Art Events from Mimbres Region Arts Council

A Rare Opportunity!  There is limited space left in the monoprint workshop…call to reserve yours! Native American printmaker, Jaune Quick-To-See-Smith also will offer a non-toxic monoprint workshop with akua intaglio ink Friday, November 30, 9 am - 12 pm, where she will demonstrate a stencil process (pochoir), a photocopy transfer with non-toxic solvent and Chine Colle. The cost of the workshop is $50. Call 388-5725 or 538-2505 to reserve your space.Chris CallowaySaturday, December 1, 7:30 pmWNMU Fine Arts Center TheaterSmooth jazz & blues from the daughter of legendary Cab Calloway – Cabaret style.Tickets: $15/ members $20/ non-members $10/ students $5/ children under 8Call for Artists!End of the Year Juried ShowAll Media – Art due December 3 Deliver one (1) piece of art to the MRAC Office$5/ entry fee Entrants must be MRAC members Opening Reception, December 7, 5 pm Dr. Counts and Mayor James Marshall would like to invite you to a meeting ofthe Town and Gown Committee to hear about Silver City MainStreet Project’s application for the development of a New Mexico state authorized Arts andCultural District Pilot Program. The meeting will be at the Silco TheatreDecember 3, 5:30-7:00. The Mimbres Region Arts Council, Silver City Museum and MainStreet organization will talk about the benefits and the process.WNMU will provide refreshments.MRAC Mural Dedication - Viola Stone Park, Santa Clara Saturday, December 8 2:00 pmA.I.R. Coffee Cafe & Gallery Book Signing - Robert K. Swisher, Jr., Author, Gallery Owner, Ranch Foreman & Hunting/Fishing Guide Signing his most recent book, “How Far The Mountain,” plus others.  Saturday, December 15, 2007 - 2:00 to 5:00 p.m.208 Central Avenue, Bayard, NM 88023575 537-3967

FLOWERS GALORE

FLOWERS GALORE
Featuring Artists: Delmas Howe, Dave Barnett, Nolan Winkler, Rw. Winkler, David W. Farrell, Daniel Kosharek, Dave Barber, Dianne Evangelista, H. Joe Waldrum, Ron Picco, Roger D. Paris, Holly Humphrey, Sandy Hopper, Eduardo Alicea-Moreno and Additional Sierra County Artists.

Opening reception is Saturday, December 8, 2007 from 6pm to 9pm.
The show runs through Sunday 3, February 2008

Also starting on opening night until Saturday 12 January 2008
Delmas Howe invites you to TITLE his new 48″ x 36″ southwest cowboy painting. Winner will receive a digital print signed by the Artist Chosen Title will be announced on Saturday 12 January 2008 during Art Hop Forms to submit available at Mi Tesoro - 201 Main St. and at
RioBravoFineArt - 110 Broadway, NM 87901

575-894-0572

Ceramic Wiki

I keep all my ceramic formulas in wiki and have decided to publish it here. I’m not sure how this will all work or if anyone will look at it but it will give me online access when I’m not in the studio.

VIDEOPOEM

A videopoem by Tom Konyves

I have done a couple of these without the sound. Mine were based on the work of J. Tarbell at levitated.net and were interactive. They were a part of an installation piece about internet porn. The first is a recording of a chat room conversation, I called it Chant Room Bus Ride. Another one was KEYWORD The words were taken from the work a congressional committee did to protect us from Internet Porn, the words were identified as key search words that would lead to porn sites. The same set of words were used in PORN FRACTAL

Don’t enjoy them too much — THEY may be watching!!!

Docking Station: Josef Strau – Voices and Substitutes (2007-11-17 - 2008-01-06)

Posted from Absolute Arts:

Docking Station: Josef Strau – Voices and Substitutes (2007-11-17 - 2008-01-06):

Docking Station, the project space at Stedelijk Museum CS, presents Voices and Substitutes: the first ever Dutch exhibition of work by Josef Strau (b. 1957, Vienna). Since the late eighties Strau has experimented variously with the social roles of gallerist, curator, writer, musician and artist. His many metamorphoses make him difficult to fit into any of the usual art world categories. In Germany, his activities have made him a cult figure and he has influenced a whole generation of artists. Strau’s experimental artistic practice is rooted in the written word. Initially his writings took the form of articles for catalogues and art journals; later they became autonomous narratives presented in the form of books and posters in the context of exhibitions. Over the last two years, Strau has been creating ‘narrative spaces’ in which he relates texts to objects and examines the way text relates to the three-dimensional medium of the exhibition. A reference point in this respect is Daniel Libeskind’s 2001 Jewish Museum in Berlin, a building in which text and architecture join hands to open up new metaphorical, literary and imaginative possibilities.

Book Autopsies

Check out this site.

A kind of Book Collage sculptor.

Briandettmer4

GIRLdrive

GIRLdrive:

Picture
[painting by Miriam Laufer, EBB's grandmother]Okay, go right now & check out one of the coolest, most thoughtful blogs I’ve encountered recently: GIRLdrive, the ongoing photographic & verbal documentary record of two young women on the road, interviewing “young women across the country, asking them what they think and feel about feminism.” The duo’s credentials & backgrounds are impressive: Nona Willis Aronowitz is a scholar of 1970s pornographic movies & the daughter of feminist scholar Ellen Willis & sociologist/activist Stanley Aronowitz, & writes very well indeed. Emma Bee Bernstein, daughter of artist Susan Bee and Language poet Charles Bernstein, is a fine photographer (and loves her little brother Felix).J. wants Pippa & Daphne to grow up to archaeologists or war correspondents; I’d always leaned towards painters or musicians, but I think I’d be more than happy if they decided to be cross-country documentary bloggers.

Call for Aritsts: Take Part in an Art Research Project (2007-11-05 - 2007-12-31)

Posted from AbsoluteArts.com

Call for Aritsts: Take Part in an Art Research Project (2007-11-05 - 2007-12-31):

Artists are cordially invited to take part in a research conducted by MIT - Massachusetts Institute of Technology and ArtForecast. The research examines the myth of the term “Eye for Art” by presenting a set of artworks images to various participants. Participants are challenged to choose the most promising artwork out of a given set and to try to predict which artwork will be the most valuable in one year.

Click here to submit your artworks

WNMU Faculty: Visiting Navajo Poet

Sunny Dooley tells Blessingway stories with the blessing of her family, clans, and elders. She has told the stories throughout the U.S., Canada, Europe, and Africa for ten years.

Monday, November 5, 2007

7:00 p.m. in the Global Resource Center Auditorium,

Western New Mexico University



Free and Open to the Public.

Sponsored by the New Mexico Humanities Council and

The Millennium III Honors Program, Western New Mexico University

Charles Olsen Movie

Posted from Ron Silliman’s blog. Olsen is a favorite poet. Check out the trailer herehttp://feeds.feedburner.com/blogspot/FXkn:If Polis is This: Charles Olson and The Persistence of Place isn’t the best motion picture ever made about an American poet – a claim attributed to Bill Corbett on the film’s website – it’s mostly because What Happened to Kerouac? the 1986 documentary made by Richard Lerner & Lewis Mac Adams (with major post-production editorial work from co-producer Nathaniel Dorsky) set the bar so very high. But perhaps because Kerouac in death as in life has long been an icon in the American popular imagination, while Olson remains primarily of interest to other poets, the task of these two films is fundamentally different.In fact, one of the best sequences in Polis comes early on with the filmmaker wandering around Gloucester, Massachusetts, asking the locals what they recall of Olson, who died, mind you, more than three decades before. A surprising number remember “the big guy,” a reasonable way to characterize a poet 6’8” tall – one of them is able to cite the passage where he and his buddies can be found in Maximus. This film is full of such small, fine touches, while offering a narrative of Olson’s life and an exposition of his main ideas, particularly his appropriation of Robert Creeley’s “form is never more than an extension of content” (explained here by Creeley himself with assistance from NFL film footage!). Another absolutely amazing moment is Pete Seeger’s explanation of how Charles Olson caused Woody Guthrie to write Bound for Glory. That by itself is worth the price of admission.Most of the limits of the film are the consequence of attempting to pack so much into a one-hour time slot. Polis hardly touches the last decade of Olson’s life – particularly odd given his status as a late-starter & his death at 59 – which also means that the question of alcohol is never addressed. Nor the ways in which the death of his wife Betty in an auto accident in 1964 set him emotionally adrift. And there are themes within his work, places literally, that the film could have detailed far better for the reader who has not (yet) wandered the streets of Gloucester with Maximus as their map. The Cut, for one, Dogtown for another. Dogtown once was a town itself, an alternate Gloucester that sprang up before residents understood just how dependent on the proximity of the sea the community would become. As people moved east to the shore, the houses left behind were given to the inevitable widows left by shipwrecks, etc. Finally the neighborhood was abandoned & reverted to the brambles of “open space,” tho you can still find the foundations of the old houses there. It’s so overgrown today that visitors are warned to take compasses and let friends know they’ve gone in. To be “from Dogtown,” like Olson’s alter ego, is to be from the wild, abandoned, tragic past. This is not Russell Crowe’s Maximus, but the Creature from the Black Lagoon as oversized, absent-minded professor. If this be persona, it is the most complex, fascinating example of such in American literature.Perhaps the film’s main weakness, tho, is one that it shares with What Happened to Kerouac? The scarcity of women & women’s voices. There are just a handful, notably Susan Thackery, Anne Waldman & Diane DiPrima. The most glaring omission turns out to be Frances Boldereff, Olson’s mistress during the period in which he formulated “Projective Verse” and Maximus both. Even if it’s overblown to set Boldereff up as Olson’s muse, the “secret sauce” that makes possible these epoch-changing projects, her impact was nonetheless profound. Her absence, even if it was a condition of the family’s cooperation, doesn’t serve Olson well.But the larger problem isn’t so much the erasure of Boldereff – whose existence wasn’t widely known even to Olson’s friends at the time – as it is the whole question of the New American Poetry’s way of relating to women. The Allen anthology includes just four females among its 44 contributors: Denise Levertov, Barbara Guest, Madeline Gleason and Helen Adam. Only Levertov, who died in 1997, would have made sense in the context of this film, tho she never was a student at Black Mountain and largely abandoned her New American roots after 1970. (Three of the four, it’s worth noting, were personal friends of Robert Duncan’s, who did teach briefly at the North Carolina college, but whose relationship to women as a gay male differed from Olson’s machismo.) One wonders if future conferences & panels concerning male New American poets generally won’t end up having the same unspoken requirement that conferences do today regarding Ezra Pound’s politics, where either a panel or, at the least, a speaker is compelled to address the problems of fascism & anti-semitism. We may just need an extended series of “Olson & Women,” “Creeley & Women,” “O’Hara & Women,” “Blackburn & Women,” “Duncan & Women,” “Eigner & Women,” “Baraka & Women” events.