TASA Booklet

2 0 1 2Arts & Community April 12-

April 14

CONTENTS

MESSAGE FROM THE PRESIDENT

Welcome to Austin and the TASA Conference at St.

Edward’s University. It promises to be an outstanding

program of speakers, events and forums around

the topics of Community and Art. After 42 years,

the members of the Texas Association of Schools

of Art, though well versed in both topics, are in for a

exceptional gathering of stimulating, informative and

down-right fun with fellow artists and friends.

FROM THE CONFERENCE CHAIRS

We would like to welcome you and thank you for being

a part of Art + Community, the 42nd Annual TASA

conference, hosted by St. Edward’s University. We’ve

had a lot of fun planning this year’s conference, and

hope you enjoy what’s in store. The 2012 conference

theme, Art + Community: a shared dialog of green

art, social activism, collaboration and community art,

explores the open exchange of ideas, influences, policies

and actions that artists and communities engage in

both at the local and global level. With over 40 speakers

from all corners of Texas, and a keynote speech and

workshop from Houston-born artist Mel Chin, we hope

this will be an exciting fun-filled conference.

Cathie Tyler

Hollis Hammonds & Angela Rodgers

2 3

WELCOME Message from the President 2 Message from the Conference Chairs

BIOS Mel Chin // Keynote Speaker 7 Robert Dawson Little // Paul Hanna Lecture 8 Catherine Caesar // Art History Presentation 9 Stacy Schultz // Art History Presentation Robert Hite // St. Edward’s Sponsored Speaker 10

SESSIONS Session One 11 Session Two 15 Session Three 19 Session Four 24

CREDITS TASA Board of Directors 30 Conference Sponsors & Donors Conference Volunteers 31 Student Spotlight Interconnected: TASA Juried Student Exhibition 2012

ROOMS Fleck 32 Arts 33

SCHEDULE 36

MAPS 38

Revenue/Expense Detail: Expense Revenue Profit/LossAdministrativeMembership Dues $0 $14,775.69 $14,775.69Student Group Reimbursements $1,900.00 $0 -$1,900.00Chapter Development $4,294.20 $13.78 -$4,280.42

Supplies, Admin and Operations $4,806.57 $883.82 -$3,922.75

EventsArtist Ranch 2011 $56,430.77 $62,809.28 $6,378.512011 Annual Membership Party $585 $0 -$5852010 Annual Membership Party $2,804.17 $1,771.91 -$1,032.26Artist Breakfast Series $670.74 $1,560 $889.26Creative Mass $0 $0 $0Art Speak $0 $180 $180Finding Grants $329.02 $458 $128.98

Reel Artist $732.94 $1,470.69 $737.75

Small Talks $302.56 $1,131 $828.44“Making Faces” screening $139.64 $130 -$9.64Lounge Bowl $4,324.64 $5870 $1,545.36What’s New With Easels $110.62 $601.75 $491.13Get on Press! Workshop $630.91 $650 $19.09The Mix $4,068.24 $4,790 $721.76Student Portfolio Review $96.69 $0 -$96.69Preparing and Speaking About Your Portfolio $0 $99 $99Self Promotion in the Digital Age $0 $55 $55Resume Workshop $0 $80 $80Brand You $0 $50 $50Student Picnic $161.76 $45 -$116.76Summer Shindig $3,573.66 $3,850 $276.34*The Texas Show 2012 $764.95 $0 -$764.95TOTAL $87,003.42 $101,274.92 $14,271.50

MEMBERSHIP

FINANCIAL

2012 vs. 2011

Members 396 +17 739

Professors 122 -42 164

Adjuncts 62 +9 53

Students 201 +48 153

Artists 9 0 9

Corporate Groups 2 +2 0

2011-12 Beginning Balance:

$34,382.91

2011-12 Ending Balance:

$48,654.41**

Expenses:

$87,003.42

Revenue:

$101,274.92

YTD Profit/Loss:

+$14,271.50

*$276.34 of the Summer Shindig Proceeds were donated to the American Red Cross.**This amount is based on the balance on 3/7/12 plus the current pending checks/deposits.

REVENUE/EXPENSE DETAIL

SOCIAL MEDIA

SUBSCRIBER EMAILS

Facebook: TASA Art (Group)

759 members (+210)

Twitter: @tasart

1,101 followers (+667)

Linkedin: TASA Art Group

541 members (+263)

OTHER COMMUNICATIONFlickr (photos):

Flickr.com/photos/tasart

The photos document most of our TASA events

from 2004-2011.

Website:

tasart.org for all information. You can also

subscribe to our iCal feed and follow our event

schedule. NUMBERS

Current number of subscribers:

834

Last year:

764

Total number of emails sent:

This year to date: 37

All of last year: 56

Average of 3 emails sent out a month.

On average, over a third of our list opens the

emails.

About 10% of the list clicks through.

If you don’t receive our emails and would like to

be added to our mailing list, subscribe through

tasart.org or email communications

@aigaaustin.org.

4 5

Mel Chin was born in Houston, Texas in 1951, he

graduated from Peabody College in Nashville,

Tennessee in 1975, and later moved to New York City

in 1983. Chin is highly motivated by social, political

and cultural realities, and his work reflects his concern

for the environment and social consciousness. His

work is often exhibited or installed in public spaces

beyond the traditional confines of the gallery or

museum. A conceptual artist, Chin’s body of work

ranges from earthworks to animated films. For Chin,

art has the power to provoke greater social awareness

and a sense of responsibility in the viewer.

Through his community actions, he has engaged

innercity neighborhoods and helped to rejuvenate local

economies. His interest in science, ecology and the

environment can be seen in some of his most famous

works including Revival Field, s.p.a.w.n. and knowmad

were featured in the first season of the pbs series art21

(Art in the Twenty First Century).

His most recent project, the Fundred Dollar Bill Project,

is an innovative artwork made of millions of drawings.

This creative collective action is intended to support

Operation Paydirt, an extraordinary art/science

project uniting three million children with educators,

scientists, health care professionals, designers, urban

planners, engineers and artists. After Katrina had

wiped out much of New Orleans, Chin was invited to

the city to see how he could make a difference in the

community. Working with scientists, Chin found that the

lead contamination in the soil in New Orleans was at

a hazardous level. To find a solution to this problem,

Operation Paydirt was put into action. In 2012, once

Fundred reaches its goal of 3 million artworks, an

armored truck, running on vegetable oil, will pick up the

drawings and take them to Washington D.C., where

we will request from Congress an even exchange of

Fundred Dollars for 300 million dollars worth of aid for

New Orleans.

Mel Chin

Speaker BiosKeynote Speaker: Mel ChinPaul Hanna Lecture: Ken Dawson LittleArt History Presentation: Catherine CaesarArt History Presentation: Stacy SchultzSt. Edward’s Sponsored Speaker: Robert Hite

KEYNOTE SPEAKER

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Catherine CaesarCatherine Caesar’s current research interests include

feminist art, conceptual practice, and reading rooms/

libraries in contemporary art. Earning her doctorate at

Emory University in 2005, she produced a dissertation

titled “Personae: The Feminist Conceptual Work of

Eleanor Antin and Martha Rosler, 1968-1977.” She is

an Assistant Professor of art at the University of Dallas.

Caesar’s paper will investigate Robert Smithson’s

notion of “aerial art”, investigating its relationship to the

Texas landscape and its impact on the conception

of sculpture and the formation of a modern, itinerant

identity in a transglobal community.

Stacy Schultz

Ken Little was born in Canyon,Texas in 1947. He

received a bfa from Texas Tech in 1970, and an mfa

from the University of Utah in 1972. He has worked

in various media including: bronze, ceramics, neon,

performance, wood, steel, cast iron, $1 bills, shoes,

and other found objects. His work has been featured in

over 35 one person exhibitions, 200 group exhibitions,

numerous national publications, and catalogs. Since

1988 he has been a Professor of Art (Sculpture) in the

Department of Art and Art History at the University of

Texas at San Antonio. Since 1993, he has maintained

a studio and alternative exhibition space, “Rrose

Amarillo”, in downtown San Antonio.

His work is included in many public and private

collections around the country. Since 1993, he has

maintained a studio and alternative exhibition space,

“Rrose Amarillo”, in downtown San Antonio. His work is

included in many public and private collections around

the country. Collections include The Contemporary Art

Museum, Honolulu Hawaii, The City of Seattle, The

Nelson Gallery of the University of California at Davis,

Microsoft Corporation, Seattle and many others. A

sixty four page retrospective catalog titled, Ken Little:

Little Changes with essays by Kay Whitney and Dave

Hickey is available. His artist’s web site is found at

www.kenlittle.com. Ken Little’s talk will cover his multi

faceted career, his artwork and its development over

his lifetime.

Robert Dawson Little

PAUL HANNA LECTURE ART HISTORY PRESENTATION

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Stacy Schultz received her Ph.D. in Art History from

Rutgers University in 2004. Her previous teaching

positions include Visiting Assistant Professor at

Kentucky Statement University (2004-2005) and The

University of Texas at Arlington (2007-2008). She has

also taught in the California State University system

(CSU Northridge, CSU Fullerton, CSU San Bernardino,

and San Diego State University) ranging from women’s

studies to nineteenth century art. Her dissertation, “The

Female Body in Performance: Themes of Beauty,

Body Image, Identity, and Violence,” has evolved

into two lectures given at the College Art Association:

“Performing the Black Nude: The Artist’s Body as

a Contested Site” (2005) and “Southern California

Feminism and Body Image: A Performative Response”

(2007). She will present her paper, “The Intersection of

Social Activism and Community: Performing Civil Rights

in Southern California”, at the 2012 TASA conference.

Robert Hite

Born in 1956 in rural Virginia, Robert Hite attended

Virginia Commonwealth University in Richmond and

the Corcoran School of Art in Washington, D.C. After

studying traditional ink brush painting in Malaysia, he

worked as a studio assistant with Washington Color

School painter Leon Berkowitz. Informed both by a rich

southern narrative tradition and a closeness to natural

environments, Hite’s imagery often draws upon his

memories of youthful wanderings in the Virginia tide

waters. He has sought out and photographed rural

dwellings not only in the southern United States and the

Caribbean, but also in Central and South America, as

well as Europe and Asia. Working within and between

painting, sculpture and photography,

Hite’s highly refined technique and meticulous attention

to detail produce illusions that are both confounding

and transformative. In the photographic series

Imagined Histories, Hite resituates his architectural

sculptures in outdoor settings, magnifying the effects

of dislocation and displacement that is central to all

his imagery. In 1997, Hite and his family moved to a

nineteenthcentury Methodist church and parsonage in

the village of Esopus, New York. The artist is currently

represented by Susan Eley Fine Arts in New York City,

Cardwell Jimmerson Gallery in Los Angeles, Espacio

En Blanco in Madrid, and Pearl Arts Gallery in Stone

Ridge, New York. Hite will be a visiting artist at St.

Edward’s University, and will give a lecture presentation

of his work at the 2012 TASA conference. An

exhibition of his photographs will be on display in the

Scarborough Phillips Library at St. Edward’s University.

While a visiting artist, Hite will install a new sculpture

specifically designed for the St. Edward’s Campus.

This new work, “Crossing Safely”, was inspired by

a modest shack in Arrazola, Oaxaca, Mexico. This

sculpture addresses issues of immigration and border

crossing. You can see more of his work at

www.roberthite.com.

ST. EDWARD’S SPONSORED SPEAKER

Session OneF leck 106 Panel: Collaborative/CommunityF leck 108 Panel: Green Art/EnvironmentalF leck 109 Panel: Art & CommunityF leck 111 Workshop: Art & Community – Part 1

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SESSION ONE

Sang-Mi Yoo // Assistant Professor at Texas Tech

Globalization has seemingly brought the world closer

together and has resulted in a heightened sense

of the familiar. This feeling of familiarity provides a

bridge through which Yoo can access and magnify

her perception of a world derived from personal

experience. In her work, the fictive nature of a space

that is both idealized and conditioned by our society

reflects skepticism and multiplicity as she obscures

the distinction between the past and the present,

stereotypes and the real, and collective and personal

memories. By embracing both personal and

collaborative presentations, her work explores the

possibilities of an idealized environment.

FLECK 106 PANEL: COLLABORATIVE/COMMUNITYBorderland Youth: A Social Geography

Revealed through Participatory Art Practice

Jason Reed // Assistant Professor of Photography //

Texas State University-San Marcos

Guided by a conceptual framework of reciprocity,

Borderland Youth at Texas State University is working

collaboratively with various communities of youth

living in the US/Mexico border region to creatively

reflect upon the cross-cultural, human experiences

existent within this significant social geography. By

utilizing participatory art practices we are able to create

a public body of work that functions as a tangible

mechanism to activate social awareness and provide

access to a more realistic, complex, and complete

story of the US/Mexico border and its residents. The

resulting work is exhibited, published, and ultimately

archived at Texas State University.Eastland Outdoor Art Museum

Cathi Ball // Assistant Professor // Howard Payne

Cathi Ball has completed work on the Eastland

Outdoor Art Museum, a project conceived in her

sketchbooks. This Museum is an attempt to make

art accessible to all the children of Eastland, Texas.

The museum includes 4ews2 works at 40 locations

completed over 3½ years with 144 local volunteers and

students. The project allows the students of Eastland

access to art while advertising the artist ‘work. This

community wide project has truly “painted the town”.

FLECK 108 PANEL: GREEN ART/ ENVIRONMENTALWe’re Green, Participatory and Public!

Randy Jewart // Director of Austin Green Art//www.austingreenart.org

The mission of Austin Green Art is to help the

community to fully understand the revolutionary calling

that defines “sustainability” by visually representing

it, inspiring people to engage it, and building

participatory programs that give people a real feeling

of its transformative power. We aspire to train a new

generation of artists who serve their communities and

to inspire a new generation of creative citizens. A

Green Artist is an agent for change, uniquely qualified

to merge environmental, social and economic

considerations into collaborative projects that raise

social network capital and community standards of

sustainability.

Curly, Shaggy, Gleaming, Streaming, The

Art of Hair: An Intimate Recycling Program

Rosemary Meza-DesPlas // El Centro College

This presentation examines the history of recycling

human hair to create art. The utilization of human hair

in art can be traced back to Queen Victoria’s reign in

the mid nineteenth century. It also examines the ways

human hair is used by contemporary artists. Artists ‘go

green’ by recycling a personal part of the human body

hair. Cultural perceptions about hair will be discussed

in an art historical context.

SESSION ONE

Red Listed

Catherine Prose // Assistant Professor of Art & Gallery Director // Midwestern State University

Pulitzer Prize winner Edward O. Wilson is quoted as

saying that “destroying rainforest for economic gain

is like burning a Renaissance painting to cook a

meal.” Art certainly does not have the ability to correct

global climate change, but it can educate and inform

in an evocative rather than didactic manner. There is

an abundant history of using nature as a metaphor

to reflect and comment on morals, values and

humankind. In the same respect, the use of nature as

a metaphor emulates an attempt to place ourselves

within nature. Today we face an unknown and unseen

nature as it is being lost before we discover it and

invented before we understand it.

Multiplicity in Collaboration and Community

12 13

SESSION ONE

Appreciating Life Through Art

Terry Barrett // Professor of Art Education & Art History // University of North Texas

This presentation will look at a diverse group of people

responding directly to contemporary works of art

and how these works affect their lives. Barrett has

been working with elderly in assisted-living homes,

cancer patients, autistic teen-agers, business men

and women, and students of all ages, pre-K through

Ph.D., in the USA and in Holland (visiting artist position).

He is concerned with people building meaningful

connections between contemporary art and their

personal and communal lives.

FLECK 109 PANEL: ART & COMMUNITY

The Struggle for Meaning Between The

Artist &The Audience: A Balance between

Artist and Community

Joe Kagle // Professor of Art // Lone Star College

To understand the artist, we start with what makes an

artist the creator that he becomes: the Complete Artist

Communicator. To accomplish this, the 21st century

artist uses all talents and abilities to serve humans

through making up for deficiencies in an individual. We

must understand fundamentals: 1) recruiting dedicated

individuals who use all their senses to communicate

with each other; 2) mix in the dedication and passion

of the focused creative effort; and 3) envision an ideate

transcending the surface to universal humanity.

Moving Beyond Image and into Community

with: Relational Aesthetics: Part 1

Georganna Tapley // Artist & Teacher at Art

Alliance Center // Brazosport College, Lee College

This workshop has a structure that deals with the

individual person as the artist and the teacher. When

catastrophic things occur within communities it

affects everyone. When hurricanes IKE and Katrina

devastated the shores and lives of thousands, it was

impossible for me to go into the classroom with the

attitude of lessons as normal. The relational and artist

parts of me collaborate with the participants to respond

to the events in the world around us. I use these events

to teach how artists with conscience might respond.

The Art becomes the result and or response to these

events.

FLECK 111 WORKSHOP: ART & COMMUNITY PT. 1

Session TwoF leck 106 Panel: Masters ShowcaseF leck 108 Lecture: Art & CommunityF leck 109 Panel: CollaborationF leck 111 Workshop: Art & Community – Part 2F leck Iron Pour

14 15

SESSION TWO

THE RETURNING VET AND FILM NOIR: THE

PROBLEMATIC

Dr. John A. Calabrese // Professor of Visual Arts

// Texas Woman’s University

Dr. Calabrese will present film noir clips and discourse

related to the problematic. This means that the films

attempt to deal with a problem without overtly stating

it. Ostensibly these are thriller/suspense films, murder

mysteries. Beneath many plots are issues dealing

with the returning vet to a society that is less than

eager to have him, a world in which he does not fit.

He is oftentimes forced to assume the position of a

criminal who has to vindicate himself by overcoming

various insurmountable obstacles. Each film presents

variations on this theme.

FLECK 108 LECTURE: ART & COMMUNITY

THE ARTS TRIANGLE ARTSWALK PROJECT

Gary Washmon // Interim Chair of Visual Arts // Texas Woman’s University

A committee of faculty members was formed from the

various departments in the School of the Arts (soa);

Dance, Music, Drama and the Visual Arts to create an

identity for this new school and to create an event that

would encompass all of the arts in the soa.

COLLABORATIVE PROJECTS

Colby Parsons // Associate Professor of Art // Texas Woman’s University

Colby Parsons is a sculptor who has been involved

in several collaborative projects. One in Denmark with

sculptor Brian Boldon in 2006, one in Dallas with the

painter/sculptor Mark Collop from 2007–2008, and

one in Denton with electroacoustic composer Greg

Dixon from 2008 up to now. These collaborations

have incorporated a broad range of media including

clay, glass, video, wood, cardboard, found objects,

and light; and each one has taken its own direction

depending on the particular interests we share, and the

“chemistry” of the collaborative relationship. Most of

these have involved installation settings with some kind

of interactive element inviting the viewer’s participation

in the work.

FLECK 109 PANEL: COLLABORATION

FLECK 106 PANEL: MASTERS SHOWCASEVIRTUAL HUMANS AND LIVING WORLDS

–GRADUATE PROGRAMS IN ARTS AND

TECHNOLOGY AT UT DALLAS

Marjorie A. Zielke, Ph. D // Assistant Professor //University of Texas at Dallas

The University of Texas at Dallas (UT Dallas) offers

a unique masters and mfa in Arts and Technology

(atec). The atec program is one of the fastest growing

degree plans at UT Dallas. A Ph.D. program is also

in the final phases of development. Students study the

application of technology in art to produce interactive

exhibits, computer games, training and simulations,

web programs, animation, 3-d modeling and other

technology-based art media. Students can also

combine the study of atec with Emerging Media and

Communications (emac) to study the evolution of text

and narrative within the context of arts and technology.

A GROWING UNIVERSITY – THE GRADUATE

PROGRAMS AT UT ARLINGTON

Leighton McWilliams // Associate Professor & Assistant Chair of Art & History // University of Texas Arlington

UT Arlington is a growing University with enrollment

approaching 30,000. UT Arlington has a mfa program

that offers study in one of four media areas- Visual

Communications, Film/ Video, Glass, and Intermedia.

SESSION TWO

PREPARING STUDENTS FOR EFFECTIVE

PRACTICE AND LEADERSHIP IN ART

EDUCATION

Christopher Adejumo // Associate Professor of Visual Art Studies/Art Education // University of Texas

The mission of the art education program at the

University of Texas at Austin is to provide excellence in the

preparation of art teachers, art museum educators, and

community art programmers. The aim of the program

is to cultivate top-rated scholarship through institutional

and community partnerships and research-based

development of art education theory and practice. The

art education faculty members are committed to helping

students make connections between knowledge acquired

in the classroom, student teaching in the public schools,

and experiential learning in alternative settings in the

community. The introduction of the program at the 2012

TASA conference will entail a detailed description of the

degree options in the graduate art education program,

which are school focus, art museum education, and

community-based art education.

Their large department enrolls more than 800

undergraduate majors and boasts extensive facilities.

Arlington is situated directly between Dallas and

Fort Worth and is convenient to an extensive cultural

experience, many world-class museums, and a

growing economy.

The concept of the Art Triangle came about through

looking at a map of campus and noting that a line

drawn around all of the buildings in the soa created

a triangular shape. Following this theme the concept

of a connective experience tying these sites together

began to emerge as an interactive tour or artswalk,

featuring the various arts in non-traditional settings; in

and around the buildings on the map, where virtually

anything could happen.

16 17

SESSION TWO

LOW-RIDER BIKES IN HIGHER EDUCATION:

A PROJECT BY THROW AWAY YOUTH

Future Akins // Assistant Professor of Art Education & Visual Studies // Texas Tech University

Inspired by Chicano youth culture that involves “low-

rider” bikes and hoping to motivate junior high students

to consider art as a stepping stone towards attending

college, Future Atkins co-created an art opportunity

for low-income youth in Lubbock, Texas. Fourteen

and fifteen year-olds enrolled in an art class where

they created low-rider bikes with discarded parts and

throw-away materials, while Texas Tech University art

studio majors in a kinetic sculpture course created

“dream bikes” using metals and fabrication work. Both

sets of resulting bikes were displayed along with true

low-rider bikes from the local community in a sidewalk

parade. This presentation will dissect and discuss both

student populations’ experiences and performances,

community and academic reactions/feedback, fund-

raising efforts and obstacles, cultural considerations

and reactions based on social class, race and

ethnicity.

FLECK 111 WORKSHOP:

ART & COMMUNITY PT. 2

MOVING BEYOND IMAGE AND INTO

COMMUNITY WITH RELATIONAL

AESTHETICS: PT 2

Georganna Tapley // Artist & Teacher at Art

Alliance Center // Brazosport College // Lee College

This workshop deals with the person as the artist and

the teacher... The Relational Aesthetics workshop will

be offered to individuals uniting them in a common

theme of research. They will actively participate in

all stages of a creation to be completed during the

conference. Although this is the second part of a two-

part workshop, if you missed part one, you can still

participate in part two.

FLECK // IRON POUR

MEET TRANSPORT VAN IN BACK OF

FLECK AT 3;30

Butch Jack // Lamar University

Amy Gerhauser // St. Edward’s University

Donnie Keen // Keen Foundry

Watch students & faculty pour their molds for the

Charm Bracelet of Texas and other projects.

Session ThreeArts 110 Workshop: Green Art/Environmental Arts 113 Panel: Collaborative ProjectsArts 116 Workshop: Innovations in Foundations Arts 120 Panel: Innovations in FoundationsArts 121 Workshop: Technology

18 19

SESSION THREE

WEATHERGRAMS: A SPRING PEACE

PROJECT

Judy Stone- Nunneley // Artist & Educator

Judy will present a hands-on workshop focusing

on the creation of simple printed collages with found

images, text, and expressive monoprints. Printed on

recycled paper sacks, the Weathergrams are records

of contemplation, shared observations of the natural

world, and messages of hope. The Weathergrams will

be installed on campus for the Spring season and will

recycle with the season’s weather.

* Limit first 15 participants

ARTS 110 WORKSHOP: GREEN ART/ENVIRONMENTAL*

A CAST IRON CHAIN FOR AMERICA

Meredith “Butch” Jack // Professor of Art // Lamar

University

Meredith Jack will present his on-going project to cast

a cast iron chain with a link cast in all 50 states of the

union. This project is an extension of his involvement

with the “Iron Trail to the Arctic” in 2008 and the in-

state extension of the “Chain” that is the “Charm

Bracelet for Texas”, to be cast during the 2012 TASA

conference. The academic iron casting community

begun by Julius Schmidt in the 1950’s, has grown and

prospered. There are university iron foundry programs

in most states and many independent artists have

set up their own facilities. The “Cast Iron Chain” is

an effort to bring all these disparate individuals into

communication for the exchange of ideas, techniques,

and aesthetic deliberations.

Imagillaboration – A National Sculpture

Collaboration Project: The Logistical

Challenges and Rewards of Working,

Exchanging and Exhibiting These 3-D

Compositions on a National Scale

Jack Gron // Director & Professor of Fine Art //

Texas A&M Corpus Christi

From 2007–2009, 106 sculptors representing twenty-six

ARTS 113 PANEL: COLLABORATIVE PROJECTS

SESSION THREE

TAKING IRON TO THE ARCTIC

Donnie Keen // Director of Keen Foundry // Houston, TX

In 2008 Donnie Keen of Keen Foundry in Houston

led a group of artists and artisans north of the Arctic

Circle to the Village of Wiseman, permanent population

13, to cast a cast iron public sculpture. Wiseman is

known outside of the arctic primarily from the PBS

documentary “Gateway to the Arctic: the Brooks

Range”, which featured the village and its inhabitants.

Collaborating with the Alaskan sculptor Patrick Garley,

Keen has been instrumental in establishing a thriving

artist/iron casting community in the US’s northern-

most state. He will present the planning, logistics, and

implementation of this ambitious endeavor and the five

year reunion pour set for June 2012.

UTSA COLLABORATIVE EDITIONS

Kent Rush // Professor of Art // University of Texas

at San Antonio

Since 1983 the University of Texas at San Antonio has

informally run utsa Collaborative Editions (utsace).

Professors Dennis Olsen and Kent Rush who head

the printmaking program at utsa have worked with

the semester long visiting artist/faculty and faculty

members to produce a substantial portfolio of

wonderful prints primarily in lithography, intaglio and

relief. Recently Kent Rush, in an effort to reach out to the

community,

ARTS 116 WORKSHOP: INNOVATION IN FOUNDATIONS*COLORED SLIPS AND THE CLAY SURFACE

Stan Irvin // Professor of Art // St. Edward’s

Connie McCreary // Artist & Educator // St. Ed’s

There is a long history of potters using colored slips

and engobes to decorate the clay surface. Due to

their opacity, sensuous texture, potential for color, and

possibilities for application at various stages of drying,

these types of liquid clays offer artists and potters

many decorative options. seu art faculty, Stan Irvin and

Connie McCreary, will demonstrate various surface

decoration and forming techniques using primarily

colored clays and slips. They will present options

for both low and high-fire. Workshop attendees are

invited to participate in a hands on experience with

slip decoration that can be employed by beginning

students and offer some interesting options for more

advanced exploration. * Limiit first 20 participants

states across the country have joined together to

undertake a collaborative art project of unprecedented

proportions. Working in regional groups of five to

nine people, the artists have created an immense

body of collaborative three-dimensional artwork.

Each participant was to create a “seed” element, the

beginning segment of a sculpture, which was then

passed onto other group members who each added

their own artistic element to every piece. Once the

cycle of exchange was complete, each artist will have

contributed to every sculpture, and there is one finished

sculpture for each person participating.

offered the press to Dr. Ricardo Romo as a format

for printing editions for local and regional Chicano/a

and Mexican American artists. The two Master Print-

ers are former mfa graduated printmakers, Neal Cox

(two years now teaching at sfau) and currently, Steven

Carter. Since 2004 over 20 prints in editions of 30 have

been printed and we are working with more artists with

an anticipated total of 32 editions.

20 21

ARTS 120 PANEL: INNOVATIONS IN FOUNDATIONS

SESSION THREE

INNOVATION IN FOUNDATION

CURRICULUM

Leslie Mutchler // Assistant Professor of Art &

Area Head of 2-D Foundations // University of Texas

Mutchler’s interests in Foundations derive from the

Bauhaus Preliminary Course- and consequently

bringing relevance to these ideals. Foundations

should be comprised of three equally emphasized

components: craft (the teaching of technical

proficiency), context (relevant vocabulary and history),

and conceptual acuity (art and design as a pursuit

of knowledge). For the last forty years many art

departments have overlooked the critical potential of

Foundations. “I thrive on working with young, fresh

talented students that remain open and observant,

malleable and motivated” says Mutchler. “I hope to

heighten the status of Foundations within the academic

world, to bring about the new Bauhaus.”

DRAWING STRUCTURE: BEGINNING

DRAWING AND A DIY TEXTBOOK

Hollis Hammonds // Area Coordinator &

Assistant Professor of Art // St. Edward’s University

Drawing is possibly the most important foundational

skill for the beginning artist. It is also one of the most

popular subjects in art, with more drawing books on

the market today than most other disciplines. Finding

the right textbook for your course however is almost

impossible. As faculty we find ourselves piecing

together resources for our students, trying to balance

technique with concept, and often failing at finding

source material that is truly appropriate for a specific

course. Sometimes you have to take matters into your

own hands, and if you can’t find the right book… just

make one.

FROM 2D TO CROSS-DISCIPLINARY SPACE

– REVISING BEGINNING DESIGN

Eric Zimmerman // Assistant Professor of Art // St.

Edward’s University

How might two-dimensional design courses better

respond to contemporary cross-disciplinary space

and student needs?

SESSION THREE

TEACHING SOFTWARE ON THE FLY OR

RESOURCES FOR TEACHING

TECHNOLOGY OR HOW TO TEACH

COMPUTER INSTRUCTION FOR DUMMIES

Peter Tucker // Assistant Professor of Media Arts // Suny Fredonia // Assisant Professor of Media Arts // Suny Fredonia & St. Edward’s University

This workshop will provide participants with the tools

and resources needed to introduce technology into

studio classes. It is designed for the educator that does

not use technology in his or her own work, and may

not be comfortable with technology, but would like to

incorporate digital tools in their classroom. I will discuss

what technology is important, what is absolutely

necessary, and what you can teach with no budget.

The heart of the workshop explores teaching resources,

tutorials and on-line opportunities for both teacher

and student to learn and explore digital technologies.

Workshop attendees will be given access to a website

created specifically for the workshop that has links to

resources, ideas for assignments, and on-line tutorials.

ARTS 121 WORKSHOP: TECHNOLOGY* St. Edwards University Art department recently

undertook a restructuring of its two-dimensional design

course with this question in mind. Emphasizing design

process, this restructuring embeds learning hand skills

and design principals with reading and discussion.

The goal is to provide students with the tools to be both

articulate and technically accomplished within a world

that is increasingly cross-disciplinary. By providing

them with technical skills and theoretical frameworks

students are better prepared to engage and make in a

variety of fields.

22 23

SESSION FOUR

Session FourArts 113 Panel: Art & ActivismArts 114 Panel: CollaborationArts 120 Panel: Art & CommunityArts 121 Workshop: Technology

ARTS 113 PANEL: ART& ACTIVISM HUMAN RIGHTS ART & COMMUNITY

EDUCATION

Jenny Bryson Clark // South Texas College

Political Science Faculty

Professor Richard Lubben // South Texas

College Visual Arts Faculty

We are entering our 5th year at South Texas College

hosting an annual human rights art exhibition in

conjunctions with the Human Trafficking Conference

sponsored by the Women’s Studies Committee.

Jennifer Clark from the STC Political Science

Department and Women’s Studies President would

present an overview of the Sex Trafficking Conference

and how they collaborate with artists to educate the

community and bring awareness of this global and

regional problem. Richard Lubben from the STC Art

Department and Exhibit Curator will show selected

images from previous shows and discuss how

artists have used their art to communicate a personal

experience, open a dialogue or encourage self-

reflection about the issue.

“CASH PAID FOR RAGS”: A “SKETCH-

BOOK” PERFORMANCE

Carol Flueckiger // Texas Tech University

This “sketchbook performance” is inspired by the

nineteenth-century practice of recycling rags for paper.

DEPORTES PARA COMPRATIR AND THE

ALBERGUES ESCOLARES INDIGENAS

(SPORTS FOR SHARING AND THE

INDIGENOUS SHELTER SCHOOLS OF

MEXICO)

Roger Colombik & Jerolyn Bahm

Colombik // Columbik Studios // Wimberly, TX

Working in Collaboration with the Mexican Association

of the United Nations and Deportes Para Compartir, we

are developing a documentary project that will raise

awareness about the cultural heritage of indigenous

children that are educated and cared for in shelter

schools. The shelters are located throughout the

country and often provide the only means of insuring

that children living in very remote communities can

receive three meals a day as well as a fine general

education. Deportes Para Compartir uses group sport

activities to promote the United Nations millennial goals

that include issues of gender equality and child health.

My project revisits the rag trade by taking discarded or

second-hand shirts and blueprinting them with phrases

and images from nineteenth-century material culture,

creating wearable hybrids of the early American

women’s movement and contemporary “artifacts” from

my local thrift store. Research and ideas for this project

were gathered at the American Antiquarian Society

in Worcester, MA, and the TTU Women’s Studies

Program.

24 25

SESSION FOUR

THE BORDER WALL AND COMMUNITY

BASED ART EDUCATION

Bret Lef ler, Ph.D // Assistant Professor & Art Education Adviser // Houston, TX

The border wall controversy affects every citizen of

the United States and Mexico in one way or another

whether directly or indirectly. Teaching eight miles from

the border in McAllen, Texas has heightened Matthews’

awareness of the effects the wall is having on our

two countries and how these changes will impact our

lives for years to come. He uses the classroom as an

incubator to discuss the pros and cons of the wall and

what artists can do to bring awareness to the situation.

“Can border wall artwork change minds, influence

policy and alter popular culture?” asks Matthews. “Yes,

I believe it can.”

CAN BORDER WALL ARTWORK CHANGE

MINDS, INFLUENCE POLICY AND ALTER

POPULAR CULTURE

Tom Matthews // Assistant Chair & Visual Arts

Faculty // South Texas College

This presentation focuses on how art education

majors at the University of Texas at Brownsville have

addressed the needs of the community by developing

an exhibition using the border wall as a theme.

WHAT ROLE CAN ART PLAY? – BORDER

WALL

Scott Nicol // Visual Arts Faculty // South Texas College

The art of the modern and postmodern eras sought

to establish its autonomy, “art for art’s sake,” leaving

behind the societal functions of the past. In our time,

art is not supposed to do something, it is merely

supposed to be.

SESSION FOUR

FUNDRED: ENGAGING IN A 300 MILLION

DOLLAR DIFFERENCE

Mel Chin // Artist & Keynote Speaker

This workshop will engage Texas artists and educators

in a fun and simple art project with a powerful solution

based mission. You will leave prepared to mobilize

your community! The Fundred Dollar Bill Project

reaches out to students of all ages to create Fundred

Dollar Bills in hopes of gathering 300 million creative

voices from across the country in the form of drawings.

The original artworks will be delivered to congress with

a request that they are exchanged for their equivalent in

goods and service to transform the lead contaminated

soils in New Orleans and ultimately every lead affected

city.

BLOG, DESIGN, TECHNOLOGY

Daniel Lievens // Graphic Designer & Faculty

Member // St. Edward’s University

This presentation will discuss the use of blogs to

archive work, present new work, and give students a

venue for receiving and giving feedback outside of the

traditional critique. We’ll look at the use of blogs from

the student/user perspective as well as setting up and

structuring of the blogs from the faculty perspective.

ARTS 121 WORKSHOP: TECHNOLOGY*REALITY COMMUNITY: FOSTERING

A SENSE OF INVOLVEMENT IN THE

CLASSROOM AND BEYOND

Jana C. Perez // Texas Woman’s University

Many students today believe that they possess a

sense of community through social and screen

media such as Twitter, Facebook, blogs and texting

– often engaging in several of these simultaneously.

Are students really interacting in a communal way

via technology or simply settling for a less active,

internal dialogue? This presentation will outline the

results of key objectives and projects incorporated into

graphic design coursework that utilize both personal

relationships and technology to create and contribute

to the idea of community in and outside of the

classroom.

*Limit First 20 Participants

ART, AESTHETICS, EDUCATION AND

ACTIVISM DEALING WITH BORDER WALL

David Freeman // Visual Arts Faculty // South

Texas College

Photography has been a tool for social and political

change for many years and it can exude tremendous

educational authority. What better time than now for

artists to utilize art as a tool of enlightenment and

education on the specific issue of the border fence and

all the challenges it produces. The border fence strikes

at the very essence of our culture and democracy. I

ask my class how we can investigate the relationships

of image, community, concept, and the cognitive

process. In this political climate how do we produce a

didactic principle and call authority into question and

do it via digital photography.

ARTS 114 PANEL: COLLABORATION

It also includes specific research and curriculum to

heighten awareness for the need of community based

art and arts education within secondary and upper

division students.

This has led to the segregation of fine art, relegating

it to the rarified world of galleries and museums, as

distinct from daily life and the “real world.” This poses

a dilemma for artists who seek to engage social

or political issues, such as the walls that are being

erected along the U.S. – Mexico border. More than 600

miles of border wall have been built, tearing through

cities, farms, and wildlife. In the face of something that

inflicts itself so powerfully and destructively upon the

“real world,” what role can art play?

26 27

ONE CUBE FOOT EXHIBIT 2012

ONE CUBE FOOT EXHIBITION 2012Every year at the tasa Annual Conference, conference

attendees are invited to participate in the tasa One

Cube Foot Exhibition. As tasa’s One Square Cube

Exhibition’s title indicates, submissions for this show

must be limited to one square foot, and submissions

can be 2-d or 3-d. This year Robert Hite will judge

the exhibition. There will be an opening reception for

the exhibit on Saturday, April 14th, in the St. Edward’s

University Fine Arts Gallery from 8:30 a.m. – 9:30 a.m.,

and will include an awards presentation.

Note: work from the One Cube Foot Exhibit should be picked up from arts140 between 2:30 – 3:30p. (Unless you’vemade arrangements to have the work shipped)

SOLAR POWERED PAPER DOLL

Carol Flueckiger

JUROREric Zimmerman // Artist & Writer

ezimmerman.org

Fifty-four students from schools all over Texas

applied for this juried exhibition. The exhibition

reception will be Saturday, April 14, from 2:30-

3:30 p.m., in the Fine Arts Gallery at St. Edward’s

University.

Samantha Alexeichik // Hardin-SimmonsUniversityErica Bogdan // St. Edward’s UniversityMeagan Carney // St. Edward’s UniversityAlexandra Coody // Midwestern State UniversityEliana Fanous // McMurry UniversityKenneth Fontenot // Texas State UniversityShannon Gowen // Texas State UniversityJaclyn Hudak // Texas State UniversityBenjamin Lamb // Texas State UniversityAidan Liller // St. Edward’s UniversityAlbert Longoria // Texas State UniversityKrystal N. Maestas // Hardin-Simmons UniversityRebecca Marino // St. Edward’s UniversityEric Mathis // Texas State UniversityCaitlin McCollom // Texas State UniversityMiguel Ortiz // Sul Ross State UniversityKevin Dean Ramler // Sul Ross State UniversityCari Ritchie // Hardin-Simmons UniversityBri Anna Satterfield // Midwestern State UniversityMichael Scot // St. Edward’s UniversityCallie Simpson // St. Edward’s UniversityEmily Speck // St. Edward’s UniversityTyler Tailiaferro // Midwestern State UniversityKhristine Tugangui // St. Edward’s UniversityAshley Watson // St. Edward’s UniversitySimon Welch // Midwestern State University

INTERCONNECTED: TASA JURIED STUDENT EXHIBITION 2012

CreditsTASA Board of DirectorsConference VendorsConference Sponsors & DonorsConference VolunteersStudent SpotlightInterconnected: TASA Juried Student Exhibition 2012

28 29

CREDITS

TASA BOARD OF DIRECTORSPRESIDENT 2008-2012Cathie Tyler // Paris Junior College PRESIDENT-ELECT 2009-2010Greg Reuter // Texas A&M University Corpus

BOARD MEMBER/RECORDER 2007-2012Susan Wilta-Kemph // San Antonio College BOARD MEMBER/ACADEMIC AFFAIRS, PROFESSIONAL STANDARDS 2007-2012Greg Elliot // University of Texas San Antonio BOARD MEMBER 2008-2012Bill Simpson // Trinity Valley Community College BOARD MEMBER/TREASURER 2008-2012/ ANNUAL EXHIBITIONS COORDINATOR, GALLERY NETWORK Liz Yarosz-Ash // Midwestern State University BOARD MEMBER/ACADEMIC AFFAIRS, PHOTOGRAPHY SURVEY 2007-2012Gary Fields // Stephen F. Austin University

BOARD MEMBER/DATABASE 2008-2012Brian Row // Texas State University- San Marcos BOARD MEMBER 2009-2012Sandra Baker // Brazosport College BOARD MEMBER/NEWSLETTER 2007-2012Kurt Dyrhaug // Lamar UniversityBOARD MEMBER/MEMBERSHIP 2008-2012Omar Hernandez // El Centro College- DCCCD

BOARD MEMBER/MEMBERSHIP 2008-2012Omar Hernandez // El Centro College- DCCCD STAFF MEMBER/EXECUTIVE ASSISTANTLinda Fawcelt // Hardin-Simmons University STAFF MEMBER/WEBMASTERVictoria Taylor-Gore // Amarillo College

CONFERENCE CHAIR 2012Hollis Hammonds // St. Edward’s University CONFERENCE CHAIR 2012Angela Rodgers // St. Edward’s University

ST. EDWARD’S UNIVERSITYSchool of Humanities

ST. EDWARD’S UNIVERSITYThe Kozmetsky Center of Excellence in Global Finance

THE STILL WATER FOUNDATIONBLICK ART MATERIALSdickblick.com

RED RIVER PAPER redriverpaper.com

GOLDEN ARTIST COLORS goldenpaints.com

CHEAP JOE’S ART STUFFcheapjoes.com

AMPERSAND ampersandart.com

JACK RICHESON & COMPANY richesonart.com

ART LIES artlies.org

AUSTIN MUSEUM OF ARTamoa.org

CONFERENCE SPONSORS & DONORS

On Friday, April 13th in the Robert and Pearle Ragsdale Center, Mabee Ballroom B, several vendors will set up displays and materials to view or take. Vendors will set up around 8 a.m. and will be available until 2 p.m.

ART LIESwww.artlies.org

PRISMACOLOR REPRESENTATIVEShelley Minus

LIQUITEX REPRESENTATIVEPeter Andrew

BIG MEDIUM bigmedium.org

CONFERENCE VENDORS

CREDITS

CONFERENCE VOLUNTEERSPilar ArrietaErica BogdanEmily Borneman Mary Brantl Jessica BuieWalle Conoly Barbra CurtinCaroline EckChrissy FlaniganAmy Gerhauser Hollis HammondsKelly HanusDonal Haughey Guillermo Hinojosa-Canales Stan Irvin Miriam JurgensenDaniel Lievens Justin MartinMichael Massey Connie McCrearyRebecca Marino Jorge Muñoz Tuan Phan Kaletia Roberts Angela RodgersKate RosatiNicole Ryder Jennah SlinranEmily Speck Art ThompsonBrenda TorresVicki TottenKhristine Tugangui Kelly WaguespackLindsey WebbMaline WernessColleen WhiteMonica WrightEric Zimmerman

We would like to extend our thanks to all volunteers, especially those whose names didn’t make it into the printed program.

On Friday, April 13th, students from various schools in Texas will present their research in a poster session. The session will be held in the Ragsdale Center’s Mabee Ballroom B from 9 a.m. until 2 p.m.

Chris Adams // Texas Tech UniversityBruce Alves // Texas Tech UniversityJared Applegate // Texas Tech UniversityRebecca Beals // Texas Tech UniversityShelly Forbis // Texas Tech UniversityScotty Hensler // Texas Tech UniversitySarah Jamison // Texas Tech UniversityBenjamin Lamb // Texas State UniversityKris Leinen // Texas Tech UniversityAidan Liller // St. Edward’s UniversityShannon Ramos // Texas Tech UniversityEmily Speck // St. Edward’s UniversityKelly Waguespack // St. Edward’s UniversityChris Walnoha // Texas Tech University

STUDENT SPOTLIGHT:POSTER PRESENTATIONS

LUCKY 13 lucky13mixology.com LADY BIRD JOHNSON WILDFLOWER CENTERWildf lower.org

MEXIC-ARTE MUSEUMmexic-artemuseum.org

BLANTON MUSEUM OF ARTblantonmuseum.org

GUERO’S RESTAURANT ON SOCOguerostacobar.com

AUSTIN CHRONICLEaustinchronicle.com

PRISMACOLORprismacolor.com

LIQUITEXliquitex.com

SMOOTH-ONsmooth-on.com

OLMSTED-KIRK PAPER COMPANY okpa

30 31

FLECK

SESSION I

FRIDAY, APRIL 13TH, 2:00PM

Fleck 106 Panel: Collaborative/Community

Fleck 108 Panel: Green Art/Environmental

Fleck 109 Panel: Art & Community

Fleck 111 Workshop: Art & Community – Part 1

SESSION II


Fleck 106 Panel: Masters Showcase

Fleck 108 Lecture: Art & Community

Fleck 109 Panel: Collaboration


Fleck Iron Pour ( meet transport van in back of fleck

at 3:20)

SESSION I


Fleck 106 Panel: Collaborative/Community

-Multiplicity in Collaboration

and Community

-Borderland Youth: A Social

Geography Revealed through

Participatory Art Practice

-Eastland Outdoor Art Museum

SESSION I


Fleck 108 Panel: Green Art/Environmental

-We’re green, participatory and

public!

- Curly, Shaggy, Gleaming,

Streaming, The Art of Hair: An

Intimate Recycling Program

-Red Listed

SESSION I


Fleck 109 Panel: Art & Community

-Appreciating Life Through Art

-The Struggle For Meaning

Between The Artist And

The Audience, A Balance between

Artist and Community

-Eastland Outdoor Art Museum

SESSION I



-Moving Beyond Image and

into Community with: Relational

Aesthetics: Part 1

SESSION II


Fleck 106 Panel: Masters Showcase

-Virtual Humans and Living

Worlds – Graduate Programs in

Arts and Technology at UT Dallas

-A Growing University – The

Graduate Art Programs at UT

Arlington

-Preparing Students for Effective

Practice and Leadership in Art

Education

SESSION II


Fleck 108 Lecture: Art & Community

-The Returning Vet and FILM

NOIR: The Problematic

SESSION II


Fleck 109 Panel: Collaboration

-The Arts Triangle ArtsWalk Project

-Collaborative Projects

-Low-Rider Bikes in Higher

Education: A Project by Throw

Away Youth

SESSION II


Fleck Iron Pour MEET TRANSPORT VAN IN BACK

OF FLECK AT 3:20

ARTS

SESSION III

SATURDAY, APRIL 14TH, 9:30AM

Arts 110 Workshop: Green Art/Environmental

Arts 113 Panel: Collaborative Projects

Arts 116 Workshop: Innovations in Foundations

Arts 120 Panel: Innovations in Foundations

Arts 121 Workshop: Technology

SESSION IV


Arts 113 Panel: Art & Activism

Arts 114 Panel: Collaboration

Arts 120 Panel: Art & Community


ROOMS // FLECK ROOMS // FLECK & ARTS

SESSION II



-Moving Beyond Image

and into Community with:

Relational Aesthetics: Part 2

32 33

SESSION III



-Teaching Software on

the Fly or Resources for

Teaching Technology

or How to teach computer stuff

you don’t know or Computer

Instruction for Dummies

SESSION IV


Arts 113 Panel: Art & Activism

-Human Rights Art & Community

Education

-“Cash Paid for Rags” A

“sketchbook” performance

-Deportes Para Compartir and

the Albergues Escolares

Indigenas(Sports For Sharing and

the Indigenous Shelter Schools of

Mexico)

SESSION IV


Arts 120 Panel: Art & Community

Fundred: Engaging in a 300

Million Dollar Difference

SESSION IV



-Reality Community:

Fostering a of Involvement in

the Classroom and Beyond

-Blog, Design, Technology

ROOMS // ARTS ROOMS // ARTS

SESSION III



Weathergrams: A Spring

Peace Project

SESSION III


Arts 113 Panel: Collaborative Projects

-Imagillaboration- A National

Sculpture Collaboration Project, the

logistical challenges and rewards

of working,

exchanging, and exhibiting these

3-D compositions on a national

scale

-A Cast Iron Chain for America

-Taking Iron to the Arctic

-UTSA Collaborative Editions

SESSION III


Arts 120 Panel: Innovations in Foundations

-Innovations in Foundation

Curriculum

- From 2D to Cross-Disciplinary

Space- Revising Beginning Design

-Drawing Structure: Beginning

Drawing and a DIY Textbook

SESSION IV

SATURDAY, APRIL 14TH, 11:00AM Arts 114 Panel: Collaboration

-Art, Aesthetics, Education and

Activism dealing with the Border

Wall

-Can border wall artwork change

minds, influence policy and alter

popular culture?

-The Border Wall and Community

Based Art Education

34 35

Fleck: 2:00 – 3:15p Panel & Workshop SESSION I

(see pgs 11-14)

3:30 – 4:45p Panel & Workshop

SESSION II (see pgs 15-18)

Fleck: 2:00p Set up for Iron Pour

3:30p Iron Pour (meet transport van in back

of Fleck at 3:20)

5:00p bus leaves for Hyatt

Dinner on your own (See map on page 39

for suggestions)

SATURDAY APRIL 14, 2012

Breakfast on your own (See map on page

39 for suggestions)

*Hyatt: 8:00a bus leaves for St. Edward’s

University

Arts: 8:15 – 9:30a Registration in Art Building

8:30 – 9:30a One-Cube Foot Exhibition†,

Fine Arts Gallery (pastries & coffee

provided)

Arts: 9:30a – 10:45a Panel & Workshop

SESSION III (see pgs 19-23)

11:00a – 12:15p Panel & Workshop

SESSION IV (see pgs 24-27)

Main: 12:30 – 2:30p Lunch provided in Maloney

(Annual Business Meeting)

Arts: 2:30 – 3:30p Interconnected TASA Student

Juried Exhibition‡

3:30p bus leaves for Flatbed Press

*Flatbed: 4:00 – 4:30p tour of Flatbed Press


*Hyatt: 6:00p bus leaves for Mexican American

Cultural Center

*MACC: 6:30p Dinner Banquet at the Mexican

American Cultural Center

7:30p Keynote Address by Mel Chin

8:30p Presentations of Awards


* Off-campus venue

† Members should pick up their work from

Arts140 between 2:30 – 3:30p.

(Unless you’ve made arrangements to

have the work shipped).

‡ Students should pick up their work from the

Fine Arts Gallery at 3:30p.

★Bususereservedforthosestayingatthe

conference hotel.

SCHEDULE SCHEDULE

THURSDAY APRIL 12, 2012

*Hyatt: 3:00 – 5:00p check-in and registration

5:00p bus leaves for the AMOA

*AMOA: 5:00 – 7:00p Kick-off reception at the

Austin Museum of Art


Dinner on your own (See map on page

28 for suggestions)

FRIDAY APRIL 13, 2012

Breakfast on your own (See map on

page 39 for suggestions)

*Hyatt: 8:00a bus leaves for St. Edward’s

Ragsdale: 8:15a – 12:00p Registration in

Mabee Ballroom B

Drop off of artwork for One Cube Foot &

TASA Student Juried Exhibitions

Ragsdale: 8:15a – 2:00p Vendors & Student

Poster Sessions in Mabee Ballroom B

Ragsdale: 9:00a – 12:30p Featured Speakers

in Mabee Ballroom A

Ken Dawson, Paul Hana Lecture

Catherine Caesar, Art History Presentation

Stacy Schultz, Art History Presentation

Robert Hite, St. Edward’s Sponsored

Speaker

Ragsdale: 12:30p Lunch provided in Mabee

Ballroom C

1:30p Campus Tour & Robert Hite exhibit

36 37

2 0 1 2Arts & Community Campus

Map

12

3

4

S. C

ongr

ess

Ave.

La Vista St.

Havanna St.

Coleman St.

St. Edward’s Dr.

University C

ircle

Moo

dy D

r.

Woodward St.

And

re D

r.

I-35 >

Moody Dr.

Thea

tre

Pass

Key St. Edward’s Points

1 Fine Arts Building2 Fleck Hall3 Ragsdale Center4 Main Building

2 0 1 2Arts & Community Austin

Map

S. C

ongr

ess

Ave.

S. 1

st S

t.

S. Lamar B

lvd.

Mopac

Barton Springs Rd.

E. Riverside Dr.

St. Edward’s University

I-35

7

8

9

Con

gres

s A

ve.

Lady Bird Lake

Food and Key Austin Points

1 Flatbed Press 2830 East MLK2 Austin Museum of Art 823 Congress3 Mexican American Cultural Center 600 River4 Hyatt Regency Austin Hotel 208 Barton Springs5 Zax Pints and Plates 312 Barton Springs6 Threadgills Restaurant 308 W. Riverside7 Uchi Restaurant 801 S. Lamar8 Jo’s Hot Coffee Good Food 1300 S. Congress9 The Highball 1141 S. Lamar10 Guero’s Taco Bar 1412 S. Congress11 Home Slice Pizza 1415 S. Congress12 South Congress Cafe 1600 S. Congress13 Vespaio 1610 S. Congress14 La Mexicana Bakery 1924 S. 1st15 Woodland 1716 S. Congress16 Magnolia Cafe South 1920 S. Congress17 Garden District Coffee House 2810 S. Congress18 Ruta Maya Importing Co 3601 S. Congress

E. Martin Luther King Jr. Blvd.1

2

3

4

56

10 11

12 13

14

17

18

15

16

38 39

TASA Booklet

Documents

Transcript of TASA Booklet