February 24 – March 14, 2012
Friday, February 24, 4:30 – 6pm: Reception with Wendy Red Star
At the turn of the 20th century, collectors began acquiring Native American objects with increasing fervor. Often, collectors created specific display areas in their homes to showcase their treasures. Called “Indian Corners,” these areas typically comprised a hodgepodge of ritual objects, textiles, ceramics, and images. Created and curated by artist and scholar Wendy Red Star, the IDEA Space exhibition Indian Corner examines the politics and poetics of collecting both authentic and commercially produced Native objects. The exhibition features a kitsch version of a 21st Century “Indian Corner” juxtaposed with objects from the Colorado Springs Fine Arts Center’s collection of Native American objects.
February 21 – March 9, 2012
Tuesday, February 21, 4:30 – 6pm: Opening Reception with Dan Raffin
Colorado College Professor of Art Dan Raffin presents recent sculpture created using computer-aided design program. He writes about the project: “These objects represent the beginning of a project using CAD software to design three-dimensional forms that are then materialized as empty volumes. They will not help you do anything, whether that is to put your feet up, be instructed, inspired or pleased. They would rather resist good intentions with obstructive superficiality.”
Monday, February 13, 2012
4:30 – 6pm: Screening of “a woman like that”
6 — 7pm Encounters with Artemisia: Panel Discussion
Edith Kinney Gaylord Cornerstone Arts Center Film Screening Room, Free
Taught to paint by her father Orazio, a renowned follower of Caravaggio, Artemisia Gentileschi was one of the first female artists to achieve recognition in her own time. Her remarkable life story includes a famous rape trial when she was 17 years old, friendship and support from Galileo and the Medici, and most striking for her time – a career as a working, professional artist.
“a woman like that” is the first personal documentary directed by Weissbrod, who has been working in film for close to thirty years. In 2002, Weissbrod was at a career crossroads, mired in directing empty reality television. Fascinated by Artemisia’s story, Weissbrod determines to take a risk and make her own work – but is mysteriously denied permission to film the once-in-a-lifetime retrospective of Artemisia and her father Orazio at the St. Louis Art Museum. Undeterred, she dons a spy camera and goes ‘undercover,’ secretly filming the exhibition. This bold act sets her on a 5-year journey, as she travels to Italy, where curators and collectors open their museums and homes. This unconventional but heartfelt hunt upends typical artist biographies and delivers instead a funny, engaging and all together different kind of documentary. “a woman like that” is a freewheeling tribute to an artist whose own bold life and inspiring message leaps across centuries to speak to us all. The enduring power of storytelling – in paintings, in films and in our lives is revealed, as the filmmaker learns that who gets to tell the story matters, and that maybe she too, can be “a woman like that.”
Following the film, Ellen Weissbrod will be joined by Gale Murray, Professor of Art History; Rebecca Tucker, Professor of Art History; and Sherrie Wolf, featured artist, for a discussion on the legacy of Artemisia Gentileschi.
Monday, February 13, 12 – 1:30pm
Gaylord Hall in Worner Center
Cost for lunch and lecture: $15, Reservations Required. Call 719-227-8263 or email firstname.lastname@example.org.
Known for her well-researched and meticulous appropriations from Old Master paintings, Sherrie Wolf received a BFA from the Pacific Northwest College of Art and an MFA from Chelsea Collage of Art in London. Returning to Portland, she has become one of the most accomplished painters and printmakers in the Pacific Northwest. Her work has been widely exhibited both in galleries and museums as well as being included in a numerous collections through out the United States. With one foot in the past and another firmly in the present, I create a dramatic staged setting for my still life images. She writes about her work, “I am especially moved by the magic of illusion, and drawn to complex layers of activity with in a painting. I aim to exploit and to reveal, rather than disguise, the fact that art is artifice. For me painting is a way of exploring visual high-jinx and dramatic effects. I attempt to honor the trompe l’ oeil tradition, as well as grand historic paintings by my predecessors. I am indebted to them.”
December 6, 2011 – February 14, 2012, IDEA Space
Hybrid identities, overlapping narratives, theatrical spaces and virtual realities – these characteristics obviously describe contemporary experience, yet they also apply to certain aspects of the 17th century. Strange Beauty uncovers connections between Baroque and contemporary experience.
Hybrid identities, overlapping narratives, theatrical spaces, virtual realities: while one readily applies these qualities to contemporary experience, it is not instantly apparent to the casual consumer of history how these characteristics equally apply to the 17th Century world. Originally a derogatory term, the word “Baroque” typically conjures images of excessive ornamentation, unnecessary complexity, and superficiality. While these attributes do feature in some Baroque work, the larger concerns of the era, which is sometimes considered to represent the beginnings of a modern psychology, mirror those of our own. In the Baroque and Contemporary eras, artists have struggled to identify and convey a heightened awareness of the complex relationship of an individual to a multivalent reality that persistently evades concrete definition. Featuring work by contemporary artists Jimmy Baker, Liza Lou, Kehinde Wiley, and Sherrie Wolf, Strange Beauty uncovers connections between Baroque and contemporary experience.
Tuesday, December 6, 4:30pm Opening Reception and IDEA Cabaret: The Past is Just Another Place, featuring Sherrie Wolf and CC faculty.
December 13, 2011 – February 3, 2012, Coburn Gallery
This exhibition, from the collection of independent curator and Colorado Springs resident Joyce Cheney, features over 60 exquisite examples of Molas made by Kuna women in Panama in the latter part of the 20th century.
Mola is the word for both the traditional decorated panels and the blouses into which they are incorporated. A wide range of imagery can be found incorporated in mola designs: traditional motifs and local plants and animals, plus more recent globally-influenced images such as WWII planes over Panama and modern cruise ships.
Joyce Cheney has been a cultural worker for decades. Previously a storyteller, folk musician and community organizer, she has transitioned backstage to museum exhibit development and non-fiction writing.
Tuesday, December 13, 4:30pm Opening Reception and Gallery Talk at Coburn Gallery with curator Joyce Cheney
October 6 – November 19, 2011, IDEA Space
Employing the dual translation of the Persian word, Parvana explores the multiple aesthetic, scientific, and literary understandings of moths and butterflies. Featuring artworks by Joseph Scheer, Rebecca DiDomenico, John Buck, and Suzanne Anker, a performance by Eiko & Koma, and specimens from natural history collections, Parvana examines the intersections between scientific and artistic modes of investigation. Parvana is part of Cross-Pollination a larger, community wide project about art insects, and community-based collaborations. www.crosspollinationcolab.com
The Persian term parvana is frequently translated as “butterfly,” but in Indo-Persian/Arabic poetic usage, it almost always refers to the obsessed lover; literally, the moth, parvana attracted to the flame shama. Employing the dual translation of the Persian word, the exhibition Parvana explores the multiple aesthetic, scientific, and literary understandings of moths and butterflies.
Featuring visual artists Joseph Scheer, Suzanne Anker, Rebecca DiDomenico, and John Buck, a collection of entomological specimens, and a performance by Eiko & Koma, Parvana seeks to uncover the intersections between scientific and artistic modes of investigation. Rather than using the arts as an illustration of scientific study, the exhibition examines how a synthesis of creative expression and scientific methodology can result in a deeper understanding of a subject. Through visual arts, performance, discussion, and presentations, Parvana explores how scientific and aesthetic approaches can combine to enhance our understandings of a subject.
Blurring the boundaries between art and science, Joseph Scheer uses a high-resolution digital scanner designed for scientific research to enlarge moth specimens many times their orginal size, revealing their often-obscured beauty. Inspired by the visual similarity between the dual lobes of the brain and the symmetry of the butterfly, Suzanne Anker’s MRI Butterfly series associates the two with enchanting results. Rebecca DiDomenico creates artworks made from butterflies that poignantly capture the evanescence typically associated with the insect. John Buck’s prints evoke the moth’s mystery and multi-cultural symbolism. MacArthur Genius Award winners Eiko & Koma have developed a unique blend of modern dance, performance art, video, and costume design that transcends genre or discipline.
Parvana Schedule of Events
Thursday, October 6, 4 – 6:30pm, Parvana Opening ReceptionIDEA Cabaret: The Lepidopterans: The Art & Science of Moths and Butterflies, free.
- 4:00 – 5:00 Alex Vargo & Corinne Scheiner: Nabakov’s Butterflies, CAC Film Screening Room
- 5:00 – 6:00 Art/Science Panel Discussion with Alex Vargo, Joseph Scheer, Rebecca DiDomenico, and Eiko & Koma, IDEA Space. Reception to follow.
Sunday, October 9, 3pm, Delicious Movement Workshop with Eiko & Koma
Cossitt Gym, free. Presented in collaboration with Imagination Celebration.
Friday, October 14, 7pm, Regeneration a performance by Eiko & Koma featuring Raven, Night Tide, and White Dance (Moth)
Cornerstone Arts Center Richard F. Celeste Theatre, free
Reception and book signing at IDEA Space with Eiko & Koma immediately following the performance. Presented by IDEA and The Colorado College Drama and Dance Department and sponsored by the Virginia Darnes Yates Endowment. Tickets required; available at Worner Center on the CC campus. For information call 719-389-6606.
Friday, October 21, 1pm, Eiko & Koma: Dance for Film Screening and Artist Talk
CAC Film Screening Room, free. Book signing at IDEA Space to follow.
Tuesday, November 1, 4:30pm: IDEA Cabaret: Spooky Spiders, Massive Moths: Bugs in Film
CAC Film Screening Room, free.
Friday, November 4, 12:30pm, IDEA Cabaret: How Bugs Breathe
Lecture and Demonstration by Emilie Gray, Assistant Professor of Biology at Colorado College, IDEA Space, free.
Tuesday, November 8, 4pm IDEA Cabaret: Artist/Naturalist
By Assistant Professor of History, Jane Murphy and Assistant Professor of Philosophy Marion Hourdequin, IDEA Space, free.
During the exhibition, tune into the Morning Mix with Vicky on KRCC 91.5 FM for a butterfly or moth-related song of the day.
Sponsored by: The President’s Circle, the Colorado College Cultural Attractions Fund, the Virginia Darnes Yates Endowment, and the Andrew W. Mellon Foundation grant “Art in the Liberal Arts”
White Dance (Moth) photo by Anna Lee Campbell
Friday, October 14, 7pm
Regeneration by Eiko & Koma
Cornerstone Arts Center Richard F. Celeste Theatre, Free
Colorado College is proud to announce that internationally renowned dancers and multi-media artists Eiko & Koma will be in residence at College in October of 2011. In addition to teaching a class for the Colorado College Drama and Dance department, Eiko & Koma will perform Regeneration featuring three pieces of choreography: Raven, Night Tide, and White Dance (Moth) and will participate in a variety of public programs.
Recipients of the MacArthur Genius Award, Eiko & Koma have developed a unique blend of traditional Japanese dance, modern dance, performance art, video, and costume design that transcends genre or discipline. Since 1972 the Japanese-born choreographer/dancers have challenged and galvanized audiences with their performances. This is not traditional dance, but a riveting “theater of movement created out of stillness, shape, light and sound.” In the forward to Eiko & Koma: Time is not Even; Space is Not Empty, recently published by the Walker Art Center, Olga Viso writes, “Over the course of their forty-year collaboration, Eiko & Koma have created a body of work that is like nothing else in contemporary art. Primal, intense, and powerfully moving, their pieces explore elemental themes such as birth, death, desire, struggle, and the profound connection between the human and natural realms. They have been acclaimed and embraced by the American dance community since their arrival in the United States in 1976. Yet Eiko & Koma do not consider themselves dancers in any traditional sense. Rather, they think of themselves as artists whose medium is movement and whose work resides in the spaces between dance, theater, performance art, and sculpture.” Among their many accolades, Eiko & Koma have received two “Bessies” (1984 and 1990), a Guggenheim Fellowship (1985), a MacArthur Genius Award (1996) and United States Artists Fellowships (2006). They were honored with the Samuel H. Scripps American Dance Festival Award (2004) and the Dance Magazine Award (2006) for lifetime achievement in modern dance. For more information about Eiko & Koma, visit their website www.eikoandkoma.org.
Regeneration will take place on Friday, October 14 beginning at 7pm in the Cornerstone Arts Center Richard F. Celeste Theatre, located at 825 North Cascade Avenue, Colorado Springs, CO. A public reception with Eiko & Koma will follow the performance. The performance and reception are free and open to the public. Regeneration is presented by the Interdisciplinary Experimental Arts program (IDEA) at Colorado College and the Colorado College Drama and Dance department and is made possible by generous funding by the Virginia Darnes Yates Endowment. The performance is free, tickets are required. Tickets are available at the Worner Desk on the Colorado College campus. 719-389-6606.
October 18 – November 7, 2011, Coburn Gallery
Presented in collaboration with Benet Hill Monastery, this exhibition comprises seventeen illuminations from the St. John’s Bible.
St John's Bible
This Bible is a special project celebrating the 150th anniversary of the Benedictine monks of St. John’s Abbey in Collegeville, MN. It is the first complete handwritten and illuminated Bible to be produced since the 15th Century. The scribing and illuminations were created using a unique combination of centuries-old tradition of craftsmanship with the latest capabilities of computer technology under the direction of Donald Jackson, one of the world’s foremost calligraphers. Sponsored by Paul Frederick Sheffer Memorial Fund for Roman Catholic Studies and the Colorado College Department of Religion.
Wednesday, October 19, 6pm, Opening Reception at Coburn Gallery; 7pm Lecture by James Cutsinger, Professor of Theology and Religious Thought, University of South Carolina. WES Room, Worner Center on the CC campus.
Thursday, November 3, 7pm, Lecture by Michael Patella, O.S.B, Chair of Committee on Illuminations and Text, Member of Saint John’s Abbey and University. WES Room, Worner Center on the CC campus.
September 8, 2011
Canadys Station coal fired electricity generator
- Thursday, September 8, 12:15pm Lunch and Lecture: The Legacy of Ludlow and the Colorado Coal Field War, by Dean Saitta, Professor of Anthropology, University of Denver and reading from Ludlow by author Dave Mason Gaylord Hall, $15. Reservations required: 719-389-6606 or email@example.com
- Thursday, September 8, 4:30pm, Edith Kinney Gaylord Cornerstone Arts Center Film Screening Room, Lecture by J Henry Fair, “The Power to Change.” Free.
September 6 – 28, 2011, Coburn Gallery
The conditions in the coal mines of early 20th century Colorado were notoriously bad, with Colorado ranking second in the nation between 1884-1912 for coal miner deaths. This exhibit will explore the history of the Colorado Coal Strike of 1913-1914 and the archaeological data produced from the excavations at Berwind and the Ludlow Tent Colony, while also attempting to contextualize these historical events in the realm of the contemporary energy industry.
Refugee Mother and child in Trinidad c 1914
The conditions in the coal mines of early 20th century Colorado were notoriously bad: Colorado ranked second in the nation between 1884-1912 for coal miner deaths. In September 1913, with the help of the United Mine Workers of America, coal miners along the eastern slope struck, left coal company towns, and established striker tent colonies along the eastern slope of the Rocky Mountains. The largest of these tent colonies, Ludlow, was established approximately 20 miles west of Trinidad. Seven months after the beginning of the strike, April 20, 1914, violence broke out between National Guard Troops stationed in the area and members of the Ludlow Tent Colony, resulting in the burning of the striker camp and 20 deaths. This event became known as the Ludlow Massacre and attracted increased national interest in the conditions of the coal miners and their families in Colorado. In 1997, archaeologists began a five-year investigation of the Ludlow Tent Colony site and the town of Berwind. Culminating in Colorado Coalfield War Project, the research produced both historical and archaeological data that helped illuminate the lives of the coal miners and their families before, during, and after the strike of 1913-1914. This exhibit will explore the history of the Colorado Coal Strike of 1913-1914 and the archaeological data produced from the excavations and contextualize these historical events in the realm of the contemporary energy industry.
Summer Dates: June 6 – July 15, 2011
Fall Dates: September 6 – 17
IDEA Space is closed from July 16 – September 5
Artist and an environmental advocate J Henry Fair creates large-format photographs of sites of environmental degradation that simultaneously seduce us with their extraordinary beauty and horrify us with their content. Shooting from airplanes or helicopters, Fair captures images of the pollution generated by paper mills, fertilizer factories, power plants, coal mining operations, and oil companies.
Waste Ash at Coal Fired Electrical Plant
J Henry Fair’s large-format photographs of sites of environmental degradation simultaneously seduce us with their extraordinary beauty and horrify us with their content. Shooting from airplanes or helicopters, Fair captures images of the pollution generated by paper mills, fertilizer factories, power plants, coal mining operations, and oil companies. To compel the viewer to consider the true cost of resource extraction and industrialization, Fair’s Industrial Scars are lyrically beautiful, featuring dynamic compositions and saturated colors that evoke Abstract Expressionist paintings. Occupying dual roles as artist and environmental advocate, Fair seeks to create “an aesthetic look at some of our most egregious injuries to the system that sustains us in hopes that the viewer will come away with an innate understanding of his or her complicity and a will to make a difference.”
J Henry Fair’s photographs have been featured in segments on the TODAY Show, CNN, FOX News, and WDR German TV, as well as in most major publications, including ArtNews, National Geographic, TIME, New York Magazine, Harper’s Magazine, and GQ. He has participated in group and solo exhibitions at major museums, galleries, and educational institutions around the world. In addition to his artistic practice, Fair supports a number of environmental organizations that share his commitment to changing destructive consumer habits and effecting positive change in our environment. He is co-founder of the Wolf Conservation Center in South Salem, NY, an organization that is dedicated to the protection of and education about the world’s wolf population. He is a regular contributor to NRDC’s OnEarth Magazine and blogs regularly about art and the environment. His book, The Day After Tomorrow: Images of Our Earth in Crisis was released in 2010.
Industrial Scars is made possible by support from the President’s Circle and the Colorado College Cultural Attractions Fund