鈥淩ecognitions can come in many forms, from a simple smile to a museum acquisition,鈥� said Ellsworth. 鈥淚t is an acknowledgment that the intrinsic value of an art object is not the price, but the process. Recognitions acknowledge a maker鈥檚 motivations. While the object supports the ego, the process supports the soul.鈥�
When you were in high school science class, was one of your lead instructors a sculptor? Maybe, but you probably didn鈥檛 know about it. Working with teaching artists is one way CU Science Discovery approached its recent 鈥楩orests and Fire鈥� field course held at Cal-wood Education Center, located near Jamestown. The course was part of CU Science Discovery鈥檚 efforts to foster STEM engagement and career exploration among Colorado high school students.
"For over 30 years, the artist has been making work that speaks to American history 鈥� ambiguous, open-ended, existentially observant. At a time in which the fundamentals of fact and fiction are being questioned, his art captures the truth of a culture in decline." Written by Megan O'Grady, Assistant Professor of Critical and Curatorial Studies for the New York Times Style Magazine.
At a time when the basic power structures of the art world are being questioned, collectives and individuals are fighting against the very institutions funding and displaying their work. Article written by Megan O'Grady, Assistant Professor of Critical and Curatorial Studies.
This article featured in the New York Times Style Magazine is written by Megan O'Grady, Assistant Professor of Critical and Curatorial Studies. "Rather than prioritizing confession and catharsis, today鈥檚 authors are focusing on the question of who gets to share their version of things and interrogating the form, along with themselves."
For its 25th anniversary exhibition this year, Dr. George Rivera and the Artnauts decided to exhibit in a country where they saw a major crisis of contention: the United States. With increasing tensions surrounding COVID and race relations, the exhibition titled Uncanny Times aims to address the discord that divides and alienates us. Artists were asked to explore this theme using whatever medium they wished.
Roth at CU Boulder says that graduate programs are evolving to reflect students鈥� changing goals. In the past, most aspired to academic positions or commercial sales through gallery representation. 鈥淣ow many students are exploring socially engaged, field-based practice, starting their own small businesses instead of going into the academic or gallery world,鈥� Roth explains. 鈥溌槎挂� are looking for a third way.鈥�
The Side by Side project teaches high school students about local birds鈥� ecosystems through performative arts and scientific observation. Through a grant provided by the National Science Foundation (NSF), this group of 11 high school students in STEM (science, technology, engineering and math) spent their summer days observing the birds interacting with the environment through the guided arts and sciences approach of the project.
In lieu of a gallery, Adam Milner鈥檚 sculptures can be seen all around New York City 鈥� from a bodega to a dog鈥檚 collar. Paintings belong on the wall, and sculptures belong on pedestals, right? Maybe not, according to Adam Milner, whose current exhibition Public Sculptures is premised on spontaneous encounters with art 鈥� not in a museum or gallery, but in the spaces we least expect: those we frequent as part of our daily lives.
Sama Alshaibi talks about her experience in the MFA program at the University of Colorado Boulder and her upcoming 2021 Guggenheim Fellowship. Landing in Colorado just months before 9-11 Sama Alshaibi, an Iraqi immigrant, found her world forever changed. Looking for opportunities to make work about the complex history of the US Middle East relationship, CU Boulder鈥檚 Department of Art & Art History became a home for her creativity to thrive.
