Senior Art Majors Exhibition

Senior Art Majors Exhibition, 2012

Senior Art Majors Exhibition, 2012

Lost and Found: A North Sea Collaboration: Carl Reed and Thomas Claesson

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)

IDEA Space
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.

The Chapbook in the 21st Century: Efficiency / Excess / Ephemerality

March 27- April 17, 2012
Coburn Gallery
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.

Puppets, politics and pop music: Taiwanese and Chinese puppet theatre in the 20th century

March 27 – April 14, 2012
Puppets, politics and pop music: Taiwanese and Chinese puppet theatre in the 20th century
IDEA Space
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.

Tekcno Tipi, performance by Bently Spang


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.

Indian Corner








February 24 – March 14, 2012
IDEA Space
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.

The Home Show: Geometric Confections. (Brought to you by Viagra Substrates)

February 21 – March 9, 2012
Coburn Gallery
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.”

“a woman like that” Film Screening and panel discussion

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.

Lunch and Lecture: Stealing Art by Sherrie Wolf

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

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.”

Strange Beauty: Baroque Sensibilities in Contemporary Art

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.

Wiley Dwayne

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.

Exhibition Events

Tuesday, December 6, 4:30pm Opening Reception and IDEA Cabaret: The Past is Just Another Place, featuring Sherrie Wolf and CC faculty.

Kuna Mola: Maintaining Tradition Amid Change

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.


Exhibition Event

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.

Joseph Scheer

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.

Rebecca DiDomenico


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”

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