Sunday, January 16, 2011

Carole Fisher - Alaska Oil Spill Project: Opening Jan 21 @ 6pm @ MCAD


Alaska Oil Spill Project
http://mcad.edu/event/carole-fisher-%E2%80%93-sticks-mind-alaska-oil-spill-project-1989-2011

"Last summer, the twenty-first anniversary of the Exxon Valdez oil spill, artist Carole Fisher returned to the Alakan coast. She interviewed fifty residents of the Valdez area about the oil spill and the 2010 BP oil disaster in the Gulf of Mexico. Her gallery exhibition, Sticks in the Mind: Alaska Oil Spill Project 1989–2011, interprets and references these experiences.
Sticks in the Mind: Alaska Oil Spill Project 1989–2011
Friday, January 14 – Sunday, February 20
Reception
Friday, January 21, 6:00 p.m.
Main Gallery
Conversation
Monday, January 24, 6:30 p.m.
Auditorium 150
Carole Fisher talks with Patience Andersen Faulkner, activist and Alaska native, and Brian O’Neill, a partner at Faegre & Benson in Minneapolis and the trial lawyer in charge of litigating the Exxon Valdez oil spill case." 


- Review from the Minneapolis College of Art and Design


Mary Abby from the Star and Tribune wrote this  -->  found at this link, http://www.startribune.com/entertainment/art/113467359.html?page=1&c=y   that I copied and pasted.
it is not mine.

Ever after  --> http://www.startribune.com/entertainment/art/113467359.html?page=1&c=y

Minneapolis artist Carole Fisher raises provocative environmental issues in a new installation about the lingering effects of the Exxon Valdez oil spill.
Last update: January 13, 2011 - 4:07 PM
"Dig a few inches into the rocky beaches of Prince William Sound or Alaska's Kenai Peninsula and the water that seeps in may shimmer strangely. Or the shallow pit will fill with a dark, viscous liquid. The effluences are oil left from the Exxon Valdez tanker that ran aground on Bligh Reef 21 years ago.
The midnight accident dumped 10.8 million gallons of oil into the cold sea and eventually soiled 1,300 miles of shoreline. Despite four years of cleanup efforts by 10,000 workers at a cost of $2.1 billion, the Valdez disaster lingers. Bigger spills have happened elsewhere since then, but none caused more extensive or lasting environmental damage.
You don't do "issue art" on a short timeline, and artist Carole Fisher has no attention-deficit disorder. After two decades she is still bulldogging the Exxon Valdez. It has been the catalyst for more than 25 of her art installations nationwide, the most recent opening Friday at the Minneapolis College of Art and Design (MCAD). "Sticks in the Mind: Alaska Oil Spill Project, 1989-2011," which runs through Feb. 20, is a three-dimensional collage of words, images, brochures, film and video footage, interviews and memorabilia related to the Valdez incident and more recent environmental episodes including the 2010 oil rig explosion in the Gulf of Mexico.
"Oil spills happen everywhere, so why do I focus on this one?" Fisher asked rhetorically. "Because Alaska is the grand land, and we need to preserve it."
The MCAD show will include a sample of Valdez oil gathered this past summer by a research vessel working in Prince William Sound. Even though sun, wind and countless storms have battered the shores, pockets of oil are still lodged in the crevices, potentially poisoning wildlife and ruining the coastline for fishers, hunters and tourists.
"It smells like a gas station," Fisher said. "It's on the beaches and in the sediment. It leaches into the water continually because of the wave action."
Aesthetic activism
Trained as a painter and printmaker, Fisher taught at MCAD for 31 years before her retirement last summer. When she finished her MFA at Pennsylvania State University in the 1970s, the era's social, environmental and economic issues seemed too complex to address with a paintbrush and too compelling to ignore.
"I thought it was too late to just paint, and I began to think of more temporal and situational work that was based in the public sphere or came from that," she said.
As the daughter of a welder who was also a union organizer, Fisher grew up in a south Minneapolis house where strikes and labor actions were often discussed and social activism was expected. Over the years, her work has addressed such volatile topics as rape, incest, toxic waste sites, the explosion of the space shuttle Challenger and even the U.S. Army's secret spraying in the 1950s of her childhood neighborhood with zinc cadmium, a known carcinogen. She learned later that the Army had been testing fallout patterns of airborne materials in anticipation of a possible germ-warfare attack. But as a kid, she just thought it was cool that the snow sometimes turned pink without realizing that the color came from toxic chemicals. "And, of course, we played in it and ate it the way kids do," she said.
For Fisher and other artists, the challenge of the 1970s was to translate issues into aesthetic statements that would move and inform people without hectoring. The oil-saturated creatures of the Valdez disaster proved especially potent and mutable. In various installations she has garnished the walls with huge silhouettes of birds, animals or people painted in broad black streaks that suggest oil stains.
For love of drawing
"I love to draw, and the images are my romantic attachment to that activity," she said. "So there is something of the traditional work of an artist, the mark of the hand. I need to do that or otherwise it's just all this text."
She adapts her material to each setting, sometimes littering the floor with a maze of electrical cords to remind visitors of their energy dependence. Or setting up house-shaped displays or incorporating piles of oil debris. This past summer she and an assistant spent several weeks in Alaska, interviewing and photographing more than 50 environmentalists, fishermen, park rangers, hoteliers, naturalists and others about Valdez and the 2010 Gulf spill. Having spoken with many of the same people on previous visits, she was able to elicit thoughtful reflections and heartfelt insights into the tragedy. Transcripts of the interviews will be included along with poetic wall texts that weave interview excerpts, facts and figures into an evocative palimpsest of memory, incident and even policy issues.
"I'm not a scientist," she said. "I take it in and put it back out. I just think we are interested in each other's stories."
And what of the Exxon Valdez tanker itself?
Eventually the ship was refloated, refurbished and renamed. Now called the Sea River Mediterranean, it hauls oil across the Atlantic. It is prohibited by law from returning to Prince William Sound.
mabbe@startribune.com • 612-673-4431


Friday, January 14, 2011

Jessica Harrison is our new Hero

because we all want to look - now don't we!



Jessica Harrison







Tuesday, January 11, 2011

Beakers and Brush Discussions - copied and pasted from the Science museum web site

I TOOK THIS ALL FROM THE PAGE:   http://www.smm.org/beakerandbrush/



Grab some food, grab a drink, and join in on the discussion!

Beaker & Brush DiscussionsJoin us on the second Tuesday of every month for a series of discussions that explore the rich but often overlooked intersections between science and art. Enjoy a drink at the Black Dog Coffee and Wine Bar while listening to presentations from scientists and artists speaking on a variety of topics, then share what you think about what science and art have in common. Attendance is FREE.
Beaker and Brush Discussions are co-sponsored by the Science Museum and the St. Paul Art Crawl.

CALL FOR GRAPHIC DESIGNERS

Submit a poster design based on the monthly topic for a chance to have your artwork printed in the following week's Onion and a pair of First Avenue concert tickets. Learn More

Next Presentation: Perception - January 11, 2011

6:30 p.m. to 8:30 p.m.
The worlds of physics and art intersect in a fascinating examination of fractal art and innovative imaging technology, allowing us to perceive beyond what's visible to the human eye and projecting our world in a whole new light.
Dr. Thomas Vaughan is a professor in the Departments of Radiology, Electrical Engineering and Biomedical Engineering at the University of Minnesota. With work experience ranging from NASA to the DOD, his current research focuses on biomedical imaging—in other words, looking at ourselves in a whole new way.
Barry Kleider began studying photography at age nine with his family's subscription to Life magazine. A long-time professional photographer, his work has been commissioned by the Oakland Museum of California and the Plains Museum of Fargo, ND and is included in several collections. Barry is also a rostered teaching artist in Minnesota, Iowa and North Dakota as well as COMPAS and VSA in St. Paul. He brings his talents and passion for photography and visual art to young people of all ages.

Upcoming Presentations

  • Addicted to Love - February 8, 2011
    Is our brain's wired need for physical intimacy the same as a smoker's cigarette craving or an addict's itch? Explore addiction and our most basic impulses, including the act of love, through the eyes of an artist and a scientist.
    Bob Meisel researches sexual behavior in rodents to further our understanding of how motivations form in the brain, and how these motivations are thrown for a loop by environmental factors such as addiction.
  • Composition and Decomposition - March 8, 2011
    The human form tells a great many stories, from the artistic exploration of our relationship with our body to the vital biological clues that close criminal cases.
    Dr. Susan Myster has been consulting as a Forensic Anthropologist in Minnesota and Wisconsin since 1991. Her work has involved the recovery and analysis of human remains from burned, buried, surface, and water contexts, as well as providing expert testimony. She has been involved in several high profile cases in Minnesota during which she worked closely with various law enforcement, medicolegal, and forensic science agencies.
    Erica Spitzer Rasmussen is an artist who creates mixed media and handmade paper garments. Her current work explores issues of identity and corporeality, often utilizing clothing as a metaphor for one's skin. Rasmussen teaches studio arts as an Associate Professor at Metropolitan State University (St. Paul, MN). She is also affiliated with the MN Center for Book Arts and the Textile Center. Her sculptural and wearable works are exhibited internationally.

Monday, January 10, 2011

a moment of irrisponsible sallute

We realize that we should not be celebrating  an individual willing to come to work wasted - but - a man who would loose his temper for not being able to get past the 46th digit of Pi -  well, we had to celebrate.

nerd up on the work place meltdown.





































taken from the site:  http://www.dangerousminds.net/comments/colorful_termination_letter_from_dominos_pizza/

Video Bar for Art and Science discussions

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