College Night at the High—this Saturday, January 28th
Picasso to Warhol greetings UAHS members! for those of you interested in going to the High for the MOMA exhibit, we will be carpooling to Atlanta this weekend. meet us at the parking lot behind Lamar Dodd (E07) on Sunday at 10am sharp.

Picasso to Warhol

greetings UAHS members! for those of you interested in going to the High for the MOMA exhibit, we will be carpooling to Atlanta this weekend. meet us at the parking lot behind Lamar Dodd (E07) on Sunday at 10am sharp.
UAHS Meeting This Week! Come by room N310 this Wednesday, October 26th at 7pm on your way to the Juried Show! We’ll be collecting student ID numbers from those of you interested in the trip to Raleigh and discussing our November outing to the High Museum: http://www.high.org/moma.aspx#/Picasso-to-Warhol/landing Don’t forget to join the Facebook group for more announcements! http://www.facebook.com/groups/155291733828/  

UAHS Meeting This Week!

Come by room N310 this Wednesday, October 26th at 7pm on your way to the Juried Show! We’ll be collecting student ID numbers from those of you interested in the trip to Raleigh and discussing our November outing to the High Museum:

http://www.high.org/moma.aspx#/Picasso-to-Warhol/landing

Don’t forget to join the Facebook group for more announcements!

http://www.facebook.com/groups/155291733828/

 

First Meeting of the Semester Today at 7pm—Lamar Dodd, Undergraduate Art History Room. Expect refreshments. Hope to see you there!

First Meeting of the Semester

Today at 7pm—Lamar Dodd, Undergraduate Art History Room.

Expect refreshments. Hope to see you there!

From Dailyserving.com: The Light and the End of the Tunnel is an Oncoming Train

Ten years ago today, on September 11, 2001, at 5:46 am Pacific Standard Time, I was asleep in the semi-darkness of an Oregon dawn.  I was still asleep at 6:03 am.  By 6:37 am, however, I had been jolted awake by the ringing sound of a telephone in another room of the house, and then by the sound of footsteps coming towards my door, and—eventually—by the information that a plane had crashed into the World Trade Center.  For better or worse, I missed the initial confusion, the questions about irregular flight patterns and problems with air traffic control.  By the time I got to the television set, Bush had held his moment of silence, there were reports of a fire at the Pentagon, and it was clear that this was a planned attack.
I watched as President George W. Bush sent our troops into Afghanistan, eventually dragging the rest of the world—in the form of NATO’s International Security Assistance Force —behind him.  In March of 2003, I finally saw the negative space punched out of the Manhattan skyline with my own eyes.  Coincidentally, it was the same week that Bush dropped thinly veiled threats via his press secretary that if the United Nations did not take action against Iraq, other “international bodies” would.  And we did, despite the fact that the motives given were dubious and lacked hard evidence.
I was twenty-five in 2001.  I was not a child, or a teenager whose nightmare became the bogeyman in the form of Osama bin Laden.  My nightmare, post-9/11, has been many the frequent and many betrayals of the citizens of the United States by its government at the levels of accountability and policy.  Watching President Barack Obama announce the death of Osama bin Laden, I felt no relief.  The War in Afghanistan is listed as ongoing (2001-present).  Our engagement with Iraq is ongoing.
It has been a decade, long enough to have begun to talk about post-9/11 trends in art and literature, long enough for those artists and writers whose practices weren’t quite set on September 11, 2011, to have grown up and to have incorporated their own personal nightmares into their production.  Earlier this summer, OHWOW Gallery in Los Angeles staged “Post-9/11,”  with work by New-York-based-artists Ryan McGinley and his circle.  The keystone piece, McGinley’s Tom (Golden Tunnel), 2010, features a naked man walking toward a golden light at the end of a stone or concrete tunnel with his hand guarding his eyes.  The light washes everything in the photo.
The exhibition title itself was merely meant to be provocative, as well as to encapsulate McGinley and his milieu.  This was not a grand curatorial retrospective of Post-9/11 art.  But I have gone back to McGinley’s photo multiple times, made a little nauseous by the combination of the light-at-the-end-of-the-tunnel metaphor, McGinley’s capital-R Romanticism, and the double-entendre of the show title.  Are we post-9/11?  Have we survived and come through to the other side?  If we have, we are irrevocably changed.  The light at the end of the tunnel is an oncoming train.
http://dailyserving.com/2011/09/the-light-at-the-end-of-the-tunnel-is-an-oncoming-train/
Art in Odd Places.
Art in Odd Places 2011: RITUAL features a wide variety of actions, participatory performances, theatrical presentations, public installations, and small and large-scale interventions all of which revolve around the concept of ritual.
A ritual is generally defined as a series of established actions that are carried out in private or public spaces, by individuals or by groups, for their spiritual, social, or political significance. Tapping into the everyday significance of these habits, the artists in AiOP 2011: RITUAL continuously integrate these practices in their work to explore a broad range of issues in contemporary life such as politics, culture, religious beliefs, notions of individuality and community, the endurance of the body and the fragility of life, the relationship with nature, among many others.
The collective character of the public setting offered by one of the busiest New York City arteries as the context for the festival has opened up the possibilities for the ritualistic interactions between artists, objects and people along 14th Street. The street’s daily environment will be transformed by secular and sacred activities and the relationship and reaction of the people attracted by the festival’s ephemeral events. A new sense of place and time, inherent to the concept of ritual, will confront passersby as they flow through the sidewalks, subway stations and storefronts during their everyday commutes or their spontaneous visits to the neighborhood.
The work will be performed and made available along the east-west corridor of 14th Street. The projects may be different each time as they are informed by the varying interpretations of the spectators and their nomadic qualities as they travel through the street. Artists creating pilgrimages will bring new importance to particular places, shrines will be created as sites of worship, and the public will witness miracles. Reenactments of past events based on the collections of oral history, the use of symbols, the exploration of traditions and myths, and the use of magic and astrology are key to some of the artists’ work. Another group of artists create impermanent situations that are reminiscent of childhood and familiar events; worldly rituals that refer to identity politics, queer culture, dominance and submission, are experienced as organic and transcendental happenings.
The use of the body is central to artists that touch upon life and death, real and spiritual borders, love affairs, human relationships and the connection to nature. Through music and dance, walks, palm reading and the use of masks, wigs, and spraying perfumes and scattering ashes, some artists evoke mundane obsessions, venerate popular icons and reject and criticize certain aspects of today’s social values.
From kissing trees to making wishes, from healing souls to dreaming in a park, from washing feet to praying to the sky, the artists transcend the borders of the everyday space. By ritualizing actions and highlighting the different realities that coexist, the projects of AiOP 2011: RITUAL manipulate impressions, satisfy emotions, create effects, and most importantly transform - not only the surroundings in which they position their work, but also the audiences they engage, and who will become fundamental to the ritual itself.
- Kalia Brooks & Trinidad Fombella, Guest Curators
http://www.artinoddplaces.org/
This month, Art in America’s David Ebony interviewed German artist Katharina Grosse. She currently has a show, “Katharina Grosse: One Floor Up More Highly” at MASS MoCA, up through October 31st.
Ebony describes this project in terms of a European perception of American landscapes. 
"Many Europeans think of America in terms of vast landscapes and infinite sky, and urban centers packed with towering buildings and teeming masses, all in a rather precarious state of flux." Grosse’s work "could be seen as an homage to an idealized if not wholly fiction place, such as the American frontier."
"This project, like most of Grosse’s large-scale installations, incorporates massive sculptural features that allude simultaneously to empirical space an an imaginative vista. Yet the artist’s primary means of expression is painting, and the thrust of the work is rigorously abstract. She employs painting’s illusionistic devices of light and shadow, and, with a subtle manipulation of other elements, suggest complex narratives."
Read the entire interview here: http://www.artinamericamagazine.com/news-opinion/conversations/2011-09-02/katharina-grosse/
Extremely exciting news for art students, especially those studying or living in Georgia-The Savannah College of Art and Design (SCAD) to Open Major Teaching Museum Devoted to Contemporary Art and Design on October 29, 2011!
This is described as “a significantly expanded and re-imagined contemporary art and design museum conceived and designed expressly to enrich the educational milieu for SCAD students, professors, and art and design enthusiasts. SCAD Museum of Art re-opens to the public on Saturday, Oct. 29, 2011. Inaugural exhibitions at the new museum include solo shows by Bill Viola, Liza Lou, Kendall Buster, Kehinde Wiley, and selections from the SCAD Museum of Art’s Permanent Collection, including the Evans Collection of African American Art, presented in the new Walter O. Evans Center for African American Studies within the museum.” 

From the websites: “SCAD has a tradition of fostering innovative and dynamic art experiences, and the SCAD Museum of Art advances this rich tradition,” says SCAD President Paula Wallace, who initiated and oversaw the development of the expanded museum in Savannah. “Rather than a place to view artworks in isolation, our museum is a kinetic think-tank, a collaborative wellspring of ideas and inspiration for SCAD students and professors.” 
In keeping with the university’s mission, a year-round program of exhibitions, installations, performances and museum programs and events will engage with SCAD’s 41 majors and more than 50 minors—from fashion and fibers to painting and sound design. This programming will also provide students and professors across all disciplines a collaborative space to experience celebrated works of art and design, and to interact with the renowned and emerging artists who create them.
Check out all of the information here: http://www.scad.edu/museum/
As you begin to dive into your projects for the year, keep in mind the 3rd Annual Juried Exhibition this October!
For the past two years, Lamar Dodd School of Art students have been encouraged to submit their own original works to be looked over and possibly selected by a visiting juror. This year, Mark Karelson, director of Mason Murer Fine Arts Gallery in Atlanta, will be selecting work for the November 26th show.
A little bit about our juror from the LDSOA website:
Mark Mason Karelson is an artist and owner and Director of Mason Murer Fine Art in Atlanta. He also Chairs the Board of VSA arts of Georgia, a thirty year old non-profit organization which provides access to the arts for people with disabilities. Mark also serves on the Advisory Board of The Atlanta Community Food Bank. He is married to artist Kim Karelson, a University of Georgia graduate with a BA in Art. They have a beautiful daughter, Katie.
All types of art are accepted. There ARE prizes for the juror’s favorites. If you have any questions or need more information, check out: http://art.uga.edu/index.php?pt=5&id=338 or keep your eyes peeled for the latest LDSOA newsletters.
This drawing is from last year’s juried show. To look at more pictures, check out the Lamar Dodd School of Art’s facebook page: http://www.facebook.com/media/set/?set=a.10150289822110720.558831.131123090719
From the New York Times: When the Camera Takes Over for the Eye

The ubiquity of cameras in exhibitions can be dismaying, especially when read as proof that most art has become just another photo op for evidence of Kilroy-was-here passing through. More generously, the camera is a way of connecting, participating and collecting fleeting experiences.
For better and for worse, it has become intrinsic to many people’s aesthetic responses. (Judging by the number of pictures Ms. Fremson took of people photographing Urs Fischer’s life-size statue of the artist Rudolf Stingel as a lighted candle, it is one of the more popular pieces at the Biennale, which runs through Nov. 27.) And the camera’s presence in an image can seem part of its strangeness, as with Ms. Fremson’s shot of the gentleman photographing a photo-mural by Cindy Sherman that makes Ms. Sherman, costumed as a circus juggler, appear to be posing just for him. She looks more real than she did in the actual installation.
Read the entire article here: http://www.nytimes.com/2011/09/05/arts/design/at-the-venice-biennale-art-is-a-photo-op.html
This Thursday, September 8th at 5pm, Dr. Asen Kirin will be presenting “Exuberance of Meaning: The Art Patronage of Catherine the Great.” This talk kicks of the VCC Lecture series for the 2011-2012 academic year, so make sure to put this on your schedule!
Kirin will be discussing a current exhibition which, according to the Lamar Dodd School of Art website, “intends to make a contribution to the current knowledge of patronage in eighteenth-century Russia and to our understanding of the perception of Byzantine culture in the era of neo-Classicism.” 
Interestingly, the curator of this exhibit plans to “accomplish this goal with a relatively limited number of objects—loans from a small number of museums in the U.S.A.”

"The exhibition will illustrate the complex dynamic between the collection of historical art and the commissioning of new works of art during the reign of Catherine the Great (1762-96). The focus of the exhibition is on the particular manner in which Catherine applied not only her knowledge of ancient and medieval glyptic art but also her collection of carved gems to new works of art that she commissioned. This was a deliberate continuation of the centuries-old tradition of placing pagan, Greek, and Roman carved stones onto sacred Christian liturgical and devotional objects. The empress not only shared the Enlightenment sentiment that carved gems were essential material vestiges from the past, but she was also fully cognizant of the cultural meanings associated with the practice of collecting cameos. Accordingly, she addressed these cultural meanings in her art patronage."
For more information, visit: http://art.uga.edu/index.php?pt=4&id=179#
This Labor Day weekend: if you’re in town for the UGA/ Boise State game today (or if you just like books!), check out the Decatur Book Festival! From 9:30am - 6:30pm today and 11:30am - 7pm tomorrow, authors will be setting up tents for readings, discussions, workshops, and more.
Check out the schedule here for more information: http://www.decaturbookfestival.com/2011/schedule/index.php
Up now at the Georgia Museum of Art: American Letterpress: The Art of Hatch Show Print
From the GMOA website: This exhibition illustrates the fascinating fusion of art with popular culture and music history. Featuring the work of one of the nation’s oldest and continuously printing shops—Nashville, Tennessee’s Hatch Show Print—it highlights the uniquely American posters produced to advertise everything from vaudeville shows, state fairs and stock car races to the Grand Ole Opry, Elvis Presley and Herbie Hancock. 

The exhibition, created by the Smithsonian Institution Traveling Exhibition Service (SITES) and the Country Music Hall of Fame® and Museum, is supported by America’s Jazz Heritage, A Partnership of the Wallace Foundation and the Smithsonian Institution.
For more information about this exhibition and others, visit: http://www.georgiamuseum.org/art/exhibitions/on-view/american-letterpress-the-art-of-hatch-show-print