Three Art Events: Stations of the Cross, Gallery Hop, LAL Spring CSA

As the semester winds down, art events and happening continue to be in full swing. If you're looking for a few opportunities to be involved, here are three coming up in the near future.

Stations of the Cross Pilgrimage (tonight!)
There will be a walk this evening beginning at First Presbyterian Church in downtown Lexington at 6:30 tonight that will travel across town to Good Shepherd Episcopal Church. I and group of other local artists have installed artworks to accompany the 14 Stations of the Cross as part of Holy Week. The project has been spearheaded by Mark Davis of First Pres and Brian Cole of Good Shepherd, along with Becky Alley of the Lexington Art League. For my part, I was responsible for Station IV, Jesus is denied by Peter (pictured below, located at the corner of Spruce and 2nd streets).

Link to the map of the walk:

Gallery Hop (Friday)
Come out this Friday to enjoy and celebrate the work of regional artists during the semester's last Gallery Hop in downtown Lexington. It runs from about 5–8 PM and includes a variety of venues. I always enjoy visiting Mary Rezny, Ann Tower, and the Bread Box. Mary will be featuring The Art of Structure (image below).

Lexington Art League Spring CSA (next Friday, April 25)
LAL will be holding its 3rd CSA Harvest Party. This is a Community Supported Art project that allows anyone to purchase a share of artwork from 9 featured regional artists. (Daniel and I were featured in the first and second harvests last summer and fall.) The event will be from 6–9 at the Loudon House and will included food, music, and a ART!

Luminosity, Public Art Installation

The Lexington Art League is hosting a major art installation at Triangle Park in downtown Lexington. Construction of the work is nearing completion. There will be a public unveiling February 21, which I plan to attend! The following is content from LAL's website about the event.

Triangle  Park:  FEb. 21 - Mar.31
Loudoun  House:  Feb. 28 - apr.6,   evening  Gallery  hours  through  8pm, Tues - Sun

LUMINOSITY, an exhibition of interactive, light-based art, that will brighten the dark winter nights with sculpture, installation, film, and photography by leading regional, national, and international artists working with the medium of light. 

LUMINOSITY SCHEDULE OF EVENTS
Art Ball, Jan. 25
Kick off the New Year with an exclusive preview of LUMINOSITY's signature sculpture at Art Ball on Jan. 25. Fabricated by Calgary, Canada, artists in residence c and w, the dazzling, interactive sculpture of light will be installed in Triangle Park. Dance the night away in your evening gown or tux, enjoy hors d'oeuvres and drinks, dancing and music, valet parking, and mingle with artists and art ball revelers beneath a glittering sculpture of light.

LUMINOSITY@Triangle Park, Feb. 21-Mar. 31
Brown and Garrett's sculpture of light, constructed with thousands of light bulbs donated by Central Kentucky citizens and businesses in a community-wide light bulb drive, will be unveiled to the public in a city-wide unveiling ceremony on Feb. 21 at 5:30 p.m. Kentucky Poet Laureate Frank X. Walker will share remarks celebrating the sculpture's cultural relevance to the region. The sculpture will remain in Triangle Park through March 31.

LUMINOSITY@Loudoun House, Feb.28-Apr.6 (Tues.-Fri. 10a-8p; Sat.&Sun. 1p-8p)
The light continues to shine throughout Lexington during LUMINOSITY, with the Loudoun House featuring light-based artwork by regional, national, and international artists. Make music with dance-like interactions with Colorado-based artist Jen Lewin's light harp, become captivated by the haunting winter landscapes of Norwegian light-installation photography Rune Gunerisson, hold a ghostly video in the palm of your hand with Kentucky artist Valerie Fuchs' cutting-edge interactive films, or create an illuminated path of sound with Brown and Garrett's large-scale light and sound installation. Celebrate LUMINOSITY's Loudoun House exhibition at the opening reception on Feb. 28, 6-9 p.m.

LUMINOSITY Family Tours: Night Light!, Mar. 18, 10a
Children ages 2-4 and their families will enjoy a free interactive tour of Luminosity’s Loudoun House Galleries. Children will engage in movement, musical and art making activities.

LUMINOSITY Family Tours: Night Light!,  Mar.22, 5p
Children ages 5 and up and their families will enjoy a free interactive tour of Luminosity’s Loudoun House Galleries. Children will engage in movement, musical and art making activities.

LUMINOSITY Artist Conversations, Art & Technology, Apr. 4, 5:30p
Select LUMINOSITY artists and a panel of local artists will discuss the evolution of technology in visual art. Participants will address the incorporation of interactive components to visual art, including light-based technologies.

Public Art Tragedy

Early Tuesday painters covered the walls of 5Pointz and, as a result, erased the work of hundreds of graffiti artists. This act could be considered meta-vandalism in some senses, as the graffiti artists were, ostensibly, vandalizing the buildings themselves through their work. 

The owner, Jeffrey Wolkoff, purchased the buildings in 1971 and, after leasing the space to a music industry firm, rented studios to artists for a few hundred dollars a month. He was asked, by a person who removes graffiti from walls in the city, if his painters could use these walls as canvases. Wolkoff agreed and, over time, gave them more and more space. In 2002, a graffiti artist named Meres One took the endeavor over, becoming its curator and christening it 5Pointz.

Click here for the full article.

Art alum, Angie, at 5Pointz, this past summer.
Tourists and art enthusiasts from all over the world come to 5Pointz.

This public art tragedy — which was looming over the past year, really—even caused Banksy to come to action.

Banksy's inflatable installation was a call to save a famous 5Pointz. “This is a sideways take on the ubiquitous spray-painted bubble lettering that actually floats...It’s an homage of sorts to the most prevalent form of graffiti in the city that invented it for a modern era . Or it's another Banksy piece that’s full of hot air.” Within hours, the latest piece was in the back of a police van, as captured on Instagram (above).


What's next? Razing the buildings and putting in condominiums.

Museum visit: Ai Wei Wei and 100 Acres

I was able to make a visit to the Indianapolis Museum of Art for Ai Wei Wei's show According to What?. The show was previously at the Hirshhorn Museum in D.C. and their website, actually, has a better overview of the works and their context than Indy's. So I will point readers to that resource. I photographed a few of the pieces from the show and also took shots of the public art park and outdoor works adjacent to the Museum, 100 Acres. Enjoy!

Tea House
More info here.

Moon Chest

Report: Lecture for the KHS and the NEH

A good picture cannot be taken in Chao Auditorium at the U of L.
Case in point.

Friday afternoon I presented a lecture "Louisville’s Confederate Monument: Narratives of Commemoration, Loss, and Gender" to participants in the Kentucky Historical Society's NEH-sponsored conference entitled "Torn Within, Threatened Without: Kentucky and the Border States In the Civil War.” 

On the East face of the monument, I am introducing participants
to the process and production of Louisville's Confederate Monument.

The participants attended over 20 separate sessions, which consisted of six lecture gatherings—including one by State Historian and fellow GC faculty member, Dr. Jim Klotter— as well as four breakout/research sessions and ten site visits. 

Report: June 22 Art Walk in New Albany

Earl Grey and Boris Zakic discuss Painting along with alums
Mary Margaret and Rachel
and one of the students involved in the creation of this work,
Alex, a senior art major at GC.

As mentioned previously on this blog and on the Georgetown College website, the 2013 entries of the New Albany Public Art Project (including Boris Zakic's installation) officially debuted on Saturday evening. Artists were on hand to discuss their works and to sign posters that visitors were able to make (using silkscreens designed by Ron Jasin of Madpixel Art and Design and available at the location of each of the sites where new public art is to be explored this year). 

Boris signs a poster made
by one of the attendees Saturday night. Each new public art
piece was embodied visually as a screen image that visitors
could apply to a blank poster sheet (with the help of friendly
volunteers to demonstrate the silkscreen process).
Artists were available to sign the image representing their installation.

Save the Date: June 22

Update, 6-19-2013: Read the story in LEOWeekly here.

The New Albany Public Art Project: Bicentennial Series is a multi-year outdoor exhibition that interprets New Albany's rich history and heritage. As part of the 2013 installment, Georgetown College's Boris Zakic was selected to address the theme of artist, artmaking, and local heritage. The result is an installation of several canvasses measuring 60 x 22 feet created by Zakic and students in his "Impasto Mannerisms" class taught at Georgetown College this past spring.

The work has recently been installed and will make its official debut on Saturday, June 22 as part of the 2013 Art Walk. Details here. 

Painting, 2013

Titled Painting, I see the work as interpreting the historic theme of visual arts and artists through crimson and clover gestures that neither contain nor are contained by their substrate.

This morning: Wilson @ the Wilson

Today we enjoyed the visit of Bob Wilson, chief donor to the Art Department at Georgetown College, to our house—the Wilson Building. See photo below. It's always a pleasure to welcome alumni and new friends to the building.

THANK YOU for your support of the Art Department and its programs.
It's your home too!

Michele, Bob, with students Mallory, Tayler, Alex, Ariel, and Steven
along with Boris and me

More photos about the public art mural being created by Boris' Impasto Painting class will be posted soon. As you can see from the photos, the priming was just underway this morning. Given our gallery is 65' from north to south, you can get a sense of this project's dimensions from the photo. Put simply, every inch of the gallery is in use! 

Conference Report: Public Art and the City 2013

The Symposium’s Keynote Presentation was delivered by Mary Miss who has founded the City as Living Laboratory—a framework for making issues of social and environmental sustainability tangible through collaboration and the arts. Trained as a sculptor, Miss's work creates situations emphasizing a site’s history, its ecology, or aspects of the environment that have gone unnoticed. She has worked closely with architects, planners, engineers, ecologists, and public administrators on projects as diverse as creating a temporary memorial around the perimeter of Ground Zero, marking the predicted flood level of Boulder, Colorado, revealing the history of the Union Square Subway station in New York City or turning a sewage treatment plant into a public space. For more information visit www.marymiss.com

Mary Miss walking on Maya Lin's
earthwork near Crestwood, KY

The earthwork from afar

Morning panelists discussed recent public art projects in St. Louis, Nashville, and Long Beach, Calif. The featured artists have created or managed works in outdoor settings such as vacant city lots, flooded waterfronts and alongside urban waterways. Those speakers included Tiffany Carbonneau, Bellarmine University; Leslie Markle, Curator for Public Art, Washington University; and Caroline Vincent, Nashville Metro Arts Commission. Dan Jones, chairman and CEO of 21^st Century Parks, gave the luncheon talk about the Parklands of Floyds Fork urban parks system project. The afternoon roundtable session about perspectives on public art brought U of L scholars to the table to address sacred sites in a global perspective, environmental history, urban planning and mapping as a tool to understand landscape.

We're already looking forward to Public Art and the City 2014. More info this fall!

Save the Date: March 22 artist Mary Miss

Peter Morrin of the University of Louisville's Arts & Culture Partnerships and I are working on Public Art and the City 2013 - the third installment of public art symposia. This year's theme is "Public Art In/And/On the Landscape" and we are inviting artists, parks administrators and curators to discuss their work and practice.

The Keynote lecture will be given by Mary Miss, an artist who has pushed the boundaries of sculpture and installation as well as architecture and place. She has developed the concept of a laboratory and its site as a conduit for creative activity. The "City as Living Lab" is a framework for making issues of sustainability tangible through collaboration and the arts.

The afternoon will consist of a series of comments by scholars from varied disciplines who will foster thinking about ways for the community to think more deeply about environmental issues.

The overall goal of this year's symposium is to pose questions and examine instances where arts can  engage larger issues of sustainability.

The event is free for students, but you do need to register. More info will be posted on the Arts & Culture website.

Hope you can make it! (*PS: Yes, the senior show opens that evening. There's plenty of time to do both that day!)

Report: Cressman Center for Visual Arts and ENID: 2013

Friday evening I had the opportunity to speak as part of a panel discussion entitled "Sculpture, Contemporary Art, and the Public Space" arranged by Stacey Reason from the University of Louisville. Panelists included myself; Mary Dennis Kannapell, Pyro Gallery; Andrew Cozzens (MFA, Wash U and artist whose work is on view at PUBLIC); and Chris Radtke, COPA. The panel discussion was in conjunction with the ENID : 2013 exhibition at the Cressman coordinated by Reason and overseen by Professor John Begley of the U of L.

My contribution to the discussion lay, first, in a brief overview of Enid's biography (1869-1934) and, second, a look at her career in light of the contributions of male and female sculptors of the time (c. 1890-1930).  

Enid Yandell, Bust of J.J. Rucker (Collection of Georgetown College)

My research on Yandell has been on going for a few years and is a project that I only became interested in as a result of studying a bust of Yandell's owned by Georgetown College -- the portrait of Dr. James Jefferson Rucker, mathematics professor at GC. Rucker's story is interesting to me because it was under his leadership the College was one of the first schools in Kentucky to become a co-ed institution. Women from the College's affiliated Female Seminary -- run by Rucker  and his wife -- began attending classes with men in 1884 and, by 1892, women were admitted as regular students.

Suzanne Mitchell, Vaino, 42” x 22” x 17”, tree pods and wood

Yandell's story is interwoven with that of contemporary art, particularly through the group known as ENID, a collective of female sculptors based in Louisville. Showing as a group since 1999, through formed up at least two years earlier, this artist group connects with Enid and yet their work conceptually, materially, and otherwise may differ from hers. Fifteen artists are featured in the exhibition including Caren Cunningham, Gayle Cerlan, Jeanne Deuber, Ewing Fahey, Sarah Frederick, Valerie Fuchs, Mary Dennis Kannapell, Fran Kratzok, Shawn Marshall (whose Vaina is pictured above), Suzanne Mitchell, Joyce Ogden, Jacque Parlsey, Cynthia Reynolds, Gloria Wachtel, Melinda Walters.  

Enid Yandell in her Paris studio at work on Pallas Athena (Courtesy Archives of American Art)

I enjoyed sharing my research on Yandell with my co-panelists and the audience but, perhaps even more, was captivated by the work on view and the comments and conversations before, during, and after the panel. Thanks to the U of L's Cressman Center for bringing us together and for furthering the knowledge of Enid Yandell and the group known as ENID. 

Virgin Mary of Breezy Point

In our museum studies course this week, we were discussing the significant losses in the art world resulting from Hurricane Sandy. See information on MoMA's efforts here (resultant from a triage-center Q&A on emergency management, particularly for the Chelsea Galleries). However, on the brighter side, see the image above - a work that provides hope in the face of destruction. Read about the Virgin Mary of Breezy Point here.

Road Trip: Crystal Bridges Museum of American Art

Earl Grey in front of one of Roxy Paine's dendroid works nestled on the lawn of
 Crystal Bridges Museum of American Art in Bentonville, AR, photo August 2012

Crystal Bridges, nestled in a beautiful grove of trees and public art, opened last November on the outskirts of Bentonville, Arkansas. Yes, that's right - Bentonville, the home of Wal-Mart.

The museum has had its detractors -- those who despise Wal-Mart, in turn, despise this "museum that Wal-Mart built" simply because an heir of the company's founder funded the project and serves as Board Chair. To read an analysis of why this museum does not deserve its association with the Occupy movement, click here.

Alternatively, some from the art world have proclaimed its goodness - but not its greatness. Judith Dobrzynski wrote a good review of the collection in December 2011 focusing on its above averageness (click here). Roberta Smith, esteemed NYTimes critic, gave a very good review in December 2011 focusing on the collection and its outreach, noting: "The museum also has the beginning of a distinctive mission, which is to tie together American art and history and the immediate experience of nature in a compelling and accessible way, one that still keeps the art very much in the foreground." Smith points out that "Crystal Bridges is user friendly...Admission is free, and it has an ambitious education program that will...reach out to more than 80,000 elementary school students in the area. And in some of the interstices between its pavilions...it has areas outfitted with comfortable chairs and couches and stocked with stacks of art books for browsing. These elements, like the museum they are part of, convey the belief that art, like music and literature, is not a recreational luxury or the purview of the rich. Rather, it is an essential tool for living to which everyone must have access, because it helps awaken and direct the individual talent whose development is essential to society, especially a democratic one. Art, after all, is one of the places where the pursuit of happiness gains focus and purpose and starts expanding outward, to aid and abet that thing called the greater good."

More recently, Crystal Bridges has reached out to the "at risk" Stieglitz Collection at Fisk University to resolve the university's financial crisis by creating a partnership between the two institutions. According to the Museum's director,  Don Bacigalupi: “We are looking forward to working with Fisk University as we begin this partnership and eventually present the Stieglitz Collection to the very large—and growing—Crystal Bridges audience." Alice Walton, the heir behind the Crystal Bridges project further noted, “It’s been many years and we are grateful for the time, effort and final court decision that will enable Crystal Bridges to enhance public access to this important collection. We’re feeling great about the future of the Stieglitz Collection. The Fisk-Crystal Bridges partnership keeps the collection intact and ensures its long-term preservation and access.”

Earl Grey at Asher B. Durand's Kindred Spirits, purchased from the New York Public Library for $35M, now in the Collection of Crystal Bridges.

Having spent an entire day at the museum and on the grounds of the site, I can say that the museum is the real deal. It's worth the trip. Road trip anyone?

Interesting read. . . on marketing and social media

I saw this publication in a resource on public art. This gives an interesting take on social media, marketing, and demographics. Enjoy!

Open publication - Free publishing - More arts

All Eyes on LexArt's new project--UPDATED

Update: Concordia was installed last weekend by New York-based artist, DeWitt Godfrey. Read all about it here.

  Artist talk, Tuesday, July 31st @ 5:30 at the Downtown Art Center. Friends of public art -- don't miss it! (thanks Celeste for the photo of us!). 

Public Art and the City: Louisville 2012 Review

Last Friday, Peter Morrin and I welcomed close to 90 participants to the second annual public art symposium, held at the University of Louisville. Students from Georgetown College, U of L, and K State were in attendance, as were faculty from the U of L, UK, Bellarmine, Ohio State, and SCAD. In addition arts professionals and curators, including our very own Art Gal, Lori Meadows from the KAC, Karen Gillenwater from the Carnegie Center, were in attendance. The number of artists, in comparison to last year, was significantly lower; but the number of students and general public members had increased!

Before the official "start" of the symposium, several of us trekked to the Rodin on the campus of the U of L to closely view the stone, the bronze, its two layers of patination, and its wax. Above: Shelley Paine and Bernard Barryte closely inspect patina and marks of the patineur as Patrick Mohr looks on.

The symposium began with a session devoted to Rodin's history, his work, emplacement, and critical fortunes. Papers were offered by Chris Fulton and Bernard Barryte (from the U of L and Stanford University, respectively). The focus shifted to the science of Rodin, with papers by conservator Shelley Paine and image specialist Bill Mongon.

Paine and Mongon introduce the science of Rodin's art, above. The Keynote was offered by Renee Piechocki, pictured below.

Session II offered attendees the opportunity to hear "how to" do something in the field of public art. Breakout sessions were chaired by Garry Bibbs (Head of Sculpture, UK), Lori Meadows (KAC), Karen Gillenwater (Carnegie Center), Renee Piechocki (Keynote), and Chris Huskisson (Take it Artside!). Patrick Mohr (SCAD) offered a session on how to create temporary public art.

Session III focused on case studies from the region (sorry, no photos!). The symposium ended with a closing and final thoughts from Earl Grey and Peter Morrin. And, the day ended, as it began, in front of the sculpture, in quiet contemplation.

Above, artist and Curator Malcolm Cochran taking in Rodin. I enjoyed talking with you about this piece, Malcolm!!!

Thanks to everyone who attended this year's symposium.

We look forward to seeing you in 2013.

Public Art and the City: Louisville 2012 Public Art Symposium

Come to the U of L on Friday for Public Art and the City 2012. Free for students.

Join us for the day!

April 13, 2012

Chao Auditorium, Ekstrom Library

The Public Art symposium is sponsored in part by the Center for Arts and Culture Partnerships, The Liberal Studies Project, The Morgan Program, Hite Art Institute and The Kentucky Arts Council, the state arts agency, with state tax dollars and federal funding from the National Endowment for the Arts.

8:15 AM—9:00 AM Registration & Coffee

9:00 AM

Welcome – J. Blaine Hudson, Dean, College of Arts and Sciences, U of L

Sponsors’ Remarks

• John Hale, Director, The Liberal Studies, U of L

• Lori Meadows, Executive Director, Kentucky Arts Council

9:30 AM-11:45 AM Session I

Rodin’s Thinker Then and Now

Through an examination of material from archives, curatorial, and conservation records, this panel considers the intricate and complex story of the first cast of The Thinker done during the artist’s lifetime, its exhibition in 1904 at the World’s Fair in St. Louis, subsequent purchase by Baltimore patrons, and purchase by Arthur Hopkins for the city of Louisville before finding its present home at the University of Louisville. The sculpture’s recent cleaning and conservation, which has returned the dark brown patina as Auguste Rodin intended, provides the rich opportunity for professionals to share insight on not only these processes but, also, the history of this work.

Panelists:

• Christopher Fulton, Associate Professor of Art History, U of L

• Bernard Barryte, Curator of European Art/Manager of

Publications at the Cantor Arts Center at Stanford University, CA

• Shelley Reisman Paine, Sculpture Conservator, Shelley R. Paine

Conservation, LLC, Nashville and Cleveland

• Bill Mongon, Accurex Measurement, Inc., PA

Respondent: Richard J. Wittebort, Professor of Chemistry, U of L

Following this session, attendees will view the sculpture together, en route to lunch at the University Club.

12:15-1:30 PM Lunch and Keynote Address at the University Club

Growing Successful Public Art Initiatives

Renee Piechocki, Director, Office of Public Art, Pittsburgh, PA

What are elements of a successful public art program? What is the right mix between "best practices" and "best for us"? Piechocki will address the development of public art initiatives in Philadelphia, Portland, Pittsburgh, and Chapel Hill, highlighting how these programs became public art leaders in the field or their region. She will also call attention to current public art issues and ideas.

1:30-2:00 Session II (The University Club)

Public Art How-Tos

• How to Get People to Your Art: Karen Gillenwater,

The Carnegie Center for Art and History

• How to Secure a Commission: Garry Bibbs, Sculptor

• How to Get Public Art Noticed: Christine Huskisson,

Take it Artside!

• How to Fund Public Art Projects: Lori Meadows,

Kentucky Arts Council

• How to Educate with Public Art: Renee Piechocki,

Director, Office of Public Art, Pittsburgh PA

• How to Undertake Temporary Public Art Projects:

Patrick Mohr, Savannah College of Art and Design

2:15-3:15 Session III (Chao Auditorium)

Public Art Case Studies from the Region

This panel offers insight into recent public art projects commissioned, ongoing, and completed in the region.

• Mary Bryan Hood, Owenboro Museum of Art

• Malcolm Cochran, Finding Time Columbus Public Art 2012

• Joanna Hay, Liberty Hall

3:15-3:30 Concluding Remarks

Upcoming Lecture: Memorial Mania

Memorial Mania

The Hite Art Institute at the University of Louisville presents the Frederic Lindley Morgan Lecture entitled "Memorial Mania," by Erika Doss, author of the book with the same title.

Why do we make memorials in America today, and why do we make so many of them? Doss's talk focuses on contemporary American interests in memory and history and urgent desires to express them in public art and commemoration. Location and contact information are located here.

Fans of public art, American studies, and contemporary issues may find this lecture of great interest. Doss is professor and chair of the Department of American Studies at the University of Notre Dame. She has authored several American studies titles over the past two decades, including Spirit Poles and Flying Pigs: Public Art and Cultural Democracy in American Communities and Elvis culture: Fans, Faith, and Image.

Hope to see you there!

Modern Art Presentations

Students in the Modern Art course have been giving presentations on art movements and sub-movements, approaches, and media of the past half century. Topics this week have included assemblage, photography, architecture, pop art, minimalism, feminism, and earthworks. Despite the cold and, yes, snow flurries! students left the art building, under Katie's direction, and went across the street to create an earthwork first hand. The task: to engage and make work with the earth or the living environment.

As readers of the blog may know, my personal and professional interest in public art extends to land art as well. While there are multiple definitions of this movement (and, as Katie pointed out today, Stokstad only gives us two paragraphs of information about this movement), I see earthworks and land art as one of the defining shifts in modern art. The premise of this sub field (pun intended) is straightforward and two-fold. Land art and earth art/earthworks, a movement and classification of public art that emerged in the 1960s and continues today, makes the earth both a canvas and the pedestal for works. Such artworks are intended primarily as permanent, large-scale forms in wide-open spaces and in particularized natural environments, such as along a river, within a lake, amidst a field, or in an urban setting. Examples include Claes Oldenburg's Placid Civic Monument (1967), Michael Heizer's Double Negative (1969-1970), Walter de Maria's The Lightning Field (1974-1977), James Turrell's Roden Crater (1977-present), Christo and Jeanne-Claude's Valley Curtain (1970-72), and Nancy Holt's Sun Tunnels (1973-76).

Our earthwork was conceived in the space across from the Art Building -- the grassy area that Allison Warren once took up for her public art piece, Crossing (after Whitman). As a class, we chose to create one work rather than single works individually. Aptly titled A Pile of Sticks (We're Very Literal), the installation/earthwork was created with natural materials only and without the aid of any connective materials or alterations of the form in order to join elements. See top photo for the completed work. While A Pile of Sticks (We're Very Literal) may not withstand the semester or, even the day, we hope that you enjoy this ephemeral earthwork.

Our next project is the Modern Art Game Day. Join us on Monday, December 12 in the Wilson Gallery around 12:30 (giving us time to set up the games at noon). All are welcome to join us!

PS to TJ: Thanks for taking our photos.

PPS: as a way to link this post with the previous one by Darrell, see this information on a new exhibition in Paris on anamorphosis, that is, an image that needs to be seen from a special angle to be seen without distortion. Story here.