April 24 – July 14, 2012
Lost and Found: A North Sea Collaboration: Carl Reed and Thomas Claesson
(IDEA will be closed May 16 — 28, 2012)
Tuesday, April 24, 4:30 – 6pm:
Reception with Carl Reed
This exhibit results from a narrative of unexpected relationships and circumstances. Thomas Claesson, who lives on an island off the west coast of Sweden, has assembled an enormous collection of “lost” objects – items that have washed up on shore, been abandoned or unearthed, or acquired through inheritance. When Claesson met Carl Reed, a sculptor who has worked for years with found objects, the two sensed the potential to realize an unusual collaborative project. The exhibition Lost and Found traces the dynamic of their collaborative process and explores ideas such as the urge to collect, layers of time, recycling, and the blurred distinction between art that is found and art that is made.
March 27- April 17, 2012
Thursday, March 29, 4:30 – 6pm: Reception with Matvei Yankelevich
The Press at Colorado College welcomes writer, translator, publisher and printer Matvei Yankelevich as the Block 7 Visiting Faculty. Yankelevich is founder of Ugly Duckling Presse, a nonprofit art and publishing collective producing small to mid-size editions of new poetry, translations, and artist books based in Brooklyn, New York, and author of several books and chapbooks. While in residence, he will teach a course in letterpress printing and oversee The Chapbook in the 21st Century: Efficiency / Excess / Ephemerality, a collaborative exhibition at Coburn Gallery featuring books and ephemera from several small press publishers, including Ugly Duckling Presse, as well as works created at The CC Press during the class.
March 27 – April 14, 2012
Puppets, politics and pop music: Taiwanese and Chinese puppet theatre in the 20th century
Tuesday, March 27, 4:30 – 6pm: Opening Reception and IDEA Cabaret Conversation with Robin Ruizendaal, Director Lin Liu-Hsin Puppet Theatre Museum
This exhibition presents puppet theatre as both an art form and a window on the social and political developments in Taiwan and China in the 20th century. With numerous exquisite and antique puppets, stages, artifacts and photographs, the exhibition is a unique voyage through puppet theatre and social history, as well as an aesthetic pleasure.
The Taiyuan Company performs innovative visual music theatre with puppets, actors, video and musicians, and cooperates with artists from many different backgrounds and nationalities. The company’s initial inspiration derived from the Taiwanese glove puppet theatre that has a rich and varied tradition in which music, carving, embroidery and a delicate performance technique all come together. Taiyuan was founded 12 years ago by Paul Lin and managing/artistic director Robin Ruizendaal to continue this tradition, while at the same time creating new modern theatre performances within a distinct Taiwanese context.
This model of conserving tradition and creating new plays has proved to be very successful. The company’s shows have been performed in over 30 countries at venues such as the Purcell Room and the Victoria and Albert Museum in London, the rainforests of Central America, the Traditional Opera Theatre in Hanoi, Union Square in San Francisco, Casa Mila in Barcelona, the countryside of Cambodia and, of course, the squares and theatres of old Taipei.
The company is based at the Lin Liu-Hsin Puppet Theatre Museum in Dadaocheng, the old centre of Taipei.
Members of the company will be in residence at Colorado College this spring and will perform Taipei By Night May 9 — 12. Check the CC calendar for details. www.coloradocollege.edu/events
Thursday, April 12, 3:30-5:30pm , Worner Quad on the Colorado College Campus.
Northern Cheyenne artist, performer, and curator Bently Spang explores the history and contemporary meaning of the Plains tipi in this interactive performance. Using sound, lights and video projection, Spang engages in an extended conversation with the tipi – the largest culturally resonant object in the Plains culture. What would the tipi say if it could speak? The performance will evolve to include additional interactions and end with an open invitation for the audience to dance.
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