Department of Art and Art History News

Alumna Iva Kinnaird and Shelby Meier Exhibit in Make Time

Fri. October 7, 2016

log and a fruit cake
Iva Kinnaird (B.F.A. in Studio Art, 2014) is exhibiting new work this October at Texas Woman’s University galleries. The exhibition, Make Time, will be on view October 8 – November 6, 2016. 

This exhibition brings together Kinnaird and M.F.A. candidate in Studio Art at the Meadows School of the Arts at SMU Shelby David Meier who are exploring the murkiness of time, particularly the manner in which it can be “made” into a physical record of a set of actions. These actions can be purposeful or wasteful, or purposefully wasteful – embodiments of the manner in which we simultaneously work for, against, or in conjunction with time.
 

Emily Edwards Appointed New Exhibitions and Collections Coordinator at the 9/11 Memorial Museum

Fri. October 7, 2016

Since graduating from The University of Texas at Austin with a bachelor’s degree in Art History in 2015, Emily Edwards has attended Georgetown University for graduate school and received her master’s degree in Art and Museum Studies in 2016. Checking in with Edwards, we learned that she was recently appointed as the Exhibitions and Collections Coordinator of the 9/11 Memorial Museum.

What follows is the email communication about Edwards' recent career developments.

Emily Edwards; woman in her 20s
 

 

You recently finished your master’s degree at Georgetown University. Could you describe your thesis topic and why it was of interest to you? 

My thesis paper was on the progression of inclusivity in the curatorial agenda of the Barnes Foundation. The Barnes is a very unique institution that has a permanent display that hasn’t changed in over 60 years, and only established a temporary exhibition program four years ago. The museum is renowned for its collection of Impressionist and Post-Impressionist paintings. The temporary exhibitions now focus on highlighting non-Western artists while also concentrating on reaching out to the communities within Philadelphia.
 
I am very determined to increase the diversity of museum exhibitions and collections. I thought it would be interesting to take an in-depth look at an institution with such strict display regulations and show how it is actively working to address the gaps in its collection. If the Barnes Foundation can move towards a more inclusive curatorial agenda, then hopefully other museums can follow its lead.

 
What projects will you be working on at the 9/11 Memorial Museum?

As the Exhibitions and Collections Coordinator, my job is to work with the curators of both the permanent collection and the temporary exhibitions. I will assist with the preparations for upcoming exhibitions, such as procuring loans and creating an installation plan, and will work with the Registrar to construct a rotation schedule for objects on permanent display and ensure that proper storage standards are being adhered. I also will be in charge of the Artists Registry, which is an online initiative where artists submit photos of works they have created in response to the 9/11 attacks. I will look through these entries and curate online exhibitions featuring select submissions.


What kinds of experiences did you have during your undergraduate or graduate careers that led to your appointment at the 9/11 Memorial Museum in New York?
 
My internships were vital to the development of my career. My first internship was as a sophomore at UT Austin at the Arc of the Arts, a gallery and studio for artists with learning disabilities. After my junior year, I interned with the Education department at the Isabella Stewart Gardner Museum in Boston. During graduate school, I interned at three different places. In the fall, I worked with both the Curatorial and Education department at the Hirshhorn Museum and Sculpture Garden. During the spring, I interned at the Lehmann Maupin Gallery with their Exhibitions team. For this past summer, I was a Curatorial intern for the Barnes Foundation.
 
As for activities, as an undergraduate I participated in the Undergraduate Art History Association. I studied abroad in Italy and was able to see many Western masterpieces. I also was a volunteer at the Blanton Museum.
 
I know that seems like a hodgepodge of pursuits, but all these experiences taught me valuable lessons, honed my interests and gave me a diverse skillset! I started off college knowing I loved Art History, but had no idea what I wanted to do with that. By getting a taste of different roles and spaces, I was able to figure out what I want to do and where I want to work. My original interest in Education was actually essential in shaping my current passion for Exhibitions. After working with visitors and seeing their reactions to different displays of art, I have a better idea of how to curate more impactful presentations.

 
What about your work in Art History excites you and keeps you engaged?
 
I specialize in Contemporary Art, so its history is currently being written! It’s exciting to think that I can play a role in how this time period will be remembered in the canon. This also means I get to work with living artists. I love hearing about their creative process and the intentions behind their practice. It is an important responsibility to translate an artist’s work for the public.


What kinds of experiences initially drew you to Art History at UT?
 
I was fortunate enough to take AP Art History in high school, which sparked my interest in majoring in the subject. I was drawn to UT because it has a fantastic, top-ranked Art History program. I also liked that UT had all of the resources of a large school, while the program had the intimate class size and access to professors like a small liberal arts college. I also loved having the Blanton Museum right on campus. It has an impressive collection, and nothing compares to being physically present in front of a work of art!  

 
What advice would you give to incoming or current undergraduate in Art History?
 
Make the most of your time in undergrad! Talk with your professors, join organizations, visit the Blanton, work as an intern, tour the Landmarks collection, volunteer, take classes in areas you are unfamiliar with, and actively participate in your courses. This university has so many resources for Art History majors that often are underutilized.
 
I would also advise undergraduates to take the time to explore their career options. The art world has many components and career paths, and both UT and the city of Austin provide you with the opportunity to explore them. For instance, I interned at galleries and museums, which taught me I was more interested in non-profits than commercial art spaces.
 
Finally, meet with your professors! The Art History program has an incredible faculty. Not only will they help you with your classes, they will also be a source of encouragement, advice, and support. They want to get to know you, develop your strengths, and lead you to a successful career!
 

Teresa Hubbard Presents Work in Multiple Exhibitions This Fall

Wed. October 5, 2016

hands playing piano
still from House with Pool, Teresa Hubbard / Alexander Birchler

Currently on sabbatical and completing a studio residency in Berlin awarded by the Aargauer Kuratorium, Photography Professor Teresa Hubbard will have her work with collaborator Alexander Birchler exhibited in multiple exhibitions this fall.

From October 6, 2016 – February 4, 2017, The State Museum for Art and Design Nuremberg, Germany will be exploring contemporary frontiers in film and video art. Hubbard and Birchler’s Single Wide will be shown in the month of December. Other artists included in the exhibition are Johan Grimonprez, Julian Rosefeldt, Stan Douglas and others. 

Also in October, the National Gallery in Prague’s Moving Image Department will commence its 6th Chapter: Inner Lives (Of Time), exhibiting the work of Hubbard and Birchler. The sixth chapter of the Moving Image Department concentrates on two parallel and complementary themes – the (inner) architecture of time and the architecture as a vehicle of a (real and imagined) temporality. The works gathered in “The Inner Lives (Of Time)” are reveries and as such, oscillating between the states of dreaming and waking, they express the psychology of both time and architecture, and their influence upon (mainly female) protagonists’ conscious and sub-conscious acts and the actions' flow. From the trance films of the American avant-garde filmmaker and film theorist of the 1940’s and 1950’s, Maya Deren through a cinematographic masterpiece, “House with Pool” (2004) by American-Swiss filmmakers Teresa Hubbard / Alexander Birchler down to the structural poetry of Czech artist Markéta Othová’s photography and the poetic structure of Austrian artist Josef Dabernig’s already iconic Montage-System, the exhibition loops the stories in a search for a cinematic truth and magic. 

The exhibition will be on view October 5, 2016 – January 15, 2017
 

Mesoamerica Center Announces New Maymester Program in Guatemala and Belize

Wed. October 5, 2016

student among ruins in Latin America
Casa Herrera is an extension of The University of Texas at Austin’s Mesoamerica Center in the UNESCO World Heritage city of Antigua in Guatemala. This upcoming May, it will become the headquarters for the new Latin America Bridging Cultures program focused on the study of Maya and colonial heritage in Guatemala and Belize. The program offers a unique chance at the kind of experiential learning abroad that is gained during a semester-long program in only four weeks from May 31 – June 27, 2016.

“We are excited to launch this new program as a Maymester because we want to give opportunities to students in COFA to experience the dynamic history, archaeology and visual cultures of Central America,” writes Dr. Astrid Runggaldier, assistant director of the Mesoamerica Center at The University of Texas at Austin and one half of the leadership team for Bridging Cultures in Latin America alongside Dr. David Stuart. “We realized with previous programs during the academic semesters that for students in the arts – especially students who need access to studio space — it is difficult to go abroad for extended periods of time. We hope that this Maymester, open to all majors across the university, will also give our COFA students the chance to learn about and be inspired by the vibrant cultures of contemporary and ancient Latin America."

The Bridging Cultures in Latin America: Maya and Colonial Heritage program coursework relies on hands-on observation and experience throughout the dynamic countries of Guatemala and Belize. As such, students will travel extensively throughout Guatemala and Belize to experience archaeological sites, museums, villages, cooperative businesses, natural reserves and protected ecosystems, and will be matched with local family stays for their time in Antigua.

The Bridging Cultures in Latin America team is committed to reducing financial barriers to the study of Central American culture and history. Financial support for one student applicant in the amount of $1,500 to defray the cost of the program will be awarded. 

Katherine Bash Debuts New Work at Museum of the Southwest

Tue. October 4, 2016

TAGS
three photographs from Bash

The Light of Consciousness: Part I, by Katherine E. Bash (M.F.A. in Design, 2004) is a multi-layered installation of photography, and poetry drawn from three years of investigatory travel into different landscapes—both interior and exterior—with a focus on ephemeral phenomena. The exhibition includes 57 unique photographs, a publication Companion Guide and a recording of the accompanying Polylogue (a multi-sourced poetic form). Public programs included a one-time collaborative performance with violinist John Madura, concertmaster of the Midland Symphony Orchestra, on August 20, 2016.

According to co-curator Pujan Gandhi, Bash's installation reminds the viewer that “objective cognitions are also subjective, and that our mind’s eye is constantly revealing, concealing, and again revealing our observed reality.” Gandhi explains that “[e]ach photograph captures a sensory semi-stasis, one that the artist then acts upon with a ‘chance reading’ of a selected text. Image, language, and performance coalesce into a cohesive whole. Her aim: to generate an alternate space to discover ‘new meanings, and new poetries.’”

Katherine E. Bash lives and works in London, UK and Midland, TX. She earned her B.A. in Biology and an M.F.A. in Design at The University of Texas at Austin. In 1998 Bash received a Fulbright Fellowship to conduct a visual anthropology of indigenous rainforest cultures of Ecuador. Bash was an awarded a Ph.D. from the Bartlett School of Architecture at the University College London in 2011 for her dissertation: Spatial Poetics: Heuristics for Experimental Poisesis. Her most recent exhibition, De Speculum Oraculum, was held at the Till Richter Museum in Buggenhagen Germany.