BEGIN:VCALENDAR VERSION:2.0 PRODID:-//ASU Art Museum - ECPv6.15.17.1//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:ASU Art Museum X-ORIGINAL-URL:https://asuartmuseum.org X-WR-CALDESC:Events for ASU Art Museum REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Phoenix BEGIN:STANDARD TZOFFSETFROM:-0700 TZOFFSETTO:-0700 TZNAME:MST DTSTART:19690101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Phoenix:19980530T000000 DTEND;TZID=America/Phoenix:19980913T000000 DTSTAMP:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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:20260916T041503 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 BEGIN:VEVENT DTSTART;TZID=America/Phoenix:19950611T000000 DTEND;TZID=America/Phoenix:19951015T000000 DTSTAMP:20260916T041503 CREATED:20180407T072100Z LAST-MODIFIED:20241029T184040Z UID:4429-802828800-813715200@asuartmuseum.org SUMMARY:Bill Viola: Buried Secrets DESCRIPTION:The ASU Art Museum also hosted the U.S. premiere of the exhibition from March 16 through June 16\, 1996 \nIn 1995\, the ASU Art Museum was honored to have presented this exhibition at the one-hundredth anniversary of the Venice Biennale. The Biennale has been described as the Olympics of the art world and features exhibitions of work by artists from over sixty countries. \nMarilyn Zeitlin\, the director of the ASU Art Museum\, was chosen to be the Commissioner of the U.S. Pavilion and she\, in turn\, selected the internationally-renowned video artist Bill Viola. \nOne of the world’s best known and highly regarded artists working in video\, Bill Viola makes installations that are hauntingly beautiful. He is known for his use of new technology to create works of profound vision and lucidity of expression. Viola uses video to create art which explores human emotions and the basic questions facing human life. \nThe five new installations that form Buried Secrets describe a journey or movement\, both physical and conceptual\, through interrelated themes of life/death\, darkness/light\, body/soul\, internal/external and past/present. \nBuried Secrets represented a tremendous jump in scale for the small\, Tempe-based institution. To install the exhibition in the Nelson Fine Arts Center significant alterations were done. Four discrete\, light-controlled spaces were required so that Viola’s installations have the appropriate effect on the viewer. Rather than passively viewing a painting on a wall\, the installations are designed to have a visceral impact\, surrounding the viewer with sound\, projections and sometimes darkness. \nThis program culminated in the U.S. Premiere on March 9\, 1996. The show was open for viewing during normal museum hours through June 9\, 1996. There were other related events also scheduled as part of the exhibition. After the U.S. premiere at the ASU Art Museum\, the show will travel to Boston and Denmark. \nImages and descriptions of the five installations from the Venice premiere at the U.S. Pavilion are presented here. \nThe museum would like to acknowledge the support provided by the funders of this exhibition. URL:https://asuartmuseum.org/event-exhibition/bill-viola-buried-secrets/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20220327T000000 DTSTAMP:20260916T041503 CREATED:20220228T223800Z LAST-MODIFIED:20241029T230450Z UID:4748-0-1648339200@asuartmuseum.org SUMMARY:Highlights from the Print Study Room DESCRIPTION:Join us for a special guided tour of selected prints from the Jules Heller Print Study Room. These tours offer a rare opportunity to study original prints without a frame’s glass\, allowing for an intimate encounter with artists throughout history. Tours are offered every Thursday–Sunday at 1 p.m. To make a reservation\, contact Raechel Miller at raechel.miller@asu.edu . \nImage Credit: Alberto Beltrán\, “Manuela Sanchez\, Spanish guerilla-mujeres con la revolución\,” c. 1950\, linoleum print\, 16 x 20 in. Gift of Dr. and Mrs. Jules Heller. \n\n\n\n\n\n https://asuevents.asu.edu/content/highlights-print-study-room\n\n\n\nPhone:\n\n480-965-2787\n\n\n\nWebsite:\n\nhttp://asuartmuseum.asu.edu\n\n\n\nImage URL:\n\n\n\n\n\nCategory:\n\nThe Arts\nOpen to the public\nEasy on the wallet\nLearn something\nBring the kids\n\n\n\nAudience:\n\nCampus student\nOnline student\nGraduate student\nstudent\nFaculty\nStaff\nMedia\nFriend/Fan\nDonor\nParent\n\n\n\nInterests:\n\nArts\nArts and Entertainment URL:https://asuartmuseum.org/event-exhibition/highlights-from-the-print-study-room-2/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20070217T000000 DTSTAMP:20260916T041503 CREATED:20180330T035600Z LAST-MODIFIED:20241029T210723Z UID:4549-0-1171670400@asuartmuseum.org SUMMARY:GARDENING WITH OSCAR OIWA: New Paintings DESCRIPTION:October 13\, noon\nPublic Gallery Talk: Marilyn Zeitlin\, Thomas Cohn and Oscar Oiwa \nOctober 13\, 6-8pm\nPublic Reception \nGARDENING WITH OSCAR OIWA: New Paintings \nThis exhibition of Oscar Oiwa’s paintings\, the first in a U.S. art museum\, is another installment in the ASU Art Museum’s expanded initiatives for exhibiting and interpreting Latin-American art. Oiwa\, a Brazilian artist of Japanese heritage\, studied in Japan and the United Kingdom. He currently lives in New York. \nWith considerable technical expertise\, Oiwa records the impact of globalization with beautiful paintings about cultural collision\, environmental degradation\, dehumanizing slums and violence through attrition. His vision portrays a world on the precarious edge of oblivion. Influences in his work come from Japanese art – both the byobu screen with multiple panels and contemporary manga\, and from the West in varied forms\, including Anselm Kiefer\, Claude Monet and science fiction film. \nAbout the Artist \nOscar Oiwa\, a native of São Paulo\, studied in Japan and London. In 2002 he was the recipient of a Guggenheim Fellowship\, which took him to New York. The artist is represented by Thomas Cohn Gallery\, São Paulo. \nASU Art Museum Presentation \nOrganized by Marilyn A. Zeitlin\, Gardening with Oscar Oiwa will be installed in the Arizona State University Art Museum’s Nelson Fine Arts Center location and will be the artist’s first U.S. museum solo exhibition. \nDuration \nGardening with Oscar Oiwa: New Paintings (October 14\, 2006 through February 17\, 2007) is open at the ASU Art Museum:\nTuesday: 10 a.m. – 9 p.m.\nWednesday – Saturday: 10 a.m. – 5 p.m. \nSupport\nOrganized by the ASU Art Museum and made possible\, in part\, by the Elizabeth Firestone Graham Foundation and the Friends of the ASU Art Museum. 2005-2006 curatorial research and development is made possible in part by in-kind sponsorship support from TAM Brazilian Airlines. URL:https://asuartmuseum.org/event-exhibition/gardening-with-oscar-oiwa-new-paintings/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20080427T000000 DTSTAMP:20260916T041503 CREATED:20180330T014900Z LAST-MODIFIED:20241029T232206Z UID:4226-0-1209254400@asuartmuseum.org SUMMARY:A HUMAN IMPULSE: Figuration from the Diane and Sandy Besser Collection DESCRIPTION:Friday Conversations on Exhibitions\nFriday\, February 1\, 11 a.m.\nPeter Held\, curator \nPublic Reception\nFriday\, February 22\, 8:30 – 10:30pm\nFollowing Gala Weekend lecture \nA HUMAN IMPULSE: \nFiguration from the Diane and Sandy Besser Collection\nPassionate collectors since 1964\, Diane and Sandy Besser have amassed a major collection of ceramics that initially started with vessel forms and teapots. Their interest became more focused on figurative ceramic sculpture\, an area they felt was being overlooked and under appreciated. The Bessers have supported both established and emerging artists – the works offering varying perspectives on the human condition\, ranging from political commentary and psychological drama to humorous observations of daily life. \nAfter Diane’s death\, Sandy visited the ASU Art Museum Ceramics Research Center. He found that his aspirations for the collection were matched by the Center’s initiatives in increased public accessibility. Since 2003\, Besser has donated more than 150 works\, providing significant depth in figurative ceramic sculpture. The exhibition highlights 65 works and is accompanied by a color catalogue. \nExhibition Artists\nArtists represented in the exhibition include: Wesley Anderegg\, Skuja Braden\, Robert Brady\, Christie Brown\, Beth Cavener Stichter\, Jimon Choi\, Linda Cordell\, Marko Fields\, Michael Gross\, Margaret Israel\, John Jensen\, Michael Lucero\, Joe Mariscal\, Megumi Naitoh\, Eric Nelsen\, Koi Neng Liew\, Tom Rippon\, Akio Takamori\, Peter Vanden Berge\, Kristine Veith\, Stan Welsh\, Elizabeth Zacher\, Arnold Zimmerman\, Bob Rose\, Chris Antemann\, Renee Audette\, Adrian Arleo\, Tom Bartel\, Anthony Bennett\, Russell Biles\, Christyl Boger\, Neil Brownsword\, Jim Budde\, John Byrd\, Lisa Clauge\, Richard Cleaver\, Paul Day\, Jack Earl\, Ed Eberle\, Doug Jeck\, Margaret Keelan\, Max Lehman\, Jean-Pierre Laroque\, Jan Mars Wunderlich\, Andy Nasisse\, Ted Saupe\, Scott Schoenherr\, Dirk Staschke\, James Tisdale\, Tip Toland\, Monica Vanden Dool\, Noi Volkov\, George Walker\, Jason Walker\, Maryann Webster\, Sun-Koo Yuh and Wanxin Zhang. \nASU Art Museum Presentation\nOrganized by Peter Held\, A HUMAN IMPULSE: Figuration from the Diane and Sandy Besser Collection\, is installed in the ASU Art Museum’s Nelson Fine Arts Center at Arizona State University. \nDuration \nA HUMAN IMPULSE: Figuration from the Diane and Sandy Besser Collection (January 26-April 27\, 2008) Tuesday through Saturday from 11a.m.-5p.m.\, Sunday from 1-5 p.m.\, closed Monday. \nSUPPORT\nThis exhibition is supported by the members of CLA\, the Herberger College of the Arts Ceramics Enrichment Fund\, Kathryn Boeckaman Howd\, Duncan and Elizabeth Boeckman and anonymous donors. URL:https://asuartmuseum.org/event-exhibition/a-human-impulse-figuration-from-the-diane-and-sandy-besser-collection/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20241029T000000 DTSTAMP:20260916T041503 CREATED:20170307T004638Z LAST-MODIFIED:20241029T210706Z UID:4643-0-1730160000@asuartmuseum.org SUMMARY:Waltzing on the ASU Tempe Campus: John Cage's "49 Waltzes for the Five Boroughs of New York" DESCRIPTION:The ASU Art Museum presents an audio-visual installation of a version of Cage’s “49 Waltzes” for the ASU Tempe campus\, realized by 23 students from the School of Music and the School of Arts\, Media + Engineering for the museum.\nIn 1977 the American composer John Cage created “49 Waltzes for the Five Boroughs of New York.” The work’s score is a map of New York City and features 49 superimposed triangles. Each triangle symbolizes a waltz. Cage obtained each point of the triangles via chance operations to pin down a specific location. Performers of “49 Waltzes” visit each identified location to capture its sounds and sights to experience\, treasure and document the acoustic ecology of a place.\nCage encouraged transcriptions of this work for other places. Thus students of ASU’s School of Music and School of Arts\, Media + Engineering teamed up to transcribe this work for their Tempe campus. URL:https://asuartmuseum.org/event-exhibition/waltzing-on-the-asu-tempe-campus-john-cages-49-waltzes-for-the-five-boroughs-of-new-york/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20150621T000000 DTSTAMP:20260916T041503 CREATED:20170307T003600Z LAST-MODIFIED:20241029T235340Z UID:4308-0-1434844800@asuartmuseum.org SUMMARY:The Gift: Selections from the Armstrong-Prior Archive DESCRIPTION:John Armstrong and Joan Prior\, through their firm Armstrong-Prior\, Inc.\, have a rich history of working with local and international contemporary artists\, donors\, collectors\, community organizations and museums. Armstrong-Prior is both a fine arts printing studio – with John’s proficient execution of various print media – and an art consulting organization – with Joan’s professional advisement and placement of art in prominent collections. After many years of print projects\, Armstrong-Prior has built an impressive archive of contemporary prints and the ASU Art Museum is very fortunate to have received this archive as a gift from John and Joan.\nThe Jules Heller Print Study Room at the ASU Art Museum houses a collection of more than 5\,000 prints\, ranging from a 14th century printed page to work by living artists. Generous gifts like the Armstrong-Prior archive have grown the collection to be a rich resource for ASU students and community members\, and for exhibitions\, loans and research.\nThis exhibition was curated by Jean Makin\, print collection manager\, working with Herberger Institute for Design and the Arts student Tiernan Warner who contributed to exhibition texts through researching the archive’s artists and interviewing John and Joan about their life and work. Support for the exhibition is from the Evelyn Smith Exhibition Fund and members of the ASU Art Museum with additional generous support for the printed gallery brochure from Kate and Hank Timmerman and The Cavanagh Law Firm. \nIf you would like to bring your class or group to see an exhibition or collection\, and/or meet with a curator\, please contact Andrea Feller\, Curator of Education at andrea.feller@asu.edu . \n\n\n\n\nOpening Reception:\n\nOpening Reception: Friday\, Feb. 20\, 2015 — Membersand Alumni Preview 5:30–6:30 p.m. | Public Reception 6:30–8:30 p.m. URL:https://asuartmuseum.org/event-exhibition/the-gift-selections-from-the-armstrong-prior-archive/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20150719T000000 DTSTAMP:20260916T041503 CREATED:20170306T232400Z LAST-MODIFIED:20241029T230625Z UID:4313-0-1437264000@asuartmuseum.org SUMMARY:Recorded Matter: Ceramics in Motion DESCRIPTION:Featuring the work of Jason Lee Starin\, Joseph Kamm\, Cheyenne Rudolph\, Man Yau\, Sam Brennan\, Thomas Schmidt\, Jeffrey Miller\, Eva Vogelsang\, Roberto Lugo\, Forrest Sincoff Gard and Ben Harle. \nThis exhibition showcases the work of 11 young artists who effortlessly integrate video into their studio practice. Some artists use cameras to document their work being used (or abused). Others use video to document a process that is perhaps more important to them than finished\, fired objects. All of these pieces have a life of their own on the Internet\, where they can be shared in ways that physical objects cannot. \nThe artists represented in this exhibition are well aware of video pioneers like Bruce Nauman\, who was a student of ceramic artist Robert Arneson\, and Nam Jun Paik\, but most wear the mantle lightly\, using video as one more tool in their arsenal. Thrill to the sheer diversity of approaches on view – from persona to process\, and from the politics of consumption to surprising ways that clay can behave (or misbehave). \nRecorded Matter is the first exhibition curated by the ASU Art Museum Ceramics Research Center’s new curator\, Garth Johnson\, who has spent his career documenting artists who combine craft media\, performance and transgressive impulses. The exhibition is supported by the Centering on the Future campaign contributors and members of the ASU Art Museum Ceramics Research Center. \nIf you would like to bring your class or group to see an exhibition or collection\, and/or meet with a curator\, please contact Andrea Feller\, Curator of Education at andrea.feller@asu.edu . URL:https://asuartmuseum.org/event-exhibition/recorded-matter-ceramics-in-motion/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20150802T000000 DTSTAMP:20260916T041503 CREATED:20170306T231700Z LAST-MODIFIED:20241029T230104Z UID:4315-0-1438473600@asuartmuseum.org SUMMARY:Family Matters DESCRIPTION:The contemporary view of what constitutes a family is more expansive that ever before. Whatever their composition\, families still matter. Homes\, pets\, good times and bad are all embraced as part of family life. Family Matters puts families and the many things that matter to them in focus. Games\, books and a photo booth in the exhibition invite your family to join in the fun. \nThis exhibition is supported by the Evelyn Smith Exhibition Fund\, members of the ASU Art Museum and the Stulgaitis Family Scholastic Award in honor of Helen Flecha Poline. \nIf you would like to bring your class or group to see an exhibition or collection\, and/or meet with a curator\, please contact Andrea Feller\, Curator of Education at andrea.feller@asu.edu . URL:https://asuartmuseum.org/event-exhibition/family-matters/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20160522T000000 DTSTAMP:20260916T041503 CREATED:20160321T211900Z LAST-MODIFIED:20241029T234420Z UID:4329-0-1463875200@asuartmuseum.org SUMMARY:In the Stacks: Print Wikipedia DESCRIPTION:Hayden Library\, Level 1\n\n\n\n\n\n“Print Wikipedia” is a both a utilitarian visualization of the largest accumulation of human knowledge and a poetic gesture towards the futility of the scale of big data. Michael Mandiberg wrote software that parsed the entirety of the English-language Wikipedia database (in April 2015) and programmatically laid out thousands of volumes\, complete with covers\, and then uploaded them for print-on-demand. Built on what is likely the largest appropriation ever made\, it is also a work of found poetry that draws attention to the sheer size of the encyclopedia’s content and the impossibility of rendering Wikipedia as a material object in fixed form: Once a volume is printed it is already out of date. The work is also a reflection on the actual transparency or completeness of knowledge containers and history. \nThe exhibition at Hayden Library will include a selection of 61 Wikipedia volumes and schematic wallpaper showing what the scale would be of an entire print library of Wikipedia volumes. These will be located near the Encyclopedia Section on Level 1 of Hayden Library. The 36 volume Wikipedia Contributors Appendix will be on view on the entrance level\, which will also feature a projected scroll simulating all of the volumes and the articles they span. \n \nMichael Mandiberg (born 1977\, Detroit) is an interdisciplinary artist\, scholar\, and educator. He received his M.F.A. from the California Institute of the Arts and his B.A. from Brown University. His work traces the lines of political and symbolic power online\, working on the internet in order to comment on and intercede in the real flows of information. A recipient of residencies and commissions from Eyebeam\, Rhizome.org \, and Turbulence.org \, his work has been exhibited at the New Museum\, Ars Electronica\, ZKM\, and Transmediale. He directs the New York Arts Practicum\, and is a co-founder of the Art+Feminism Wikipedia Edit-a-thon. He is Associate Professor at the College of Staten Island/ CUNY and a member of the Doctoral Faculty at the CUNY Graduate Center. His work has been written about widely\, including in The New York Times\, Berliner Zeitung\, ARTNews\, and Artforum. He lives and works in Brooklyn; his work lives at Mandiberg.com . \nThe ASU Libraries is pleased to present this exhibition of Michael Mandiberg’s work in partnership with the the ASU Art Museum\, Herberger School of Art\, and Denny Gallery in New York City. \n\n\n\n\nContact:\n\nJennifer Duvernay\n\n\n\n\n https://asuevents.asu.edu/content/stacks-print-wikipedia\n\n\n\nPhone:\n\n480-727-7636\n\n\n\nImage URL:\n\n\n\n\n\nAudience:\n\nStudents\, Faculty\, Alumni\, Friend/Fan URL:https://asuartmuseum.org/event-exhibition/in-the-stacks-print-wikipedia/ CATEGORIES:Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20260916T041503 DTSTAMP:20260916T041503 CREATED:20241029T195137Z LAST-MODIFIED:20241029T195815Z UID:4340-0-0@asuartmuseum.org SUMMARY:Energy Charge: Connecting to Ana Mendieta DESCRIPTION:Cuban-born American artist Ana Mendieta brilliantly synthesized and advanced emergent art forms of the early 1970s\, such as performance\, body art\, land art and film\, with personal and political explorations of the gendered and raced body\, ancient cultures and belonging. The many threads in her work continue to play a dominant role in contemporary art. \nThis exhibition will include an iconic selection of Mendieta’s work in conversation with major installations by Ana Teresa Fernández\, Kate Gilmore\, Simone Leigh\, Gina Osterloh and Antonia Wright\, artists working today in ways that trace back to Mendieta’s innovations. \nFor a full list of exhibition performances and programs visit asuartmuseum.asu.edu/energy-charge. \nSupported by the Diane and Bruce Halle Foundation. \nAdditional support from The Andy Warhol Foundation for the Visual Arts\, Helme Prinzen Endowment\, Herberger Institute for Design and the Arts\, Diane Harrison\, ASU Art Museum Creative Impact Board and the members of the ASU Art Museum. Special thanks to the exhibiting artists and lenders\, and the Estate of Ana Mendieta. \nIf you would like to bring your class or group to see an exhibition or collection\, and/or meet with a curator\, please contact Andrea Feller\, Curator of Education at andrea.feller@asu.edu . \nASU Art Museum Hours:\nOpen Tuesday–Saturday 11 a.m.–5 p.m.\nThursday 11 a.m.–8 p.m. during academic semesters\nClosed Sunday\, Monday and university holidays \nImage credit: Detail: Ana Mendieta\, “Untitled (from Silueta Series in Mexico)\,” 1973-77/1991 © The Estate of Ana Mendieta Collection\, LLC\n Courtesy of Galerie Lelong\, New York and Paris and the Collection of Diane and Bruce Halle. \n\n\n\n\n\n https://asuevents.asu.edu/content/energy-charge-connecting-ana-mendieta\n\n\n\nImage URL:\n\n\n\n\n\nAudience:\n\nStudent\, Faculty\, Staff\, Alumni\, Friend/Fan\, Donor URL:https://asuartmuseum.org/event-exhibition/energy-charge-connecting-to-ana-mendieta/ CATEGORIES:blue,Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20260916T041503 DTSTAMP:20260916T041503 CREATED:20241029T195137Z LAST-MODIFIED:20241029T195832Z UID:4698-0-0@asuartmuseum.org SUMMARY:Soul Mining DESCRIPTION:The border wall is a frequent topic in today’s headlines\, yet its history dates back to the turn of the century. After the Chinese Exclusion Act of 1882\, there were calls for a fence along the southern United States border to deter Chinese immigrants from re-entering the country. As a result\, most moved south and created their own communities throughout Latin America. This exhibition looks broadly at the influence of Asian labor and culture in the Americas with artists from Latin America\, the United States and Asia\, exploring the body and soul of forced migrations. \nSupported by the Diane and Bruce Halle Foundation. \nVisit the museum website for directions and hours and information about bringing classes to tour exhibitions or meet with curators. \nImage credit: Eamon Ore-Giron\, “Morococha\,” 2015. 2-channel HD video\,13 mins. Courtesy of the artist. \n\n\n\n\n\n https://asuevents.asu.edu/content/soul-mining\n\n\n\nPhone:\n\n480-965-2787\n\n\n\nWebsite:\n\nhttp://asuartmuseum.asu.edu\n\n\n\nCategory:\n\nEasy on the wallet\nOpen to the public\nThe Arts\n\n\n\nAudience:\n\nAlumni\nStaff\nFaculty\nstudent\nFriend/Fan\n\n\n\nInterests:\n\nArts\nArts and Entertainment URL:https://asuartmuseum.org/event-exhibition/soul-mining/ CATEGORIES:blue,Exhibition END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Phoenix:20260916T041503 DTEND;TZID=America/Phoenix:20260916T041503 DTSTAMP:20260916T041503 CREATED:20180330T031300Z LAST-MODIFIED:20241030T000731Z UID:4570-0-0@asuartmuseum.org SUMMARY:SHORT-TERM LOAN ALERT: Louise Bourgeois Drawings DESCRIPTION: URL:https://asuartmuseum.org/event-exhibition/short-term-loan-alert-louise-bourgeois-drawings/ CATEGORIES:Exhibition END:VEVENT END:VCALENDAR