http://adweb.aa.uic.edu/web/feed/atom.xml UIC College of Art and Design2009-11-22T17:03:45Z http://adweb.aa.uic.edu/web/events/index.php?id=2771 2009-11-10T05:00:00Z

Please come out to the second edition of Talking Cure, a new series initiated this fall by Tony Tasset, sculptor and UIC faculty member, along with Lorelei Stewart, director of Gallery 400, and Anthony Elms, assistant director, and now joined by UIC graduate student Tim Nickodemus. Four times this year, Talking Cure brings together UIC individuals as well as guests and friends from the city for informal discussions on topics in visual art, be they current issues, stereotypes, archetypes, common misconceptions, hard facts, or all of the above. Following on the heels of the October discussion on artists and anguish, we tackle working with institutions, or not. While the discussion will surely hit upon the politics of institutional engagement and the histories of institutional critique, it will also lay out the practical and strategic methods of working within or circumventing myriad institutions. We hope, too, that more general conceptions of public and private and autonomy will be shared and examined. Please come and contribute your thoughts to the conversation.

http://adweb.aa.uic.edu/web/events/index.php?id=2770 2009-11-11T06:00:00Z

Please plan to join a free presentation (with food!) on digital photography in the Great Space, 5th floor, of Art and Design Hall at 6pm on Wednesday, November 11. On the next day, Thursday, November 12, Bogen staff members will join us in A+A for a portfolio review by Will Crockett and a demo of equipment that will be gifted to the Photography program of the School of Art and Design. Thank you Bogen!

http://adweb.aa.uic.edu/web/events/index.php?id=2769 2009-11-18T07:00:00Z

At 20,000 leagues below the sea everyone can hear you scream – that’s the nature of sound and water after all, and (maybe) that’s why we call all those vibrations dazzling our skulls by the oceanic descriptor WAVEFORMS. Just ask Alex Halstead – she was born into water, under water, knows wet and sound better than all of us combined. For the last month in Gallery 400 she’s been humoring our earth-ears with her rhythmic pulses, and now it’s time to return the favor. And so, submitted for her approval: an aqua-opera in 8 stanzas, a capital-SEA-composition in as many verses. From that silent surface (Hutton) to the scratch and curl of the fevered deep (Gatten); betwixt a siren-spongebob-song (Best) and a flicker score for the Red Sea (Holthuis); with whale chorus (Clark), octo-electronica (Painleve), and gurgling pop tune (Rist) – this is a kino-song* for the best Nigerian Elephant-nosed Fish we’ll ever know. Here’s To You, Alex. FEATURING: Study of A River by Peter Hutton (16:00, 16mm, 1996-97), What the Water Said Nos 4-7 by David Gatten (17:00, 16mm, 2007), Crank Dat Soulja Boy Spongebob by Masta Best (3:46, video, 2007), Amours de la pieuvre (Love Life of the Octopus) by Jean Painleve (14:00, 16mm on video, 1965), I'm a Victim of This Song by Pipilotti Rist (5:06, video, 1995), Marsa Abu Galawa by Gerard Holthuis (15:00, 35mm on video, 2004), Sound Over Water by Mary Helena Clark (6:00, 16mm, 2009)

http://adweb.aa.uic.edu/web/events/index.php?id=2768 2009-10-31T12:00:00Z

http://adweb.aa.uic.edu/web/events/index.php?id=2767 2009-10-20T05:00:00Z

M.C. Schmidt and Drew Daniel form the experimental electronic music duo Matmos. Using samplers, analogue keyboards, field recordings and guitars, Matmos make atmospheric, idiosyncratic electronica. In addition to incorporating chance operations into their sequencing environment, many songs are based upon a working methodology of “conceptual restriction”- songs are built entirely out of samples from a single sound source: field recordings, contact microphones on hair, even the sound of an amplified synapse from crayfish nerve tissue. In 1998, Matmos remixed the Björk single “Alarm Call”. Subsequently, Matmos worked with Björk on her albums Vespertine (2001) and Medúlla (2004), as well as her Vespertine and Greatest Hits tours. In November 2004, Matmos spent 97 hours in the Yerba Buena Center for the Arts as artists in residence, performing music with friends, musical guests and onlookers. Matmos recently composed the music for Daria Martin’s Minotaur, currently on view at the MCA, Chicago. Schmidt has been making experimental electronic music for many years, as the leader of avant-garde drone outfit X/I and industrial occultists Iaocore, in which he did time with current members of Amber Asylum and Tipsy. He has also served as a professor In the New Genres Department at the San Francisco Art Institute. Schmidt will be lecturing on Musique Concrete.

http://adweb.aa.uic.edu/web/events/index.php?id=2766 2009-10-15T07:00:00Z

Related events: Thursday, October 15, 7 pm Performance by Halsted, Moré, composer/performer Joe Grimm, and Berlin-based group Ige*Timer (Simon Berz - electronics, and Klaus Janek - double bass) Tuesday, November 03, 6 pm Performance and demonstration by Alex Halsted with Electronic Voice Phenomena specialist Michael Esposito Wednesday, November 18, 7 pm Film and video works curated by Ben Russell

http://adweb.aa.uic.edu/web/events/index.php?id=2765 2009-10-21T06:00:00Z

http://adweb.aa.uic.edu/web/events/index.php?id=2764 2009-10-20T05:00:00Z

M.C. Schmidt and Drew Daniel form the experimental electronic music duo Matmos. Using samplers, analogue keyboards, field recordings and guitars, Matmos make atmospheric, idiosyncratic electronica. In addition to incorporating chance operations into their sequencing environment, many songs are based upon a working methodology of “conceptual restriction”- songs are built entirely out of samples from a single sound source: field recordings, contact microphones on hair, even the sound of an amplified synapse from crayfish nerve tissue. In 1998, Matmos remixed the Björk single “Alarm Call”. Subsequently, Matmos worked with Björk on her albums Vespertine (2001) and Medúlla (2004), as well as her Vespertine and Greatest Hits tours. In November 2004, Matmos spent 97 hours in the Yerba Buena Center for the Arts as artists in residence, performing music with friends, musical guests and onlookers. Matmos recently composed the music for Daria Martin’s Minotaur, currently on view at the MCA, Chicago. Schmidt has been making experimental electronic music for many years, as the leader of avant-garde drone outfit X/I and industrial occultists Iaocore, in which he did time with current members of Amber Asylum and Tipsy. He has also served as a professor In the New Genres Department at the San Francisco Art Institute. Schmidt will be lecturing on Musique Concrete.

http://adweb.aa.uic.edu/web/events/index.php?id=2763 2009-10-19T05:00:00Z

Ranging from cartoonish and grotesque to tight-lipped and brooding, Carroll Dunham’s paintings and prints express the extremes of a frank psychological subjectivity. Drawing on abstraction, figuration, graffiti, pop, graphic arts, and surrealism, Dunham combines the smooth flatness of graphic arts with unexpected textures, comic book colors and painterly gestures. His works often include biomorphic figures, dream-like psychosexual themes, and an aggressive, often violent masculinity. Dunham has exhibited in group and solo exhibitions internationally including the Whitney Biennial (1995, 1991), Examining Pictures, Whitechapel Art Gallery, London and Museum of Contemporary Art, Chicago (1999) and Urgent Painting, ARC, Musée d’art moderne de la ville de Paris (2002). Solo exhibitions of his work have been held at Metro Pictures, NY; White Cube, London; Daniel Weinberg Gallery, LA; and Gladstone Gallery, NY. His 2002 mid-career retrospective at the New Museum of Contemporary Art, NY was one of the most highly regarded shows of that year. Dunham writes often for Artforum.

http://adweb.aa.uic.edu/web/events/news.php?id=360 2009-11-16T05:35:01Z

will be featured in a solo exhibition at FTC Fiedler Taubert Contemporary gallery in Berlin, Germany. Geissler & Sann: The Real Estate will open on November 20, 2009 and continue through January. A major crisis is spreading through global capitalism. This crisis, the worst in many decades, was triggered in part by a faltering American real estate market. Throughout urban and rural North America hundreds of thousands of homeowners are being forced into foreclosure, foregrounding the underlying relationship between globalization and the issue of shelter. The photographic series "the real estate" (2008/2009) - by Chicago-based artists Beate Geissler and Oliver Sann - documents homes in foreclosure along with the scarred biographies inscribed in them. The series also provides a socially concerned, time diagnostic instance of artistic production. "the real estate" is inductive in the extreme: specific examples represent the universality of the capital process and its manifest effects on individual biographies. The series is characterized by a dissecting cruelty which derives from its subject matter and is essential to its aesthetic embodiment. Shelter is only present as loss: there is no redeeming insight here and none should be expected of this, or any, artistic production. But the series also incorporates the tenderness of precise observation, suggesting a precarious balance between surgical cruelty and affectionate tenderness which culminates in aesthetic indeterminacy. "the real estate" embodies a recurring theme of Geissler and Sann's art: latent universalism. Kant's notion of a universality effected by distillation and disinterestedness is effectively challenged. Revealed instead is a potentiality, one paradoxically veiled at the very moment of its disclosure. It is in fact the aesthetically singular which allows aesthetic universality to emerge. Excerpt from the essay "There is no Good Housing in the Estate of the Real. Universality and the Ambivalence of Aesthetic Indeterminacy" by Prof. Dr. Johan Frederick Hartle, University of Amsterdam.

http://adweb.aa.uic.edu/web/events/news.php?id=359 2009-11-06T06:07:19Z

is to be featured at the Williams College Museum of Art, Williamstown, Massachusetts from November 28, 2009, through May 16, 2010. On exhibition is Manglano-Ovalle's video, Juggernaut, filmed in the Vizcaino Biosphere Reserve in Baja Sur, Mexico. Iñigo Manglano-Ovalle is interested in linking the enormity of our modern industrial presence with our surroundings. In this new video, the pristine, gleaming white salt flats of the El Vizcaíno Biosphere Reserve are disturbed by the menacing and thundering sounds of human intervention. Manglano-Ovalle, is currently creating a newly commissioned work at MASS MoCA, opening December 12, 2009. Iñigo Manglano-Ovalle Juggernaut Williams College Museum of Art Williamstown, Massachusetts November 28, 2009 – May 16, 2010 Curated by John Stomberg

http://adweb.aa.uic.edu/web/events/news.php?id=358 2009-11-06T06:39:06Z

will present in Madrid Spain at the International Conference of Education, Research and Innovation (ICERI 2009) November 17-18, 2009. "Three Dimensional Inspiration for Two Dimensional Innovation: Letterform Objects and Experimental Typography" discusses the process and outcome of using a three dimensional form-making in the study of typography. The third dimension is unchartered territory for most graphic design students as well as many professionals and, accordingly, is often considered an uneasy direction for graphic designers to explore. In her teaching, Oiga transforms fears and unfamiliarity with dimensionality into fresh perspectives and unexpected results. Her presentation details a newly developed UIC Design course in which students first create physical, three dimensional letterform objects. Content and materials are selected by the students, based on their individual interests. Students develop creative skills (thinking and making) in three dimensions while building upon their knowledge of typography. Then the project moves beyond the construction of these letterform objects through the making of contextual pieces and other support collateral such as process diagrams and charts, fonts, specimen posters and, in one case, storyboard and animation. The letterform objects are not just the final pieces, but a resource for print design, typeface design, and moving image. Among the diverse materials used to create the letterform objects are: tonic water and a black lightbulb, highlighter ink, sugar, flora, curled paper, wire hangers, seashells, nylons, mirrors, a laser and fog machine, and rubberbands. The resulting projects are inventive, strongly compelling, and educationally transformative.

http://adweb.aa.uic.edu/web/events/news.php?id=357 2009-11-01T07:38:35Z

and Annette Barbier will participate in DisABLING Conditions: Site Sensitive Works for one night only at the Chicago Cultural Center. Curated by Julie Laffin with Clover Morell, the sixth annual edition is a site-specific performance event featuring theater, dance, music, and visual art by individual artists and ensembles of local and international acclaim. The performances, installations, and video works will all consider issues around disability and will be created specifically for the rooms and architecture of the Chicago Cultural Center.

http://adweb.aa.uic.edu/web/events/news.php?id=356 2009-11-01T07:28:47Z

Will participate in The Art Institute of Chicago: Artists Connect Series. Silvia Malagrino Connects with Francisco Goya November 7, 12-1 p.m. Price Auditorium, Art Institute of Chicago 111 S. Michigan Chicago, IL 60603 Free with admission Artists Connect is a regularly scheduled series of lectures given by Chicago-area artists. In these illustrated talks, artists describe their own work in relation to one or several works in the collection of the Art Institute.

http://adweb.aa.uic.edu/web/events/news.php?id=355 2009-10-25T05:08:49Z

will present TRYPPS 1-6 at the Viennale, Vienna, Austria, October 22-November 4. Using a fabricated Old English term as its guiding principle, this ongoing series of (mostly) 16mm films is conceptually organized around the possible meanings that its title elicits – physical voyages, psychedelic journeys, and a phenomenological experience of the world. Begun in 2005 in a somewhat vain attempt to hold cinema up as a mirror to the live and fully embodied reception of the crazy noise music scene in Providence, Rhode Island, the TRYPPS films quickly expanded their formal and critical language to include the various poles of action painting, avant-garde cinema, portraiture, stand-up comedy, global capitalism, and trance-dance a la Jean Rouch. While the form of these works varies radically from one to the next, when taken as a whole they can be seen to enunciate what their maker calls ‘psychedelic ethnography’ – a practice whose aim is a knowledge of the Self/self, a movement towards understanding in which the trip is both the means and the end. Featuring: BLACK AND WHITE TRYPPS NUMBER ONE (2005, 6.5 minutes, 16mm, b&w, silent), BLACK AND WHITE TRYPPS NUMBER TWO (2006, 8 minutes, 16mm, b&w, silent), BLACK AND WHITE TRYPPS NUMBER THREE (2007, 12 minutes, 35mm, color, sound), BLACK AND WHITE TRYPPS NUMBER FOUR (2008, 10.5 minutes, 16mm, b&w, sound), TRYPPS #5 (DUBAI) (2008, 3 minutes, 16mm, color, silent), TRYPPS #6 (MALOBI) (2009, 12 minutes, 16mm, color, sound)

http://adweb.aa.uic.edu/web/events/news.php?id=354 2009-10-25T05:01:44Z

will deliver the keynote address for the Canadian Society for Education through Art conference in Vancouver, Canada, October 22-24.

http://adweb.aa.uic.edu/web/events/news.php?id=353 2009-10-17T03:50:50Z

is currently participating in two exhibitions: Abnormal Formal, at Kunz, Vis, Gonzales, Chicago, October 11–31 (then traveling to Amsterdam and New York) Because the Night, Guggenheim Gallery, Chapman University, Orange, California, curated by Sabina Ott. Opening October 19 and continuing through November 13. Fraser has additionally curated an exhibition of drawings by Caroll Dunham, at her gallery, He Said, She Said, in Oak Park IL: Carroll Dunham has been making paintings since the 1970’s that draw on the Abstract, Surrealist, and Pop traditions. His works over time have involved tremendous formal experimentation while figurative and quasi-narrative elements have developed at an incremental pace. When seen in a continuum, one can imagine a single long and unfolding tale. Dunham’s work is comic at times but equally lurid, often revealing an especially male psychosexual subject. These blunt pictures are often disturbing, aggressive, and anxious while also hysterically funny in their juvenile styling and blobby cartooniness. I admire their bad manners, their tough beauty, and their faith in their own candor. Dunham has exhibited extensively, including the 1991 and 1995 Whitney Biennials, Examining Pictures at Whitechapel Art Gallery in London and The Museum of Contemporary Art in Chicago; Urgent Painting at the Musée d’art moderne de la ville de Paris, MAM/ARC. His work was the subject of a mid-career retrospective at the New Museum of Contemporary Art in New York in 2002.

http://adweb.aa.uic.edu/web/events/news.php?id=352 2009-10-18T10:55:45Z

both current MFA students presented with Associate Professor Dori Tunstall (now an Associate Dean at Swinburne University of Technology in Melbourne, Australia) at MAKE THINK, the AIGA national design conference held in Memphis October 8-11. Xie Zhen also recently co-authored an article published by a Chinese Art Journal. "How to Interpret Chinese Design" by Xie Zhen and Zhu Shuai appeared in Observation: Volume 168, August 2009.