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X-WR-CALNAME:ASU Art Museum
X-ORIGINAL-URL:https://asuartmuseum.org
X-WR-CALDESC:Events for ASU Art Museum
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TZID:America/Phoenix
BEGIN:STANDARD
TZOFFSETFROM:-0700
TZOFFSETTO:-0700
TZNAME:MST
DTSTART:19950101T000000
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19991015T000000
DTEND;TZID=America/Phoenix:19991128T000000
DTSTAMP:20260916T034644
CREATED:20180407T062900Z
LAST-MODIFIED:20241029T210718Z
UID:4115-939945600-943747200@asuartmuseum.org
SUMMARY:The Mix: Permanent Collection and Loans
DESCRIPTION:
URL:https://asuartmuseum.org/event-exhibition/the-mix-permanent-collection-and-loans/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990903T000000
DTEND;TZID=America/Phoenix:19991205T000000
DTSTAMP:20260916T034644
CREATED:20241029T195137Z
LAST-MODIFIED:20241029T195746Z
UID:4114-936316800-944352000@asuartmuseum.org
SUMMARY:Bob Carey
DESCRIPTION:Often using himself as the subject\, photographer Bob Carey takes the viewer from pain to pleasure. He evokes a self-examination and confrontation with issues that each of us faces\, bringing forward the realms of identity and gender. \nPanel Discussion – Photographic Prosperity:\nCreating for Commercial and Fine Art Venues\nFriday\, September 24\, 12noon\, Matthews Center – Experimental Gallery \nPanelists: \nAnn Clemonts Borum\nCurator and Co-owner CHROMATICS Photo Imaging. Nashville and New York\nBob Carey\nArtist\, Phoenix\nJennifer Friedman Kirshner\nDirector of Photography\, Lisa Sette Gallery\, Scottsdale\nStephen Marc\nArtist\, Associate Professor of Photography\, ASU School of Art\nMary Virginia Swanson\nFounding Director\, Swanstock Agency\, Tucson \nSeating limited to 60
URL:https://asuartmuseum.org/event-exhibition/bob-carey/
CATEGORIES:blue,Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990828T000000
DTEND;TZID=America/Phoenix:19991031T000000
DTSTAMP:20260916T034644
CREATED:20180407T062000Z
LAST-MODIFIED:20241029T235919Z
UID:4113-935798400-941328000@asuartmuseum.org
SUMMARY:Resonating: Denise Green
DESCRIPTION:Resonating: Denise Green presents eighteen paintings and a selection of works on paper by an artist who explores various aspects of abstraction. The artist has experimented during the past two decades with the relationship between expressionism\nand object-derived imagery. \nGallery Talk by Denise Green\nTuesday\, September 21\, 7:30pm\, Nelson Fine Arts Center \nWorkshop with Denise Green\nWednesday\, September 22\, 12noon\, Nelson Fine Arts Center \nARTIST IN THE ROLE OF PRODUCER WORKSHOP\nDenise Green will conduct a workshop oriented primarily to artists and art students. She will discuss innovative approaches to building a professional relationship with art institutions\, the press\, and supporters. Seating is limited to 60. Call 965-2787 for reservation.
URL:https://asuartmuseum.org/event-exhibition/resonating-denise-green/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990619T000000
DTEND;TZID=America/Phoenix:19990822T000000
DTSTAMP:20260916T034644
CREATED:20180602T022721Z
LAST-MODIFIED:20241029T231516Z
UID:4456-929750400-935280000@asuartmuseum.org
SUMMARY:Stephane Janssen - Works from the Collection
DESCRIPTION:Exhibition
URL:https://asuartmuseum.org/event-exhibition/stephane-janssen-works-from-the-collection/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990409T000000
DTEND;TZID=America/Phoenix:19990529T000000
DTSTAMP:20260916T034644
CREATED:20180602T022916Z
LAST-MODIFIED:20241030T000340Z
UID:4455-923616000-927936000@asuartmuseum.org
SUMMARY:Veiled Memories
DESCRIPTION:Exhibition
URL:https://asuartmuseum.org/event-exhibition/veiled-memories/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990317T000000
DTEND;TZID=America/Phoenix:19990501T000000
DTSTAMP:20260916T034644
CREATED:20180602T022109Z
LAST-MODIFIED:20241029T230720Z
UID:4110-921628800-925516800@asuartmuseum.org
SUMMARY:ASU Alumni Print Show
DESCRIPTION:
URL:https://asuartmuseum.org/event-exhibition/asu-alumni-print-show/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990220T000000
DTEND;TZID=America/Phoenix:19990530T000000
DTSTAMP:20260916T034644
CREATED:20180602T022548Z
LAST-MODIFIED:20241029T234509Z
UID:4109-919468800-928022400@asuartmuseum.org
SUMMARY:Jules Heller
DESCRIPTION:
URL:https://asuartmuseum.org/event-exhibition/jules-heller/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990130T000000
DTEND;TZID=America/Phoenix:19990531T000000
DTSTAMP:20260916T034644
CREATED:20180407T055800Z
LAST-MODIFIED:20241029T232110Z
UID:4452-917654400-928108800@asuartmuseum.org
SUMMARY:Anne and Sam Davis Ceramic Collection
DESCRIPTION:Anne and Sam Davis Collection presents an important collection\nof contemporary American and British ceramics recently given to\nthe ASU Art Museum. This new aquisition expands and enhances the\nMuseum’s existing holdings with major works by artists such as\nBernard Leach\, Lucie Ri\, Ruth Duckworth\, Adrian Saxe\, Ralph\nBacerra and Rudy Autio. \nA reception for this exhibition took place Friday\, January 29th from 7-9 P.M.
URL:https://asuartmuseum.org/event-exhibition/anne-and-sam-davis-ceramic-collection/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19990129T000000
DTEND;TZID=America/Phoenix:19990320T000000
DTSTAMP:20260916T034644
CREATED:20180407T062400Z
LAST-MODIFIED:20241029T232115Z
UID:4107-917568000-921888000@asuartmuseum.org
SUMMARY:Sig-alert
DESCRIPTION:Original Sigalert device from 1955\nPhoto courtesy of Loyd ‘Sig’ Sigmon \nDedicated to Loyd ‘Sig’ Sigmon (b.1909)\nRadio Pioneer and Father of the Sigalert \nThe exhibition Sig-alert looked at the work of artists actively involved in the Los Angeles art scene. These artists take responsibility for energizing and promoting the LA art community by finding alternative/non-traditional approaches to exhibiting\, not only their work\, but the works of others. Along with traditional gallery showings\, they have curated exhibitions\, organized art spaces and exhibited in venues such as the Hollywood Department of Motor Vehicles and the Pavilions Super Market. Through their outstanding artwork\, focused commitment and dedicated\nentrepreneurial efforts\, they have created a new shape for LA’s always kinetic art scene. Instead of waiting in traffic\, they find new routes around the road blocks of the art world. \n Sig-alert was re-curated at California State University\, Fullerton as Sig-alert 2. The exhibition included works by all of the original Sig-alert artists. The exhibition was presented at CSUF’s\nGrand Central Art Center in Santa Ana\, CA from June 19\, 1999 through August 14\, 1999. Works for Sig-alert 2 were selected by Mike McGee and Susan Joyce. \nIn Collaboration with Smart Art Press\n\n \nA reception with performance by Habib Kheradyar\ntook place January 29th from 8-10 P.M.\n*Reception sponsored by Arizona Roadhouse. \nThank you to Smart Art Press\, Santa Monica\, CA. for their support of this exhibition.\nPlease visit the SMART ART PRESS WEBSITE to learn more about their publications.
URL:https://asuartmuseum.org/event-exhibition/sig-alert/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19981219T000000
DTEND;TZID=America/Phoenix:19990131T000000
DTSTAMP:20260916T034644
CREATED:20180407T063400Z
LAST-MODIFIED:20241029T235349Z
UID:4450-914025600-917740800@asuartmuseum.org
SUMMARY:1998 - 1999 Art Faculty Exhibition
DESCRIPTION:ARTISTS RECEPTION\nFriday\, December 18\, 1998\n7-9 P.M. \nAn annual exhibition of work by Arizona State University School of Art Faculty. \nExhibiting Artists \nMary Bates \nDaniel Britton \nRobert D. Cocke \nDan Collins \nNick de MAtties \nTom Eckert \nMary Erickson \nRon Gasowski \nDenis Gillingwater \nWilliam Jenkins \nTamarra Kaida \nStephen Marc \nKathryn Maxwell \nBeverly McIver \nEllen Murray Meissinger \nGayle J. Novak \nAnthony Pessler \nJames Pile \nJanice M. Pittsley \nJohn Risseeuw \nDon Schaumburg \nHenry Leo Schoebel \nJon W. Sharer \nJanet Taylor \nClare Verstegen \nByron Wolfe
URL:https://asuartmuseum.org/event-exhibition/1998-1999-art-faculty-exhibition/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19980927T000000
DTEND;TZID=America/Phoenix:19981213T000000
DTSTAMP:20260916T034644
CREATED:20241029T195137Z
LAST-MODIFIED:20241029T195800Z
UID:4105-906854400-913507200@asuartmuseum.org
SUMMARY:Contemporary Art from Cuba: Irony and Survival on the Utopian Island
DESCRIPTION:In present day Cuba\, humor has come to play an essential role in coping with the challenges of everyday life in the face of an uncertain national destiny. In September 1998\, the ASU Art Museum opened   Contemporary Art from Cuba: Irony and Survival on the Utopian Island  \, an exhibition of the work of 17 contemporary artists working in Cuba today. \nThese artists are young\, ranging in age from 24 to 39; many of them are Afro-Cuban. While they are the generation that voices skepticism about the pieties of the socialist Revolution\, they remain loyal Cubans. Included in the exhibition are Pedro Alvarez\, Belkis Ayón\, Abel Barroso\, Jacqueline Brito\, Yamilys Brito\, Carlos Estévez\, René Francisco\, Carlos Garaicoa\, Luis Gómez\, Kcho\, Los Carpinteros\, Sandra Ramos\, Fernando Rodríguez\, Esterio Segura\, José A. Toirac\, Tonel (Antonio Eligio Fernández)\, and Osvaldo Yero.  \nThey comment on shortages\, persistent racism\, the manipulation of history\, and the tragedy of the balseros who left on makeshift rafts\, the contradictions between revolutionary rhetoric and present day Cuban reality. \nThe ASU Art Museum specializes in contemporary art\, and has a reputation for exhibiting work that is experimental in content\, form or presentation. Recent projects have included Bill Viola: Buried Secrets\, the US representative to the 1995 Venice Biennale; Art on the Edge of Fashion\, presenting artists who use clothing forms and materials to convey meaning; Physical Fiction: Electronic Installations by Sara Roberts and  Dis/Functional. \nFor more information on the exhibition\, catalogue and videotape \n  Contemporary Art from Cuba:  \n  Irony and Survival on the Utopian Island  \n contact: John Spiak  \n ph: 480.965.2787  \n fax: 480.965.5254  \n or  spiak@asu.edu
URL:https://asuartmuseum.org/event-exhibition/contemporary-art-from-cuba-irony-and-survival-on-the-utopian-island/
CATEGORIES:blue,Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19980822T000000
DTEND;TZID=America/Phoenix:19981129T000000
DTSTAMP:20260916T034644
CREATED:20180407T065700Z
LAST-MODIFIED:20241030T000018Z
UID:4448-903744000-912297600@asuartmuseum.org
SUMMARY:Salute\, Walt Witman Recent Photographs by Duane Michals from the Collection of Stéphane      Janssen
DESCRIPTION:Gallery talk with photographer\, curator and ASU Professor William Jenkins\nSeptember 15\, 7:30 pm\nASU Art Museum\, Nelson Fine Arts Center \nLecture by the artist\nTuesday\, October 6\, 7:30 pm\nASU\, School of Architecture building (north)\, room AED 60\nFollowed by booksigning and refreshments at the Museum \nMonographs by and about Duane Michals available for viewing in the gallery \nThe exhibition and lecture were made possible through the generous support of Stéphane Janssen. Additional support provided by the Friends of the ASU Art Museum\nThe artist would also like to thank Canon for its support
URL:https://asuartmuseum.org/event-exhibition/salute-walt-witman-recent-photographs-by-duane-michals-from-the-collection-of-staphane-janssen/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19980530T000000
DTEND;TZID=America/Phoenix:19980913T000000
DTSTAMP:20260916T034644
CREATED:20180407T064900Z
LAST-MODIFIED:20241029T225952Z
UID:4103-896486400-905644800@asuartmuseum.org
SUMMARY:Martin Mull: 20/20
DESCRIPTION:Figures and forms placed in secret dialogue for the viewers visual interpretation and delight surface in the oil paintings and watercolors by Martin Mull. A graduate of the Rhode Island School of Design with a Master of Fine Arts degree\, Mull has been painting for more than 30 years\, culminating in this exhibition of his current work.A catalogue\, with foreword by Martin Mull and essay by Thomas W. Styron\, will be available in the Museum Store. \nThank you to the following for their support of the exhibition: \nA reception and catalogue signing for this exhibition will take place Friday\, May 29th from 7-9 P.M. The event will be a dual reception with the exhibition Inside Out: Renie Breskin Adams.
URL:https://asuartmuseum.org/event-exhibition/martin-mull-20-20/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19980530T000000
DTEND;TZID=America/Phoenix:19980830T000000
DTSTAMP:20260916T034644
CREATED:20180407T064200Z
LAST-MODIFIED:20241029T225958Z
UID:4102-896486400-904435200@asuartmuseum.org
SUMMARY:Inside Out: Renie Breskin Adams
DESCRIPTION:Renie Breskin Adams takes an unconventional\, colorful and whimsical approach to the historic and domestic art of needlepoint. Her “samplers” depict herself\, her family\, friends and pets mingling with creatures from her imagination. Beneath the humor lies thoughtful commentary about art\, her chosen medium and her role as an artist. \nLecture by the artist\, Friday\, July 10\, 7:30 pm\, ASU Art Museum \nWorkshop with the artist: Crocheting\, Embroidery and Critiquing \nSaturday and Sunday\, July 11 and 12.\nFee: $65.\nSponsored by Arizona Designer Craftsmen and Mesa Art Center.\nCall Joan Dulla at 963-2965 for registration information. \nLook for hands-on activities for visitors of all ages in the exhibition gallery! \nExhibition funded in part by Friends of the ASU Art Museum. \nA reception for this exhibition will take place Friday\, May 29th from 7-9 P.M.\nThe event will be a dual reception with the exhibition Martin Mull: 20/20.
URL:https://asuartmuseum.org/event-exhibition/inside-out-renie-breskin-adams/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19980228T000000
DTEND;TZID=America/Phoenix:19980510T000000
DTSTAMP:20260916T034644
CREATED:20180407T063700Z
LAST-MODIFIED:20241029T234402Z
UID:4101-888624000-894758400@asuartmuseum.org
SUMMARY:Another Arizona
DESCRIPTION:A STATE-WIDE JURIED EXHIBITIONFEBRUARY 28 – MAY 10\, 1998  ARTISTS’ RECEPTION WITH PERFORMANCES FEBRUARY 28\, 1998 7-9 P.M. PARTY ON THE PLAZA 8:30 – 10 P.M. \nArizona State University Art Museum announces an exhibition of state-wide contemporary art juried by the Museum’s curators and two curators from outside the state. The goal of the exhibition is to present the diversity and strength of contemporary art being produced in the state today\, and to promote communication between curators and Arizona artists. Based upon the 356 entries\, the jurors selected twenty-two artists. The ASU Art Museum’s curators visited the studios of selected artists to identify approximately three pieces from each for the exhibition. \nJurors\nPaul Schimmel\, Museum of Contemporary Art\, Los Angeles\nMarilyn A. Zeitlin\, Arizona State University Art Museum\nEnrique Chagoya\, Artist\, Curator and Professor of Art at Stanford University\nHeather S. Lineberry\, Arizona State University Art Museum \nA thirty-two page catalogue designed by Eddie Shea\, with introduction by Heather S. Lineberry\, will be available at the opening. The images of Sheriff Joe’s Tent City were captured by photographer Bruce Peterson. The following people graciously assisted us: Lisa Allen\, Ed Karnafel\, Captain David L. Wilson\, and Sergeant David Williams.\nThe catalogue is made possible through the generous support of APS. \nAnother Arizona exhibitions and programs were funded by the Arizona Commission on the Arts and the Friends of the ASU Art Museum. \nA reception with performance works by exhibiting artists Timothy S. Kelly and Gene Cooper will take place February 28th from 7-9 p.m.\nA Party on the Plaza will take place from 8:30 – 10pm. \nThe event will be a dual reception with the exhibition Millennial Myths: Paintings by Lynn Randolph. \nFood and drinks for the reception are being donated by the following: \nTuesday\, March 24\, 1998; 7:30pm – Panel Discussion with\nTarah Rider Berry\, Greg Esser\, Jerre Johnston\, Al Price\, David Therrien and Heather S. Lineberry. \nTuesday\, April 21\, 1998; 7:30pm – The Business of Being an Artist discussion with Lisa Sette and Marilyn A. Zeitlin.
URL:https://asuartmuseum.org/event-exhibition/another-arizona/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19980221T000000
DTEND;TZID=America/Phoenix:19980524T000000
DTSTAMP:20260916T034644
CREATED:20180407T065100Z
LAST-MODIFIED:20241029T234652Z
UID:4100-888019200-895968000@asuartmuseum.org
SUMMARY:Millennial Myths: Paintings by Lynn Randolph
DESCRIPTION:Millennial Myths: Paintings by Lynn Randolph organized by the Arizona State University Art Museum examines “metaphoric realism” paintings by Lynn Randolph. The exhibition\, curated by Marilyn A. Zeitlin\, opens on February 21\, 1998 and closes on May 24\, 1998. Randolph’s works bring together ideas of art\, science and technology executed since 1989\, reflecting her interest in radical science\, the body\, and visions of the future. It displays an array of the iconographic vocabulary that she has developed to dramatize ideas in compelling visual terms. Randolph has honed a style that she calls “metaphoric realism\,” that presents the visionary in vividly tangible terms\, giving the work an intensity and edge that satisfy the longing for images of the unknown. The vision hovers between the novelist Thomas Pynchon’s Gravity’s Rainbow and the films of Andrei Tarkovshy or Ridley Scott’s Bladerunner. In fact Rachel in  Bladerunner\, a cyborg with emotional capacity for fear\, love\, and confusion\, personifies [sic] much of Randolph’s notion that the changes that science will bring need not be regarded as invasions of the mind and body snatchers. Randolph most clearly aligns herself with artists as the visual translator of the unseen. Her artistic kinships are with Frida Kahlo and Remedios Varo\, William Blake\, Jan Van Eyck\, Rene Magritte\, Georgia O’Keeffe\, Hieronymus Bosch\, Francisco de Goya\, Pierre Bonnard (for his iridescent color)\, medieval manuscript illuminators and painters of Mexican Ex votos and retablos . \nA catalogue will include essays by Donna Haraway\, David Hopps\, and Marilyn Zeitlin\, and a text by the artist. Haraway’s publications include Primate Visions: Gender\, Race\, and Nature in the World of Modern Science (Routledge: 1989)\, Simians\, Cyborgs\, and Women: The Reinvention of Nature (Routledge: 1991)\, and more recently\, Modest Witness (Routledge)\, which includes many of Lynn Randolph’s paintings. Haraway is a Professor of the History of Science at University of California\, Santa Cruz. Marilyn Zeitlin’s most recent publications include Too Late for Goya: \nWorks by Francesc Torres (1993)\, Art Under Duress: El Salvador 1980-Present (1994)\, and Bill Viola: Buried Secrets (1995).
URL:https://asuartmuseum.org/event-exhibition/millennial-myths-paintings-by-lynn-randolph/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19971212T000000
DTEND;TZID=America/Phoenix:19980208T000000
DTSTAMP:20260916T034644
CREATED:20180407T070200Z
LAST-MODIFIED:20241029T235443Z
UID:4099-881884800-886896000@asuartmuseum.org
SUMMARY:ASU School of Art 1997-1998 Art Faculty Exhibition
DESCRIPTION:The 1997-98 School of Art Faculty exhibition opened Friday December 12th at the Nelson Fine Arts Center. It runs through February 8\, 1998. \nFor more information contact John Spiak at  spiak@asu.edu.
URL:https://asuartmuseum.org/event-exhibition/asu-school-of-art-1997-1998-art-faculty-exhibition/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19971122T000000
DTEND;TZID=America/Phoenix:19980131T000000
DTSTAMP:20260916T034644
CREATED:20180504T042800Z
LAST-MODIFIED:20241029T225848Z
UID:4442-880156800-886204800@asuartmuseum.org
SUMMARY:Physical Fiction: Electronic Installations
DESCRIPTION:Sara Roberts is an artist who for the last eight years has been working with interactive video installations\, making portraits of common relationships; mother and child; watcher and watched; person and thing; husband\, wife and friends. Video and physical space work together in the installations to establish tensions which involve the visitor in a kind of social sculpture. Computers are used to sense presence\, sequence video events\, and provide an underlying\, biological-seeming tendency to the installations. The work occurs more in the world than on the screen. The visitor participates as a whole person\, not just with eyes and mind. \n\nThis installation is currently open at the ASU Art Museum’s Matthews Center Experimental Gallery from November 22\, 1997 to January 31\, 1998. Physical Fiction was originated by the ASU Art Museum and organized by Heather Sealy Lineberry\, Senior Curator. The Experimental Gallery features exhibitions that explore new formats\, media or content. \n\nIn Early Programming\, Sara’s first interactive piece\, the visitor sits down at a kitchen table with a computer “mom” (named MARGO) and is effectively recruited to the role of child. Since the computer is supposedly a neutral presence\, Sara wondered what the effect would be if it said things that were less words than emotional tokens\, as exchanges between parents and children often are: Why do I have to? Because I say you have to!\nWith a machine voice and an onscreen rectangle as an emotional indicator\, which appears smaller and darker as her mood worsens\, it is hard to mistake MARGO for anything but a machine. But the power of familiar words is strong and it is often difficult to tear visitors away from the argument. \nSara was commissioned to make The Digital Museum based on the theme of the museum in the age of computer technology. The installation explores the contemporary shift in emphasis from finding\, naming\, and categorizing\, to seeing the relationships between that which has been collected\, and ourselves\, and questioning objectivity. A physical relationship seemed like a first step\, thus when a finger reaches through the glass and touches an object a varied vocal response is generated. \n\nElective Affinities \nElective Affinities was adapted from Goethe’s novella and involves questions of passion and commitment in marriage. In 1806\, at the age of 57\, Johann Wolfgang von Goethe finally married the woman he had lived with for eighteen years\, the mother of his five children. He then fell in love with Minna Herzleib\, a young woman of eighteen. This affair provoked him to write the novella with the odd title\, Elective Affinities\, a term used at the time in chemistry to describe a perfect molecular attraction. Goethe’s metaphor has survived as we still describe sexual attraction as chemistry. \nThe video installation brings the characters from the novella\, the devoted couple and their two friends\, into the present where they sit together in a car suspended in time. Each character runs through a constantly fluctuating range of emotions affected by the emotional states of the other three. This is where a network of computers becomes useful for a narrative. Each character runs its own “emotional engine” which shifts when a glance is sent by another character\, bringing new interpretations of past events. \nTheir expressions are stored on laser video disc\, and called up by the computer as appropriate to the current mood. On the walls of the gallery are the drafts of the thoughts for each character\, each square becoming a memory\, each memory interpreted 12 different ways. Choosing a pivotal moment in their complicated relationship\, writing out and videotaping each characters thoughts\, Sara attempts an extension of literature into the sculpture realm\, bringing thoughts off the page and into space and time. \n\n\n\n\nCollege Unit:\n\nASU Art Museum
URL:https://asuartmuseum.org/event-exhibition/physical-fiction-electronic-installations/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19971108T000000
DTEND;TZID=America/Phoenix:19980208T000000
DTSTAMP:20260916T034644
CREATED:20180407T071000Z
LAST-MODIFIED:20241029T225736Z
UID:4097-878947200-886896000@asuartmuseum.org
SUMMARY:El Lugar de la Ausencia: Jordi Teixidor
DESCRIPTION:One of the most important abstract painters of his generation in Spain\, Jordi Teixidor identifies with the intentions\, strategies and content of the work of Mark Rothko\, Ad Reinhardt and Barnett Newman; with Cy Twombly and Agnes Martin; and with American painters of his own generation\, particularly with Brice Marden and Robert Ryman. El Lugar de la Ausencia is the first solo exhibition of the artist’s work in an American Museum. \nThis exhibition opens November 8\, 1997 and closes February 8\, 1998. \nA conversation with the curator of the exhibition\, Marilyn Zeitlin:\nKaren Gilmore: As a curator known best for showing art that interfaces with social issues and for presenting new media\, you will surprise our audiences by showing the paintings of Jordi Teixidor. Can you tell me how this has come about? \nMarilyn Zeitlin: About a year ago\, I was having dinner with Francesc Torres\, his gallerist Elba Benitez\, and Jordi joined us. At some point\, Elba said\, “It is a shame that you do not like painting\, Marilyn\, because Jordi is a very good painter.” Torres then answered for me\, “But she does like painting.” So I found myself doing a studio visit the next day. It was a strange experience\, because I had just come from Cuba\, and was feeling surfeited by European art and life. I saw Jordi’s paintings\, and was furious. I think that he read my expression\, and retreated to make some coffee. I thought\, “How can you make THIS when the world is coming down around our ears?” But by the time he came back with the coffee\, I was totally convinced about SOMETHING in the work: his incredible focus\, for one thing. And my first thought\, at this point\, was that the paintings arrested the progress toward death. Read my catalogue essay to discover how these paintings can keep you from mortality. (Available after Nov. 1 at this URL.) \nNo\, seriously\, I spent the next year obsessed with this work\, thinking about it and why it has such a hold on my mind. I read and re-read work on Abstract Expressionism\, aesthetic theory\, Spanish poetry. I had a wonderful time. A friend says that I would see her and blurt out these weird oracular utterances about utopia\, or take off into the wild blue about the veil before the face of God. It was one of the most wonderful years of research and thinking I have ever spent. Jordi was extremely patient with and generous with me\, conducting an intensive correspondence\, sending photos of new work.\nThen in March\, I went to Spain to see his retrospective at the Instituto Valenciano de Arte Moderno\, in Valencia\, his home town. I was worried that when I saw the work again\, the power would not be there. But it was\, it was. He and I worked about every other day for two and one-half weeks\, talking about the work and all the ideas I had accumulated since the previous July. He showed me his first box of paints\, with the tradename “El Pescador\,” the fisherman\, with an image of a ship more appropriate to conquest. His family history crosses my interest in Cuba\, too\, so we talked about colonialism and violence and Jos‚ Marti and Che Guevara. We became friends. Does that answer your question? \nKaren Gilmore: How does this work relate to Abstract Expressionism done in the United States? \nMarilyn Zeitlin: Ah! For that\, you must come to the show\, and read my essay in the catalogue. Remember\, above all\, these are paintings\, and to be enjoyed as well as analyzed. Both. Jordi strives to create works that engender “reflection.” If I do my job right\, the installation will allow the paintings to take you into his realm of reflection. I promise\, it is a wonderful place to be. And please come hear him talk about the work. He is erudite without being academic. And an utterly honest\, charming person.
URL:https://asuartmuseum.org/event-exhibition/el-lugar-de-la-ausencia-jordi-teixidor/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19971018T000000
DTEND;TZID=America/Phoenix:19980201T000000
DTSTAMP:20260916T034644
CREATED:20180504T044100Z
LAST-MODIFIED:20241029T210703Z
UID:4096-877132800-886291200@asuartmuseum.org
SUMMARY:Turned Wood Now: Redefining the Lathe Turned Object IV
DESCRIPTION:Turned Wood Now: Redefining the Lathe-Turned Object IV features work by ten contemporary American Artists who are making significant contributions to the field of lathe turning. The selected artists use the lathe to create traditional vessel forms and sculptural objects that are sometimes defined by the process and materials\, and sometimes freed from these origins by visual appearance and theoretical underpinnings. \n\nThis exhibition represents a significant advancement in scale and importance for the ASU Art Museum’s programming in this area\, as well as a major contribution to the scholarship of contemporary American art and craft. This project is the fourth in a series of lathe turned object exhibitions and conferences. This exhibition was organized by Senior Curator Heather Lineberry. \n\n\n\n\n\nCollege Unit:\n\nASU Art Museum
URL:https://asuartmuseum.org/event-exhibition/turned-wood-now-redefining-the-lathe-turned-object-iv/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970928T000000
DTEND;TZID=America/Phoenix:19980104T000000
DTSTAMP:20260916T034644
CREATED:20241029T195137Z
LAST-MODIFIED:20241029T195753Z
UID:4095-875404800-883872000@asuartmuseum.org
SUMMARY:A Procession: Paintings by Philip C. Curtis from Valley Collections
DESCRIPTION:Exhibition
URL:https://asuartmuseum.org/event-exhibition/a-procession-paintings-by-philip-c-curtis-from-valley-collections/
CATEGORIES:blue,Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970920T000000
DTEND;TZID=America/Phoenix:19970920T000000
DTSTAMP:20260916T034644
CREATED:20180602T024800Z
LAST-MODIFIED:20241029T204439Z
UID:4094-874713600-874713600@asuartmuseum.org
SUMMARY:Dis/Functional
DESCRIPTION:Dis/Functional\, an exhibition of installation art\, casts the artist\, rather than the scientist\, in the role of expert authority and aesthetic interpreter. Just as anthropologists\, archaeologists\, sociologists and historians grapple with persistent issues of religion\, social and sexual relationships\, education\, politics and technology\, the artists in this exhibition attempt to create a dialogue with the viewer about these subjects. Unlike scientists\, however\, their work leaves these issues open to individual interpretation\, rather than striving to establish any “absolute truth”. Though scientific pronouncements may once have been accepted as black and white\, and essentially unassailable\, current post-modern skepticism now informs our approach to these areas. This exhibition underscores the prevailing skepticism of our time. \nWhat ultimately unites the artists of  Dis/Functional  is the medium of installation. The seven artists selected alter space to focus their audience visually upon questions of function and purpose. They incite the viewer to creative thought\, sparking debate on problematic matters\, rather than promoting complacent acceptance of pat answers and generally accepted truisms. \nThe seven artists featured in the exhibition include: \n\nDan Collins\nVernon Fisher\nJenny Holzer\nBarbara Penn\nJoyan Saunders\nHerb Stratford\nFrancesc Torres\n\nA reception for the artists took place Saturday\, September 20\, 1997 from 7 -9pm.\nThe event was a dual reception with the exhibition Token City. \nFor more information contact John Spiak at  spiak@asu.edu.
URL:https://asuartmuseum.org/event-exhibition/dis-functional/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970830T000000
DTEND;TZID=America/Phoenix:19971130T000000
DTSTAMP:20260916T034644
CREATED:20180602T024035Z
LAST-MODIFIED:20241029T235907Z
UID:4093-872899200-880848000@asuartmuseum.org
SUMMARY:Drawing Distinctions: 20th Century Drawings & Watercolors
DESCRIPTION:
URL:https://asuartmuseum.org/event-exhibition/drawing-distinctions-20th-century-drawings-watercolors/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970809T000000
DTEND;TZID=America/Phoenix:19970930T000000
DTSTAMP:20260916T034644
CREATED:20180407T071700Z
LAST-MODIFIED:20241029T235615Z
UID:4092-871084800-875577600@asuartmuseum.org
SUMMARY:TOKEN CITY
DESCRIPTION:A Multimedia Installation\nMuriel Magenta\, Visual Artist\nMichael Udow\, Composer \nThe New York subway is the subject for a multimedia installation – a vision that transforms the everyday commute into an experience of images and sounds that simulates reality. The viewer is immersed in a situation where emotions and thoughts associated with the subway are implied and heightened: anonymity of the individual within a crowd\, anticipation of the unknown\, the passing of time\, and longing to keep going. \nViewers to the gallery will enter a virtual subway platform and encounter a series of video projections and multiple soundtracks which merge real people videotaped in transit with a 3D computer-animated subway station. This computer-generated scene includes rows of riveted columns\, iron staircases\, and old tiled walls\, coexisting with streamlined subway cars. While waiting for arriving and departing trains\, viewers experience a choreographed program of electronic music and digital sound effects composed specifically for Token City. Paralleling subway activity\, the Token City installation is continuous throughout the gallery day with people coming and going as they please. \nTOKEN CITY: A Multimedia Installation is one component of a four part project including a 3D animation video short combining visuals and sound; a CD of all Token City music composed by Michael Udow; and a portfolio of prints by Muriel Magenta. \nA reception for the artists took place Saturday\, September 20\, 1997 from 7-9pm.\nThe event was a dual reception with the exhibition Dis/Functional. \nArtist Muriel Magenta presented a lecture on Tuesday\, September 9\, 1997 at 7:30pm \nThe exhibition\, curated by John D. Spiak\, premiered on August 9\, 1997 and closed on September 30\, 1997.
URL:https://asuartmuseum.org/event-exhibition/token-city/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970606T000000
DTEND;TZID=America/Phoenix:19970914T000000
DTSTAMP:20260916T034644
CREATED:20180407T071200Z
LAST-MODIFIED:20241029T231024Z
UID:4091-865555200-874195200@asuartmuseum.org
SUMMARY:Fiestas de la Vida
DESCRIPTION:Devotion and Ritual in Mexican Folk Art\n\nDuring the fiestas which punctuate the Mexican festival cycle\, the tangible and the mystical converge. Fireworks explode into the dark morning sky\, creating an artificial dawn which illuminates a town adorned with tissue paper streamers\, garlands of flowers and bright cut-paper banners. Groups of masked and costumed dancers parade through village streets during the week of Carnival\, sharing in a physical form of ritual which is at once solemn and burlesque. During Holy Week corteges of the faithful carry figures of the suffering Christ through the quiet streets surrounding the zocalo\, or public square\, in a procession of somber piety. In early November\, during the Day of the Dead\, families gather at the graves of their loved ones\, luring them back to the realm of the living with offerings of fruit\, bread\, tamales\, cigarettes\, pulque and flowers. On December 12\, an entire nation rises at dawn to serenade a brown-skinned Madonna\, a protean icon who is a fusion of patroness of the people\, Aztec earth goddess\, and Christian saint. At  Christmas children swing wildly at a pinata\, a large earthenware jar covered withcolored tissue paper and filled with toys and candy\, anticipating the sweet booty which is destined to spill out once it is broken. \n\n\nAlthough the notion of the fiesta often conjures up images of revelry and excess\, these celebrations have profound religious roots. A time of both devotion and diversion\, fiestas serve many functions. They fulfill promesas\, or vows\, to saints\, to ensure the well-being of the community\, guarantee successful crops\, and offer a temporary form of release. They are taken very seriously by the community\, with sacrifice and community organization involved in their making. Masks and costumes must be nade\, candles molded\, processions organized\, flowers gathered\, churches and saints decorated\, graves cleaned. To the Mexican\, fiestas are a supreme vehicle for expressing religious faith\, devotion\, and an unrivaled vitality. \n\n\nThe ceremonial cycle inspires not only celebration and communal solidarity\, it also informs artistic production. The objects in this exhibition articulate the profound influence which religious holidays\, or holy days\, have on the folk art of Mexico. Inspired by and integral to many regional celebrations\, they are visual proof of the spiritual dedication of the people who both create and use them. \n\n\nCurator of the Exhibition\nKaytie Johnson\n \n\nA reception for Fiestas de la Vida took place Friday\, June 6\, 1997.\nThe exhibition\, curated by Kaytie Johnson\, premiered on June 6\, 1997 and closed on September 14\, 1997 \n\n\nFor more information contact John Spiak at spiak@asu.edu.
URL:https://asuartmuseum.org/event-exhibition/fiestas-de-la-vida/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970308T000000
DTEND;TZID=America/Phoenix:19970531T000000
DTSTAMP:20260916T034644
CREATED:20180602T024438Z
LAST-MODIFIED:20241029T230315Z
UID:4090-857779200-865036800@asuartmuseum.org
SUMMARY:Temporal Completions
DESCRIPTION:
URL:https://asuartmuseum.org/event-exhibition/temporal-completions/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970222T000000
DTEND;TZID=America/Phoenix:19970525T000000
DTSTAMP:20260916T034644
CREATED:20180602T023308Z
LAST-MODIFIED:20241029T234458Z
UID:4089-856569600-864518400@asuartmuseum.org
SUMMARY:Borderline Glass
DESCRIPTION:Exhibition
URL:https://asuartmuseum.org/event-exhibition/borderline-glass/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970201T000000
DTEND;TZID=America/Phoenix:19970427T000000
DTSTAMP:20260916T034644
CREATED:20180407T070400Z
LAST-MODIFIED:20241029T234712Z
UID:4088-854755200-862099200@asuartmuseum.org
SUMMARY:Art on the Edge of Fashion
DESCRIPTION:Art on the Edge of Fashion at the Arizona State University Art Museum focused on contemporary art that uses the highly readable visual language of clothing and fashion. This exhibition\, organized by Heather S. Lineberry\, premiered on February 1\, 1997\, and closed on April 27\, 1997. \nEight artists from across the U.S. and Canada were featured in the exhibition: Charles LeDray (New York)\, Christine LoFaso (Chicago)\, Kerrie Peterson (Los Angeles)\, Elaine Reichek (New York)\, Beverly Semmes (New York)\, Jana Sterbak (Quebec)\, Nick Vaughn\, (Albuquerque)\, and Anne Wilson (Chicago). The exhibition included sculpture\, photographs\, installations\, performance and video. \nAll eight artists use the familiar language of clothing and appearance. Many of the pieces in the exhibition actually took the form of clothing\, although they were not meant to be “clothing”. The objects were completely unwearable due to their size\, materials\, or distortions. \n“We read people quickly and easily based on their appearance\, on their clothing\, hair\, skin color and tone\, and body shape\,” explains Lineberry. “The work in this exhibition questions quick assumptions based on appearance\, and scrutinizes the forces\, like fashion\, that determine appearance and so indicate identity.” \nThe premiere opening of Art on the Edge of Fashion was February 1\, 1997 from 8:00pm to 10:00pm at the ASU Art Museum. For this one evening national and Phoenix-area artists performed and designed wearable art for the opening. \nOther events included a talk by Curator Heather Lineberry on February 11th at 7:30pm\, a talk by artist Anne Wilson on March 25th\, a performance by artist Nick Cave\, who makes costumes inspired by African ceremonies and American street life\, on Friday April 4\, 1997 at 7:30pm\, and a talk by artist Philip Glass on April 10th at 7:30pm. A catalogue of the exhibition with essays by Jeremy Gilbert-Rolfe and Heather S. Lineberry is available. Major support for this catalog was provided by the Elizabeth Firestone Graham Foundation. Art on the Edge of Fashion was funded in part by the National Endowment for the Arts; the Arizona Commission on the Arts; and the Friends of the ASU Art Museum. \nThis exhibition traveled to Cranbrook in Bloomfield Hills\, Michigan\nJanuary 16 – March 29\, 1998 \nThis webpage won “The Angel of Fashion” Award\nsponsored by the fashionangel.com Web Directory
URL:https://asuartmuseum.org/event-exhibition/art-on-the-edge-of-fashion/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19960426T000000
DTEND;TZID=America/Phoenix:19960426T000000
DTSTAMP:20260916T034644
CREATED:20180504T045300Z
LAST-MODIFIED:20241030T000507Z
UID:4087-830476800-830476800@asuartmuseum.org
SUMMARY:Daniel Wheeler: MASCARÓN DE PROA
DESCRIPTION:Mascarón de Proa is the Spanish phrase for a ship’s figurehead\, literally the “mask of the prow.” A mask of the prow exists at the intersection of air\, water and earth\, if one considers a ship as of the earth or of earthbound creatures. A mask is something that covers the skin of a face\, extending or stretching the neutral zone between what is inside and what is outside a person physically\, emotionally and psychically. A figurehead operates in that nominal space between those who use it to represent or speak for them and everyone else. \nMascarón de Proa \nan installation specifically designed for the Experimental Gallery\, is intended to explore the boundaries and edges of things. \n\nAbout the Artist\nCurrently residing in the Los Angeles area\, Daniel Wheeler received his BA from Brown University. He has shown his installations at Newport Harbor Art Museum\, California; John Michael Kohler Art Center\, Sheboygan\, Wisconsin; Oakland Museum\, California; and California State University at Fullerton Art Gallery. One of his recent projects was a series of sets for the Diavolo Dance Theater\, which premiered at the Edinburgh Fringe Festival\, Scotland. In 1990 he received an Art Here and Now award from the Los Angeles County Museum of Art. \nPerformance Schedule\nA performance by the artist occurred Friday\, April 26th\, in the Experimental Gallery. Here are some images from the actual performance. \n\nSpecial Thanks to\nBeatrice Cortez and Constantino Lopez\, for assistance with the performances; Patricia Clark at the Institute for Studies in the Arts; Rob Willhoit and Frank Paiz at Residential Life; Robert La Fleur; and the ASU Art Museum installation crew: Stephen Johnson\, Greg Strange\, Bill Brauckman\, Nina Cartier\, Fran Harris\, Richard Minardi\, Belle Struck and Hugo Zamudio.\n\nThis exhibition was funded in part by a grant from the Institute for Museum Services and the Friends of the ASU Art Museum.\n\nMascarón de Proa was organized by Heather Lineberry\, curator\, and John D. Spiak\, curatorial assistant\, for the Experimental Gallery at the ASU Art Museum.\n\n\n\n\n\n\nCollege Unit:\n\nASU Art Museum
URL:https://asuartmuseum.org/event-exhibition/daniel-wheeler-mascaron-de-proa/
CATEGORIES:Exhibition
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19960128T000000
DTEND;TZID=America/Phoenix:19960128T000000
DTSTAMP:20260916T034644
CREATED:20180602T033200Z
LAST-MODIFIED:20241029T194631Z
UID:4430-822787200-822787200@asuartmuseum.org
SUMMARY:Hittin' the Roof: Grafs by Such
DESCRIPTION:ASU Art Museum commissioned a mural by aerosol artist Noe Baez (aka Such) to welcome the millions of viewers that viewed ASU from the air during television programs broadcast in conjunction with Super Bowl XXX. Assisted by fellow artists Rascon\, Fuse\, Pry and Sam\, Baez’s mural covered the 900 square foot roof of the museum’s top gallery. This project was created over a two week period using a hundred cans of aerosol spray paint. The mural’s text read “Welcome to the Wild West – ASU Art Museum” and the different panels include caricatures of cheerleaders\, football players\, and local landmarks. \nNoe previously exhibited in the ASU Art Museum’s Experimental Gallery and his work can also be viewed in an outdoor mural on the Guadalupe Teen Center. Other works by Noe can be seen on the Art Crimes website. \nHittin’ the Roof: Grafs by Such was organized by John D. Spiak\, Curatorial Museum Specialist\, for the rooftop of the ASU Art Museum. e-mail John at spiak@asu.edu. \n\n ” alt=””>\n ” alt=””>\n\n\n ” alt=””>\n ” alt=””>
URL:https://asuartmuseum.org/event-exhibition/hittin-the-roof-grafs-by-such/
CATEGORIES:Exhibition
END:VEVENT
END:VCALENDAR