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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:19970606T000000
DTEND;TZID=America/Phoenix:19970914T000000
DTSTAMP:20260916T045007
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:20260916T045007
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:20260916T045007
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:20260916T045007
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:20260916T045007
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:20260916T045007
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:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20220327T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20070217T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20080427T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20241029T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20150621T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20150719T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20150802T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20160522T000000
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20260916T045007
DTSTAMP:20260916T045007
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
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BEGIN:VEVENT
DTSTART;TZID=America/Phoenix:20260916T045007
DTEND;TZID=America/Phoenix:20260916T045007
DTSTAMP:20260916T045007
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:20260916T045007
DTEND;TZID=America/Phoenix:20260916T045007
DTSTAMP:20260916T045007
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