress,” including a character reputed to be Handel.
Prints displaying the interrelationship of the arts and the cosmopolitan environment in 18th-century London.

The exhibition is in collaboration with the program “Discovering Handel,” which celebrates the work of the German-born composer. The program, consisting of a symposium, several concerts, and Handel Day, was organized by the Arizona State University School of Music.
Participation in the “Discovering Handel” program exemplifies ASU Art Museum’s InterLab initiative. InterLab is an experimental idea dedicated to presenting projects that span multiple disciplines. Project creators interpret art from the ASU Art Museum permanent collection in a context that places the works in new intellectual environments.
The exhibition of prints by William Hogarth selected from the ASU Art Museum print collection complements the “Discovering Handel” program organized by David Schildkret, director of the ASU Chorus in the Herberger College School of Music. Curated by Dr. Anthony Gully, professor in the Herberger School of Art, and Jean Makin, print collection manager in the ASU Art Museum, the prints bring to life English society in the 18th century. Labels written by Dr. Gully and graduate student Sarah Somer will further highlight the cultural environment of Handel and Hogarth. Professor Roger Adelson, a British diplomatic historian, assisted with the text panels providing an historical overview of London in this period. This collaboration between the various departments in the InterLab format creates a multi-level appreciation of this particular time and the artwork produced, enriching the viewing experience and demonstrating the relevance of art to people’s lives.
PUBLIC EVENTS
Symposium: Handel’s London , Monday, February 11, 2008, 6:30p.m.
Pulliam Auditorium, Burton Barr Central Library
Four members of the ASU faculty explore various aspects of cultural life in eighteenth-century London, one of the world’s great cities.
Concert: Handel Gems , Thursday, February 21, 2008, 7:30p.m.
Organ Hall, ASU School of Music
The ASU Chamber Orchestra presents an evening of instrumental works by Handel.
Lyric Opera Theatre: Giulio Cesare, Feb. 22-23, 29 & March 1, 2008, 7:30p.m.
Evelyn Smith Music Theatre , ASU School of Music
Handel Day , Tuesday, February 26, 2008, 10a.m. – 2:30p.m.
ASU Herberger College of the Arts
Admission Free, Registration required by February 21, 2008 with Janet Cape ( janet.cape@asu.edu)
Spend the day with the students and faculty of the Herberger College of the Arts as they introduce various aspects of Handel’s music! Activities include a gallery talk on the print exhibition and performances by singers and musicians of selected works by Handel.
Concert: Messiah
Wednesday, March 5, 2008, 7p.m.
Evelyn Smith Music Theatre, ASU School of Music
Thursday, March 6, 2008, 7p.m.
Trinity Episcopal Cathedral
Organ Concert: Going for Baroque!, March 9, 2:30p.m.
Organ Hall , ASU School of Music
Kimberly Marshall, Goldman Professor of Organ and Director of the School of Music, presents an afternoon of Baroque music by Handel and his contemporaries.
Friday Conversations: Hogarth Looks at Handel’s London, March 14, 2008, 11a.m.
Dr. Anthony Gully, art historian, gives a gallery talk on Hogarth Looks at Handel’s London in the Multipurpose Room gallery at ASU Art Museum.
For more information on the programs please visit:
http://music.asu.edu/handel/events.php
INTERLAB
InterLab (Interdisciplinary Laboratory) is a program that invites faculty, graduate students and others with special interest and expertise to presentation projects that span two or more disciplines. Project proposers from any discipline within the University or community interpret art from the ASU Art Museum Permanent Collection, possibly augmented by outside work, in a context that places works of art in new intellectual environments; gives the works of art historical context or demonstrates the ways in which various vocabularies of expression can illuminate an idea. The goal is to open dialogue among people with interests in the visual arts and other disciplines, to enrich the viewing experience of all visitors, and to demonstrate the relevance of art to people’s lives.
ASU Art Museum Presentation
Organized by Jean Makin, Hogarth Looks at Handel’s London will take place in the Arizona State University Art Museum’s Nelson Fine Arts Center location.
Duration
Hogarth Looks at Handel’s London (February 16 through May 18, 2008) is open at the ASU Art Museum: Tuesday, 11am to 9pm, Wednesday through Saturday from 11am to 5pm, and Sunday 1pm to 5pm, closed Monday.
SUPPORT
This exhibition was supported in part by Friends of the ASU Art Museum.

CARL ANDRE / TIM HAWKINSON
2008-01-26 00:00 - 2008-04-27 00:00
FRIDAY CONVERSATION ON EXHIBITIONS
Friday, January 25, 11am
Heather Lineberry, Senior Curator and Interim Director, ASU Art Museum
FRIDAY CONVERSATION ON EXHIBITIONS
Friday, February 8, 11am
An Overview of Minimalism, lecture by Dr. Claudia Mesch, Associate Professor, ASU School of Art.
ARTIST RECEPTION
Friday, March 28, 7-9pm
Carl Andre/Tim Hawkinson holds a joint reception with Josh Greene: Some Parts Might Be Greater Than the Whole and Susan Beiner: Synthetic Reality . The artist reception is in both the ASU Art Museum and its Ceramics Research Center. The evening includes Night Acts Transfix organized by ASU Herberger College School of Theatre and Film assistant professors Rachel Bowditch and Jacob Pinholster.
CARL ANDRE / TIM HAWKINSON
This exhibition compares work by two of the most important contemporary American sculptors – Carl Andre and Tim Hawkinson. Both artists are actively working today but they are a generation apart. Carl Andre was beginning his career when Tim Hawkinson was born. Andre was one of the founders of the minimalist movement in American art in the 1960s; Tim Hawkinson studied the minimalists at university. While the differences between their sculptural styles and philosophies are stark, there are fascinating similarities as well.
Carl Andre, represented in the exhibition by the monumental Glarus Steel Slant, made his first metal plate floor piece in 1967 and invited viewers to walk on it. Along with other minimalist artists, including Donald Judd and Robert Morris, Andre championed a style that was characterized by multiple units making up a larger whole, industrial materials, and de-emphasizing personal and emotional content. His floor pieces revolutionized the way that viewers interacted with sculpture in a museum or gallery setting, adding a physical, tangible experience. Minimalism would dominate much of American sculpture through the 1970s.
Tim Hawkinson was born in 1960 and his idiosyncratic and inventive work cannot be linked to a distinct movement. He prefers representational forms, like the human body, and recognizable materials, like string and plastic detergent bottles. Illustrated by the three works in the exhibition, his work ranges in scale from miniatures to warehouse-sized installations. Hawkinson’s favorite subject is the human body, explored from the inside out. He has created huge internal organs out of balloons or tiny works cast from his body or literally made from his body with his fingernail parings and hair. His work has a distinctive handmade quality due to his unusual materials and his willingness to learn and use whatever process is necessary for his idea. Unlike Andre, Hawkinson patently explores the individual’s place, his own place, in the universe.
This exhibition is an opportunity to explore two poles of contemporary American sculpture, and in the process consider larger societal influences and art movements.
ASU Art Museum Presentation
Organized by Heather Lineberry, CARL ANDRE / TIM HAWKINSON will be installed in the Arizona State University Art Museum’s Nelson Fine Arts Center.
Duration
CARL ANDRE / TIM HAWKINSON (January 26 through April 27, 2008) is open at the ASU Art Museum: Tuesday, 11 a.m. to 9 p.m., Wednesday through Saturday from 11 a.m. to 5 p.m., and Sunday 1 p.m. to 5 p.m., closed Monday.
Support
This exhibition was supported in part by the Ovitz Family Collection and PaceWildenstein Gallery, New York.

College Unit:

ASU Art Museum

MOULTHROP GENERATIONS: Turned Wood Vessels by Ed, Philip, and Matt Moulthrop
2007-10-20 00:00 - 2008-02-24 00:00
Moulthrop Generations:
Turned Wood Vessels by Ed, Philip, and Matt Moulthrop
The Moulthrops are a dynasty of artists – grandfather, son, and grandson – who have made significant contributions to the field of wood turning and share a consistency of vision and process. Ed began turning as a teenager in the 1930s; Philip began turning in the 1970s; Matt, who has spent his life around wood, is just beginning his career. Philip and Matt both apprenticed with Ed in Atlanta, Georgia, where each now has his own studio. Moulthrop Generations: Turned Wood Vessels by Ed, Philip, and Matt Moulthrop presents more than seventy turned wood vessels from 1979 until today by the three artists.
The ASU Art Museum has a long history of presenting and collecting contemporary turned wood, beginning with the landmark gift of the Edward “Bud” Jacobson collection in 1989. Wood turning refers to the use of a lathe to make three-dimensional round forms. A lathe enables an artist to use a stationary blade to carve a revolving block of wood evenly. In the 1960s and 70s, wood turning emerged with other contemporary craft forms as a process and medium for the individual in a studio to express ideas, whether in vessel or sculptural form. Contemporary wood turners use lathes to carve one-of-a-kind wooden bowls or sculptures often removed from traditional functions.
Together the Moulthrops’ careers frame and exemplify the emergence of wood turning as an art form. The Moulthrops are known for their concentration on the inherent beauty of local woods, elegant vessel forms, and innovations in surface treatment and turning technique. Ed Moulthrop began turning when, in a well-known story, he scraped the money together from delivering magazines to buy his first lathe for $16.95. Now considered one of the grandfathers of contemporary wood turning, he quietly and consistently produced a body of work that meditated on the most perfect form possible with the lathe and the variety of wood found in his home state of Georgia. These preoccupations are the basis of Philip’s and now Matt’s work, with individual variations. Their works are immediately recognizable for the primacy of the wood and the refined vessel forms.
While the Moulthrops are well represented in national and international museum collections, Moulthrop Generations is the first major museum exhibition to bring the three generations together. Moulthrop Generations presents the breadth of their work, and reveals their important place within the field of wood turning and contemporary craft.
Exhibition Catalogue
A color catalogue for the exhibition is available in the ASU Art Museum Store. Call 480-965-9076 to place an order.
ASU Art Museum Presentation
The majority of works in the exhibition are drawn from private collections in Phoenix, Arizona. Moulthrop Generations: Turned Wood Bowls by Ed, Philip, and Matt Moulthrop was organized by the Arizona State University Art Museum and curated by Senior Curator Heather Sealy Lineberry.
Duration
Moulthrop Generations: Turned Wood Bowls by Ed, Philip, and Matt Moulthrop (October 20, 2007 through February 24, 2008) is open at the ASU Art Museum: Tuesday from 11am to 9pm; Wednesday through Saturday from 11am to 5pm; and Sunday from 1pm – 5pm.
SUPPORT
The exhibition and catalog were supported by an anonymous donor and the Friends of the ASU Art Museum.

FOLLOWING THE RHYTHMS OF LIFE: The Ceramic Art of David Shaner
2007-09-22 00:00 - 2008-01-06 00:00
Gallery talk by Ann Shaner
Friday, September 28, Noon – 1pm
Ceramics Research Center
Public Reception
Friday, September 28, 7-9pm
with book signing with peter Held and Jack Troy
Ceramics Research Center
Call 480-965-2787 for details and registration
Following the Rhythms of Life:
The Ceramic Art of David Shaner
David Shaner was one of the foremost ceramic artists of the late 20th century. This retrospective exhibition traces his career and features 70 masterworks from public and private collections, providing an in-depth overview of his life’s work. Trained at Alfred University School of Ceramics, Shaner became resident director of the famed Archie Bray Foundation for the Ceramic Arts. He left in 1970 to establish his private studio in Bigfork, Montana.
A passionate teacher, Shaner held workshops nationwide. He was an ardent environmentalist and gardener who integrated the patterns of daily living with his art. Over the course of his remarkable career, Shaner pursued an uncommon vision — following the rhythms of life, while leaving a visual legacy for future generations.
About the Artist
Select exhibitions of the artists work include: Craftsman USA, Museum of Contemporary Crafts, New York, New York, 1960; International Ceramics USIA, Buenos Aires, Argentina, 1962; XXIV Ceramic National, Everson Museum of Art, Syracuse, New York, 1966; Wichita Biennial, Wichita Art Center, Wichita, Kansas, 1966; Ceramics by Dave Shaner, Yellowstone Art Center, Billings, Montana, 1966; National Ceramic Arts, USA, Skokie, Illinois, 1966; David Shaner, Craft Alliance Gallery, St. Louis, Missouri, 1976; Eight Independent Production Potters, Kansas City Art Institute, Kansas City, Missouri, 1976; National Invitational, Nelson Gallery, Kansas City Art Institute, Kansas City, Missouri, 1977; A Century of American Ceramics 1878-1978, Everson Museum, Syracuse, New York and Smithsonian Institute, Washington D.C., 1979; 8th Chunichi International Exhibition of Ceramic Arts, Tokyo, Japan, 1980; The Arts-Montana’s Cultural Ambassador to Japan, Kumamoto, Japan, 1988; Craft Today USA, 1989 International Tour: Finland, Sweden, Switzerland, Poland, Russia, France, Italy, Germany, Turkey, Greece, Holland ; NCECA Conference 1991, Ceramists from the Gallery’s First 20 Years, Joanne Rapp Gallery, Scottsdale, Arizona; Holter Museum of Art, Helena, Montana, 1994; The Legacy of the Archie Bray Foundation: A Celebration of Ceramics. 1951-1993, Archie Bray Foundation, Helena, Montana, and Bellevue Art Museum, Bellevue, Washington, 1993; Fifty Years of MFA Ceramic Art at Alfred, New Art Forms: Chicago International Exposition, Navy Pier, Chicago, Illinois, 1993; David Shaner: The Gifts He has Made, The Schein-Joseph International Museum of Ceramic Art, Alfred, New York; David Shaner at the Archie Bray Foundation, Helena, Montana, 2001; Ceramics Faculty Selects: Clay from the Permanent Collection, Arizona State University Art Museum, Ceramics Research Center, 2003; In Memoriam: Celebrating the Lives and Work of David Shaner, Bill Stockton and Peter Voulkos, Yellowstone Art Museum, Billings, Montana, 2003; A Ceramic Continuum: Fifty Years of the Archie Bray Influence, University of Kentucky Art Museum, Lexington, Kentucky, 2004; David Shaner: A Retrospective, Hockaday Museum of Art, Kalispell, Montana, 2005.
Exhibition Catalogue
A 124-page color catalogue is available at the museum’s store for $35. Call 480-965-9076 to place an order.
ASU Art Museum Presentation
Organized by Peter Held, Following the Rhythms of Life: The Ceramic Art of David Shaner, will be installed in the Arizona State University Art Museum’s Ceramics Research Center location.
Duration
Following the Rhythms of Life: The Ceramic Art of David Shaner (September 22, 2007 through January 6, 2008) is open at the ASU Art Museum Ceramic Research Center: Tuesday through Saturday from 11am to 5pm.
Support

BUSINESS AS USUAL: New Video from China/Cao Fei and Yang Fudong
2007-09-15 00:00 - 2007-12-09 00:00
Opening reception
Friday, September 14, 7 p.m. – 9 p.m.
*dual reception with Jarbas Lopes: Cicloviaérea
Public Programs:

Tuesday, October 2, 7pm
Screening of the Chinese film masterpiece, Spring in a Small Town (1948).
Yang Fudong draws inspiration for his videos from the style and content of early-twentieth-century Chinese films. Director Mu Fei made Spring in a Small Town as China was recovering from the long war with Japan (WWII) and moving into its Communist revolution. Mu’s film aroused some condemnation because of its concern with the individual and the personal. The film revolves around an isolated family group, relics of the class system, burdened by the past and trying to find their way into the future. The screening is introduced by ASU visiting professor Yu Zou, a specialist in Chinese film and civilization, who will address the history of the film’s reception in China and its relationship to Yang Fudong’s work.
Friday, November 9, noon
Another Cultural Revolution: Art in Today’s China
Brownbag lecture by ASU Art Museum Director Marilyn A. Zeitlin
Contemporary art from China expresses the new values in a country both rapidly changing and intensely aware of its past. How these artists have both absorbed art from the West and redefined tradition is reflected in painting, sculpture, and video that also tests the limits of the new permissiveness in expression.
BUSINESS AS USUAL:
New Video from China / Cao Fei and Yang Fudong
Business As Usual is an opportunity to examine two of the most prominent contemporary Chinese video artists. Both Cao Fei and Yang Fudong address the emergence of a new middle class in China. Contemporary artists in China employ a range of media to explore the experience of living in a rapidly changing urban environment. Globalization has brought them into contact with Western contemporary art, which explains the increasing visual similarity, but their concerns remain unique to present-day China.
In Whose Utopia, Cao Fei portrays workers who left their small hometowns to pursue life in the big city. They took with them dreams to be dancers and singers, and ended up in factories. Working with employees in a light bulb factory, Cao Fei has the workers dress in the garb of their dreams and perform within the environment of their actual lives, the factory.
Yang Fudong’s film and video work portrays his generation of people in their late 20s and 30s who are part of the emerging middle class in China and who hover between the past and present. Fudong’s work epitomizes how the recent and rapid modernization of China has overthrown traditional values and culture. He skillfully balances this dichotomy to create works endowed with classic beauty and timelessness.
The exhibition is co-curated by Marilyn A. Zeitlin, director and chief curator, and Heather S. Lineberry, Senior Curator, of the ASU Art Museum.
All works in the exhibition are drawn from the Haudenschild Collection, San Diego.
This exhibition available for tour.
About the Artists
Cao Fei
Select recent solo exhibitions include: 2006: SIEMENS Art Project 2006: What Are You Doing Here? Fu Shan OSRAM factory, Guangzhou; HIP HOP, Lombard-Freid Project, New York. 2005: Cosplayers, Lombard-Freid Fine Arts, New York and CourtYard Gallery, Beijing. Recent select group exhibitions include: 2006: 15th Sydney Biennale, Sydney. 2005: Art Basel Miami Beach Art Video Lounge: A Kind of a Portraiture Program, Miami; Joy, Casino Luxembourg, Luxembourg.; Exchange Value of Pleasure, Busan Museum of Modern Art, Busan, Korea; The 2nd Guangzhou Triennial: BEYOND an Extraordinary Space of Experimentation for Modernization, Guangdong Museum of Art, Guangzhou (cat.); Tirana Biennale,National Gallery of Arts, Tirana, Albania; Trouble with Fantasy,Kunsthalle Nurnberg, Nurnberg, Germany; Out of Sight, De Appel Foundation of Amsterdam, Amsterdam, Holland; The 3rd Fukuoka Asian Art Triennial 2005: Parallel Realities – Asian Art Now, Fukuoka Asian Art Museum, Fukuoka, Japan; Between Past and Future: New Photography and Video from China,The Victoria and Albert Museum, London; Follow Me! Contemporary Chinese Art at the Threshold of the Millennium, Mori Museum, Tokyo; China! China!! China!!!Grace Alexander Contemporary Art Gallery, Zurich; I Still Believe in Miracles Part II: Derrière I’ horizon, Musee d’ Art Moderne de la ville de Paris, Paris; Emergency Biennale in Chechnya: A suitcase from Paris to Grosny, Palais de Tokyo, Paris; The 1st Moscow Biennale of Contemporary Art: Dialectics of Hope, Moscow, Russia (cat.); Water Event (as a part of Yoko Ono: Horizontal Memories), Astrup Fearnley Museum, Oslo, Norway (cat.); London + China Film Festival 2005, SOAS (The School of Oriental and African Studies, University of London), London. 2004: Past in Reverse: Contemporary Art of East Asia, San Diego Museum of Art, California (cat.); Die Chinesen: Fotografie und Video aus China (The Chinese: Photography and Video from China),Kunstmuseum Wolfsburg, Germany (cat.); The 5th Shanghai Biennale: Techniques of the Visible, Shanghai Art Museum, Shanghai (cat .); à I’ est du sud de I’ Ouest / à I’ ouest du sud de I’ Est (West of the South of the East / East of the South of the West), Sète / Villa Arson, Nice, France; Between Past and Future: New Photography and Video From China, International Center of Photography (ICP) and Asia Society, New York (cat.); China Now, MoMa Film at the Gramercy Theater, New York; Chine: Generation Video, Maison Européenne de la Photogrqaphie (MEP), Paris; Out the Window: Spaces of Distraction, The Japan Foundation Asia’ Center, Tokyo (cat.)
Yang Fudong
Select recent solo exhibitions of the work of Cao Fei include: 2005: Yang Fudong, Castello di Rivoli, Italy; Don’t worry, it will be better…, Kunsthalle Wien, Austria; Marian Goodman Gallery, Paris; Yang Fudong, Stedelijk Museum, Amsterdam, Netherlands. 2004: FACT Liverpool (Liverpool Biennial 2004), Great Britain; 5 Films, The Renaissance Society, Chicago; Recent Works, Redcat, Roy and Etna Disney Cal Arts Theater, Los Angeles; Breeze, Galerie Judin Belot, Zuerich, Switzerland; Drei Filme, Gesellschaft für Aktuelle Kunst, Bremen, Germany; Galleria Raucci Santamaria, Napoli, Italy; Sketch the Gallery, London; Yang Fudong, Trans>Area, New York; BüroFriedrich, Berlin. 2003: Seven Intellectuals in Bamboo and Selected Works on Video, The Moore Space, Miami; Movie night at MK2, Paris, France. Recent select group exhibitions include: 2005: Internationale Sharjah Biennale 7,UAE; Fukuoka Triennial, Japan; The Wall-Reshaping Contemporary Chinese Art, Albright-Knox Art Gallery, University at Buffalo Art Galleries, Buffalo, New York and Millennium Art Museum, Beijing; Follow Me! Contemporary Chinese Art at the Threshold of the Millenium, Mori Art Museum, Tokyo; The Forest: Politics, Poetics, and Practice, inaugural exhibition, Nasher Museum of Art at Duke University, Durham, NC; LE INVASIONI BARBARICHE, Galleria Continua, San Gimignano, Italy; First Moscow Biennale of Contemporary Art, Moscow Biennale, Moskva, Russia; Shanghai Constructions, Shanghai Gallery of Art, Shanghai, China. 2004: Shanghai Surprise, lothringer dreizehn, München, Germany; Past in Reverse: Contemporary Art of East Asia, San Diego Museum of Art, San Diego; Caméra, National Museum of Contemporary Art (MNAC), Bucuresti, Romania; Dreaming of the Dragon’s Nation: Contemporary Art from China, IMMA Irish Museum of Modern Art, Dublin, Ireland; Do You Believe in Reality? 2004 Taipei Biennial, Taipei Fine Arts Museum – Taipei Biennial, Taipei; Spread in Prato 2004, Dryphoto Arte Contemporanea, Prato, Italy; Shanghai Modern, Villa Stuck, Munchen, Germany; Die Chinesen: Fotografie und Video aus China, Kunstmuseum Wolfsburg, Wolfsburg, Germany; Techniques of the Visible, 5th Shanghai Biennale, Shanghai Art Museum, Shanghai; Time Zones:Recent Film and Video, Tate Modern, London; Carnegie International, Carnegie Museum of Art, Pittsburgh, PA; Conditional being, Metrònom, Barcelona, Spain; Encounters in the 21st Century : Polyphony – Emerging Resonances, 21st Century Museum of Contemporary Art, Kanazawa, Japan; Museum Inauguration, 21st Century Museum of Contemporary Art, Kanazawa, Japan; Light as Fuck! Shanghai Assemblage 2000-2004, The National Museum of Contemporary Art, Oslo, Norway; Slow Rushes, SMC.CAC Contemporary Art Centre, Vilnius, Lithuania; 62761232, BizArt Art Center, Shanghai, China; Busan Biennale 2004, Busan Metropolitan Art Museum, Busan, Korea.
ASU Art Museum Presentation
The exhibition is curated by Heather S. Lineberry, Senior Curator, Arizona State University Art Museum.
Duration
BUSINESS AS USUAL: New Video from China / Cao Fei and Yang Fudong (September 15 through December 9, 2007) is open at the ASU Art Museum: Tuesday 11 a.m. – 9 p.m., Wednesday through Saturday 11 a.m. to 5 p.m., and Sunday 1 p.m. – 5 p.m.; closed Monday.
Support
All works in the exhibition are drawn from the Haudenschild Collection, San Diego. Exhibition is available for tour.

JARBAS LOPES: Cicloviaérea
2007-09-07 00:00 - 2007-12-30 00:00
Tuesday, October 30, 6pm
Freedom, Fear and Creativity
When expectations are removed and new freedom
is welcomed, how do we respond?
http://asuartmuseum.asu.edu/jarbaslopes/dialoguecontinues
Tuesday, November 20, 6pm
Communities Engaging/ Unlikely Places
Can a Museum be a place for active participation
in the creative process ?
http://asuartmuseum.asu.edu/jarbaslopes/dialoguecontinues
Tuesday, December 4, 6pm
What happened here, and now what?
Reflecting on the experience and moving forward.
http://asuartmuseum.asu.edu/jarbaslopes/dialoguecontinues
December 4, following dialogue
Stay to celebrate the project one more time with
Night Moves, a collaboration of ASU Dance and
Broadmor Elementary School dancers.
http://asuartmuseum.asu.edu/nightseries
Gallery Talk
Friday, September 14, noon to 1 p.m.
Gallery talk with Jarbas Lopes, Marcio Botner, Marilyn Zeitlin
and John Spiak. Marcio Botner is an artist, teacher, and director
of A Gentil Carioca, an artist-run gallery and experimental art space
in Rio de Janeiro. Marilyn Zeitlin and John Spiak are co-curators of
the project for the ASU Art Museum.
Reception introducing Jarbas Lopes
Friday, September 14, 7 p.m. – 9 p.m.
*dual reception with Business As Usual: Video from China
End of residency party with Jarbas Lopes:
Friday, October 12, 7 p.m. – 9 p.m.
*sponsored by LatinoFuture Magazine
Exhibition continues:
October 13 through December 30, 2007
Ongoing:
– Bike Saviours Cooperative repair shop in a gallery turned studio-workshop
– Opportunities to meet, talk with and work with the artist as he
explores and redefines the bicycle as an object of aesthetic beauty,
a solution to ecological challenges, and a source of enjoyment.
JARBAS LOPES: Cicloviaérea
On September 7, Brazilian artist Jarbas Lopes kicks off the Social Studies residency program at the Museum making his work—in the Museum. He invites you— artists, students, children, bicycle enthusiasts and anyone else interested in learning about his creative process— to join him. Jarbas Lopes of Rio de Janeiro will work in one Museum gallery space converted into a workshop-studio, using the space as a laboratory for creativity and community. Museum visitors engage the process to explore his utopia of alternative transportation. Using bicycles, sculpture, drawing, installation, video and performance, Lopes builds the work within the gallery and then takes it into our city.
Lopes’s project Cicloviaérea proposes the bicycle as an alternative for transportation, as a source of enjoyment, and as an object that balances function with aesthetic beauty. His project is the first in the series Social Studies, a program of international artist residencies under the Museum’s new Global Arizona initiative. The focus of these projects is to explore the often unseen creative process that underlies what visitors see in an exhibition of finished works of art. It offers an open environment within which community can participate in the art-making process. Tools, equipment, art supplies and the artist will be in the space when the residency begins, with the interactions and relationships developed during the course of the residency guiding the work forward. In the case of Jarbas Lopes, that could mean repairing your bicycle or embellishing it; drawing, painting, making video, music, writing poetry or other unforeseen creative production that will occur.
About the Artist
Jarbas Lopes is an artist who lives in a small town north of Rio de Janeiro. He works in the tradition of such artist-activists as Joseph Beuys, whose notion of “social sculpture” views art as a means through which people can shape their society and views social interaction as an art form as well. Jarbas uses whatever art medium and materials suit his purposes including sculpture and drawing. His informal drawings are often made collaboratively, frequently with his own children as co-authors. He uses performance, video, music, and poetry, all of which will be welcomed in this project.
His work has been exhibited at the following venues: 2007: Novas Utopias – Jarbas Lopes, Museu de Arte Moderna Aloísio Magalhães – MAMAM, Recife; Cómo vivir juntos, MAC Museo de Arte Contemporáneo. Universidad de Chile, Santiago de Cile. 2006: 27° Bienal de São Paulo , Fundação Bienal de São Paulo, São Paulo. 2005: Rampa – Signaling New Latin American Art Initiatives , Arizona State University Art Museum, Tempe, AZ; Colecoes VI – 17 Foros – 18 Artistas , Galeria Luisa Strina, São Paulo. 2004: Instinctive , Andrea Rosen Gallery, New York, NY; Unbound , Parasol unit, Londra (Inghilterra); Gambiarra – New Art from Brazil , Firstsite, Colchester (Inghilterra). 2003: 8. Bienal de La Habana , La Bienal de La Habana, Habana; Gambiarra , Gasworks, Londra (Inghilterra). 2002: Off the Grid; Works on Paper , Lehmann Maupin Gallery, New York, NY.
ASU Art Museum Presentation
The exhibition is co-curated by Marilyn Zeitlin and John Spiak of ASU Art Museum in collaboration with Marcio Botner, director of A Gentil Carioca, Rio de Janeiro.
Duration
JARBAS LOPES: Cicloviaérea (September 7 through December 30, 2007) is open at the ASU Art Museum: Tuesday 11 a.m. – 9 p.m., Wednesday through Saturday 11 a.m. to 5 p.m., and Sunday 1 p.m. – 5 p.m.; closed Monday.
Support
This project is made possible through a partnership with the Institute for Arts, Media and Culture at ASU. Additional support provided by Sharon Figarelli/Latin American Art Gallery, Scottsdale; Lori and Howard Hirsch; The Maurice R. and Meta G. Gross Foundation; Phyllis and Stuart Steckler; and Friends of the ASU Art Museum. Bicycle repair shop sponsored by Bike Saviours Cooperative, Inc, Tempe. Bicycle and parts generously donated by City of Tempe’s Tempe in Motion; Bike Barn, Phoenix; and Desert Industries, Mesa.
End of residency party with Jarbas Lopes sponsored by LatinoFuture Magazine
