Art Building

THE FUTURE IS NOT WHAT IT USED TO BE

The Future Is Not What It Used to Be, curated by Amanda Roscoe Mayo, will be on display in the Michael and Noémi Neidorff Art Gallery at Trinity University from March 1- April 7, 2012. There will be an opening reception on March 1st from 5-7pm.  A gallery talk with the curator and artists will begin at 6pm.

The Future is Not What it Used To Be features works by thirteen artists exploring human incursion on the landscape. Through a variety of media, these artists offer contrasting views of the landscape as touched by human hand through both destruction and conservation.  The exhibition asks, when did nature turn from sustained into sustainable?

The exhibition features artists Ansel Adams; Jeana Baumgardner and Sandy Carson from Austin; Erik Grow and Scot Polach from San Francisco; Caleb Jagger and Todd Jagger from Fort Davis, Texas; Adam Katseff from Stanford, California; Leigh Anne Lester from San Antonio; Allie Mount from Portland, Oregon; Kristin Musgnug from Fayetteville, Arkansas; Adam Waldron-Blain from Edmonton, Alberta, Canada; and Liz Ward from Castroville, Texas.

Curator Amanda Roscoe Mayo is a graduate of Trinity University where she majored in studio art.  She is now the Co-Director of PLAySPACE Gallery at the California College of the Arts in San Francisco, California, where she is a candidate for a Masters in Curatorial Practice. She also co-founded R&R, a curatorial collective based in San Francisco.

Michael and Noémi Neidorff Art Gallery

Dicke Art Building, Department of Art and Art History

Trinity University, One Trinity Place, San Antonio, TX, 78212

Gallery Hours: Tuesday – Saturday, 1-5pm

IMAGINE – Towards an eco-aesthetic, 2011

OPEN CALL FOR PROPOSALS

IMAGINE – Towards an eco-aesthetic, 2011
The Aarhus Art Building,
Centre for Contemporary Art, Denmark

Artists and curators are hereby invited to submit proposals for 2011.

Deadline March 15

http://www.aarhuskunstbygning.dk

Only when people are in a position to use their own creative potentials, which can be enhanced by an artistic imagination, will a change occur [….] Art can and should strive for an alternative that is not only aesthetically affirmative and productive but is also beneficial to all forms of life on our planet.

Rasheed Araeen: Ecoaesthetics. A Manifesto for the Twenty-First Century

In the autumn of 2009, Rasheed Araeen, editor of the respected periodical on art and culture Third Text, launched a frontal attack on the modern ego and the recuperation of the avant-garde. Instead of the continued rigid production of objects and a stubborn anchoring in art institutions, Araeen pleads for a collective artistic imagination as
the only road towards “[…] rivers and lakes of clean water, collective farms and the planting of trees all over the world.”

From what is perhaps a slightly one-track masculine perspective, Araeen’s manifesto examines earlier failed attempts to step down from the pedestal of the bourgeoisie in favour of a collective commitment to our surroundings and the environment. Nevertheless, the notion of art as a positive, giving alternative unhampered by the restraints of
either representation or negation is relevant in a new decade in a new millennium.

In trying to conceive of such an alternative it seems a reasonable first step to take a closer look at alliances between art and sustainable development For at the roots of the idea of sustainability lie an ethical imperative and a persistent struggle against inequality – parameters that seem indispensable today if we actually want to imagine change and alternatives.

The notion of sustainability first aroused political attention in the 1970s, although it can also be traced back to the 1960s in the shape of various grass-roots movements. In 1972 the UN Conference on the Human Environment was held in Stockholm – this was the first of its kind, and at the same time the first transnational forum that even considered the environment and society as a single, interconnected issue.

The conference was strongly influenced by the book Limits to Growth published by the global think tank Club of Rome the same year, in which the problems of exponential growth vis-à-vis the limited resources of the Earth were outlined. The book inspired thoughts about the limits of growth in terms not only of the human population but also of economic factors. This realization that the Earth was not an inexhaustible storehouse of resources contributed to the development of a notion of sustainability that takes the future generations of the Earth into account.

The correlation between ecological and social issues is a fundamental aspect of thinking about sustainability, and consequently also involves concepts like responsibility and ethics. Similarly, in various movements that have consistently had sustainability as a central point of reference since the 1970s, for instance Social Ecology and Ecofeminism, sustainability is inextricably bound up with an astute critique of the dominant hierarchical structures.

The notion of sustainability thus includes the consideration of social structures, subjection and domination, ethics and economics on an equal footing with consideration of the environment and the ecology. If art today is to have the above-mentioned positive starting point, it needs to think about this complex apparatus as a whole and imagine
an alternative. Only thus can we move towards an art that is healing and affirmative – and thus towards an eco-aesthetic in the new millennium.

With this background the Aarhus Art Building is hereby issuing an Open Call for Proposals for 2011. We welcome suggestions for group exhibitions, solo exhibitions and workshops as well as suggestions for projects in public space. Guidelines can be found at www.aarhuskunstbygning.dk.

The guidelines must be followed in the application to make it eligible for consideration.