1. Art & Community

2. Table of Contents
1: Welcome Messages
2-3: Schedule
4-5: Maps
6-7: Sessions Overview
8-11: Speakers
12-13: Session I
14-15: Session II
16-17: Session III
18-19: Session IV
20: Board of Directors amd Conference Sponsors & Donors
21: Conference Vendors and Volunteers
22: Shows
23: Social Media
24-25: Membership Numbers & Financial Information
Message from the President
Welcome to Austin and the TASA Conference at St. Edward’s
University. It promises to be an outstanding program of speakers,
events and forums around the topics of Community and Art.
After 42 years, the members of the Texas Association of Schools
of Art, though well versed in both topics, are in for a exceptional
gathering of stimulating, informative and down-right fun with
fellow artists and friends.
TASA president
Cathie Tyler
TASA Conference 2013
We would like to welcome you and thank you for being a
part of Art + Community, the 44th Annual TASA conference,
hosted by St. Edward’s University. We’ve had a lot of fun
planning this year’s conference, and hope you enjoy what’s
in store. The 2013 conference theme, Art + Community: a
shared dialog of green art, social activism, collaboration
and community art, explores the open exchange of ideas,
influences, policies and actions that artists and communities
engage in both at the local and global level. With over 40
speakers from all corners of Texas, and a keynote speech
and workshop from Houston-born artist Mel Chin, we hope
this will be an exciting fun-filled conference.
Conference Chairs
Hollis Hammonds
& Angela Rodgers
1

3. Friday
Thursday
MAY 9, 2013
Hyatt*
MAY 10, 2013
Breakfast on your own (See map
Ragsdale
on page 28 for suggestions)
Hyatt*
8:00a
Bus leaves
University
Lunch provided in Mabee Ballroom
C
for
St.
Edward’s
3:00 – 5:00p
Ragsdale
5:00p
Registration in Mabee Ballroom B
Drop off of artwork for One
Cube Foot & TASA Student Juried
Exhibitions
check-in and registration
Bus leaves for the Austin
Museum of Art
Amoa*
5:00 – 7:00p
Kick-off reception at the
Austin Museum of Art
7:00p
Bus leaves for Hyatt
7:00p+
Dinner on your own
(See map on page 28 for
suggestions)
2
12:30p
8:15a – 12:00p
Ragsdale
MAY 11, 2013
Breakfast on your own (See map
on page 28 for suggestions)
2:30 – 3:30p
8:00a
3:30p
Hyatt*
Bus leaves
University
for
St.
Edward’s
Arts
8:15 – 9:30a
1:30p
Registration in Art Building
Fleck
O
ne-Cube Foot Exhibition†, Fine
Arts Gallery
(pastries coffee provided)
Campus Tour Robert Hite exhibit
2:00 – 3:15p
Panel Workshop SESSION I (see
pgs 10-12)
3:30 – 4:45p
Panel Workshop SESSION II
(see pgs 13-15)
SCHEDULE
Saturday
8:30 – 9:30a
Arts
9:30a – 10:45a
Panel Workshop SESSION III
(see pgs 16-19)
Interconnected TASA Student Juried
Exhibition‡
Bus leaves for Flatbed Press
Flatbed*
4:00 – 4:30p
Tour of Flatbed Press
4:30p
Bus leaves for Hyatt
Hyatt*
6:00p
Bus leaves for Mexican American
Cultural Center
Macc*
† Members should pick up their work
from arts140 between 2:30 – 3:30p.
(Unless you’ve made arrangements to
have the work shipped).
‡ Students should pick up their work
from the Fine Arts Gallery at 3:30p.
★
Bus use reserved for those
staying at the conference hotel.
6:30p
Dinner Banquet at the Mexican
American Cultural Center
Fleck
11:00a – 12:15p
Ragsdale
Set up for Iron Pour
Main
Keynote Address by Mel Chin
Featured Speakers in Mabee
Ballroom A
• Ken Dawson, Paul Hana
Lecture
• Catherine Caesar, Art History
Presentation
• Stacy Schultz, Art History
Presentation
• Robert Hite, St. Edward’s
Sponsored Speaker
Iron Pour (meet transport van in
back of fleck at 3:20)
Lunch provided in Maloney room
(Annual Business Meeting)
Presentations of Awards
8:15a – 2:00p
Vendors Student Poster Sessions
in Mabee Ballroom B
9:00a – 12:30p
2:00p
3:30p
5:00p
Bus leaves for Hyatt
5:00p+
Dinner on your own (See map on
page 28 for suggestions)
Panel Workshop SESSION IV
(see pgs 20-23)
12:30 – 2:30p
Arts
7:30p
8:30p
9:00p
Bus leaves for Hyatt
* Off-campus venue
3

4. Food and Key Austin Points Map
1
I-3
5
St. Edward’s Campus Map
E
S La
mar
Blvd
E MLK
E 12th
E 11
308 W. Riverside
E
St
12th St
t St
801 S. Lamar
1300 S. Congress
MAPS
S Co
ngre
ss A
v
e
tS
E 1s
7 Uchi Restaurant
8 Jo’s Hot Coffee Good
Food
2
t
I-35
1s
th St
Jr Blvd
6 Threadgills Restaurant
9 The Highball
1141 S. Lamar
st S
t
lvd
S1
ar
B
10
12
13
15
14
I-35
St
11
Lady
Bird
Lake
16
Ave
on
gr
e ss
SC
st S
t
1415 S. Congress
12 South Congress
Cafe
1600 S. Congress
1610 S. Congress
I-3
5
rsi d
17
11 Home Slice Pizza
13 Vespaio
E Rive
S1
s
gre
s
S
vez
Dr
FINE ARTS
CENTER
8
e rs
id
Cha
e
on
esa
r
iv
ER
So
uth
C
EC
m
La
1412 S. Congress
3
9
Hall
eph
Jos
St.
ircle
sity C
iver
Un
Dr
e
FLECK
HALL
6
7
10 Guero’s Taco Bar
4
5
14 La Mexicana Bakery
1924 S. 1st
Moody Dr.
15 Woodland
1716 S. Congress
18
16 Magnolia Cafe
South
1 Flatbed Press
600 River
1920 S. Congress
823 Congress
208 Barton Springs
2810 S. Congress
4 Hyatt Regency Austin
2 Austin Museum of Art Hotel
17 Garden District
Coffee House
3 Mexican American
Cultural Center
18 Ruta Maya Importing Co
2830 East MLK
4
5 Zax Pints and Plates
312 Barton Springs
3601 S. Congress
5

5. SESSION I
Friday, May 10th, 2:00PM
fleck 106
fleck 108
fleck 109
fleck 111
Panel: Collaborative/Community
Panel: Green Art/Environmental
Panel: Art Community
Workshop: Art Community – Part 1
FLECK
SESSION II
Fleck 106 Panel: Collaborative/Community
Fleck 108 Panel: Green Art/Environmental
We’re green, participatory and public!
Curly, Shaggy, Gleaming, Streaming, The Art of Hair: An
Intimate Recycling Program
Red Listed
Fleck 109 Panel: Art Community
Appreciating Life Through Art
T
he Struggle For Meaning Between The Artist And The
Audience, A Balance between
Artist and Community
Eastland Outdoor Art Museum
Fleck 111 Workshop: Art Community - 1
Moving Beyond Image and into Community with: Relational
Aesthetics: Part 1
6
Friday, May 10th, 3:30PM
SESSION III
Fleck 106 Panel: Masters Showcase
Arts 110 Workshop: Green Art/Environmental
Arts 113 anel: Art Activism
P
Weathergrams: A Spring Peace Project
Human Rights Art Community Education
“ ash Paid for Rags” A “sketchbook” performance
C
D
eportes Para Compartir and the Albergues Escolares
Indigenas (Sports For Sharing and the Indigenous Shelter
Schools of Mexico)
fleck 106 Panel: Masters Showcase
fleck 108 Lecture: Art Community
fleck 109 Panel: Collaboration
fleck 111 Workshop: Art Community – Part 2
fleck - Iron Pour
Virtual Humans and Living Worlds – Graduate Programs in
Arts and Technology at UT Dallas
A Growing University– The Graduate Art Programs at UTA
P
reparing Students for Effective Practice and Leadership in
Art Education
Fleck 108 Lecture: Art Community
The Returning Vet and FILM NOIR: The Problematic
Fleck 109 Panel: Collaboration
The Arts Triangle ArtsWalk Project
Collaborative Projects
L
ow-Rider Bikes in Higher Education: A Project by Throw
Away Youth
Saturday, May 11th, 9:30AM
arts 110
arts 113
arts 116
arts 120
arts 121
Workshop: Green Art/Environmental
Panel: Collaborative Projects
Workshop: Innovations in Foundations
Panel: Innovations in Foundations
Workshop: Technology
Arts 113 Panel: Collaborative Projects
Imagillaboration– A National Sculpture Collaboration
Project, the logistical challenges and rewards of working,
exchanging and exhibiting these 3-D compositions on a
national scale
A Cast Iron Chain for America
Taking Iron to the Arctic
UTSA Collaborative Editions
Arts 120 Panel: Innovations in Foundations
Fleck 111 Workshop: Art Community - 2
Innovations in Foundation Curriculum
From 2D to Cross-Disciplinary Space – Revising Beginning
Design
Drawing Structure: Beginning Drawing a DIY Textbook
Moving Beyond Image and into Community with: Relational
Aesthetics: Part 2
Arts 121 Workshop: Green Art/Environmental
Fleck Iron Pour
MEET TRANSPORT VAN IN BACK OF FLECK AT 3:20
Saturday, May 11th, 11:00AM
arts 113
arts 114
arts 120
arts 121
Panel: Art Activism
Panel: Collaboration
Panel: Art Community
Workshop: Technology
SESSIONS
Multiplicity in Collaboration and Community
B
orderland Youth: A Social Geography Revealed through
Participatory Art Practice
Eastland Outdoor Art Museum
ARTS
SESSION IV
Arts 114 Panel: Collaboration
Art, Aesthetics, Education and Activism dealing with the
Border Wall
C
an border wall artwork change minds, influence policy
and alter popular culture?
The Border Wall and Community Based Art Education
Arts 120 Panel: Art Community
Fundred: Engaging in a 300 Million Dollar Difference
Arts 121 Workshop: Technology
Teaching Software on the Fly or Resources for Teaching
Technology or How to teach computer stuff you don’t know
or Computer Instruction for Dummies
Reality Community: Fostering a Sense of Involvement in the
Classroom and Beyond
Blog, Design, Technology
7

6. Mel Chin
Keynote Speaker
Mel Chin was born in Houston, Texas in 1951, he graduated
from Peabody College in Nashville, Tennessee in 1975,
and later moved to New York City in 1983. Chin is highly
motivated by social, political and cultural realities, and his
work reflects his concern for the environment and social
consciousness. His work is often exhibited or installed in
public spaces beyond the traditional confines of the gallery
or museum. A conceptual artist, Chin’s body of work ranges
from earthworks to animated films. For Chin, art has the
power to provoke greater social awareness and a sense of
responsibility in the viewer. Through his community actions,
he has engaged innercity neighborhoods and helped to
rejuvenate local economies. His interest in science, ecology
and the environment can be seen in some of his most famous
works including Revival Field, s.p.a.w.n. and knowmad were
featured in the first season of the pbs series art21 (Art in the
Twenty First Century).
His most recent project, the Fundred Dollar Bill Project, is an
innovative artwork made of millions of drawings. This creative
collective action is intended to support Operation Paydirt,
an extraordinary art/science project uniting three million
children with educators, scientists, health care professionals,
designers, urban planners, engineers and artists. After
Katrina had wiped out much of New Orleans, Chin was
invited to the city to see how he could make a difference
in the community. Working with scientists, Chin found that
the lead contamination in the soil in New Orleans was at a
hazardous level. To find a solution to this problem, Operation
Paydirt was put into action. In 2013, once Fundred reaches
its goal of 3 million artworks, an armored truck, running on
vegetable oil, will pick up the drawings and take them to
Washington d.c., where we will request from Congress an
even exchange of Fundred Dollars for 300 million dollars
worth of aid for New Orleans.
Ken Dawson Little
Paul Hanna Lecture
Ken Little was born in Canyon,Texas in 1947 He received a
.
bfa from Texas Tech in 1970, and an mfa from the University
of Utah in 1972. He has worked in various media including:
bronze, ceramics, neon, performance, wood, steel, cast
iron, $1 bills, shoes, and other found objects. His work has
been featured in over 35 one person exhibitions, 200 group
exhibitions, numerous national publications, and catalogs.
Since 1988 he has been a Professor of Art (Sculpture) in the
Department of Art and Art History at the University of Texas
at San Antonio. Since 1993, he has maintained a studio and
alternative exhibition space, “Rrose Amarillo”, in downtown
San Antonio. His work is included in many public and
private collections around the country. Collections include
The Contemporary Art Museum, Honolulu Hawaii, The City
of Seattle, The Nelson Gallery of the University of California
at Davis, Microsoft Corporation, Seattle and many others.
A sixty four page retrospective catalog titled, Ken Little: Little
Changes with essays by Kay Whitney and Dave Hickey is
available. His artist’s web site is found at www.kenlittle.com.
Ken Little’s talk will cover his multi faceted career, his artwork
and its development over his lifetime.
SPEAKERS
8
9

7. Stacy Schultz
Art History Presentation
Stacy Schultz received her Ph.D. in Art History from Rutgers
University in 2004. Her previous teaching positions include
two appointments as Visiting Assistant Professor at Kentucky
Statement University (2004-05) and The University of Texas at
Arlington (2007-08). She has also taught a variety of courses
in the California State University system (CSU Northridge,
CSU Fullerton, CSU San Bernardino, and San Diego State
University) ranging from women’s studies to nineteenthcentury
art. Professor Schultz’s research and teaching concentrate on the
intersections of race and gender in contemporary performance
art, photography, film, and video. Her dissertation, “The Female
Body in Performance: Themes of Beauty, Body Image, Identity,
and Violence,” has evolved into the departure point for two
lectures given at the College Art Association: “Performing the
Black Nude: The Artist’s Body as a Contested Site” (2005) and
“Southern California Feminism and Body Image: A Performative
Response” (2007). She will present her paper, “The Intersection
of Social Activism and Community: Performing Civil Rights in
Southern California”, at the 2013 TASA conference.
Robert Hite
St. Edward’s Sponsored Speaker
Born in 1956 in rural Virginia, Robert Hite attended Virginia
Commonwealth University in Richmond and the Corcoran
School of Art in Washington, D.C. After studying traditional
ink brush painting in Malaysia, he worked as a studio assistant
with Washington Color School painter Leon Berkowitz.
Informed both by a rich southern narrative tradition and a
closeness to natural environments, Hite’s imagery often draws
upon his memories of youthful wanderings in the Virginia tide
waters. He has sought out and photographed rural dwellings
not only in the southern United States and the Caribbean,
but also in Central and South America, as well as Europe
and Asia. Working within and between painting, sculpture
and photography, Hite’s highly refined technique and
meticulous attention to detail produce illusions that are both
confounding and transformative. In the photographic series
Imagined Histories, Hite resituates his architectural sculptures
in outdoor settings, magnifying the effects of dislocation
and displacement that is central to all his imagery. In 1997
,
Hite and his family moved to a nineteenthcentury Methodist
church and parsonage in the village of Esopus, New York.
The artist is currently represented by Susan Eley Fine Arts in
New York City, Cardwell Jimmerson Gallery in Los Angeles,
Espacio En Blanco in Madrid, and Pearl Arts Gallery in Stone
Ridge, New York. Hite will be a visiting artist at St. Edward’s
University, and will give a lecture presentation of his work at
the 2013 TASA conference. An exhibition of his photographs
will be on display in the Scarborough Phillips Library at St.
Edward’s University. While a visiting artist, Hite will install
a new sculpture specifically designed for the St. Edward’s
Campus. This new work, “Crossing Safely”, was inspired by
a modest shack in Arrazola, Oaxaca, Mexico. This sculpture
addresses issues of immigration and border crossing. You
can see more of his work at www.roberthite.com.
SPEAKERS
Catherine Caesar
Art History Presentation
Catherine Caesar’s current research interests include feminist
art, conceptual practice, and reading rooms/libraries in
contemporary art. Earning her doctorate at Emory University
in 2005, she produced a dissertation titled “Personae: The
Feminist Conceptual Work of Eleanor Antin and Martha Rosler,
1968-1977 She is an Assistant Professor of art at the University
.”
of Dallas. Caesar’s paper will investigate Robert Smithson’s
notion of “aerial art”, investigating its relationship to the Texas
landscape and its impact on the conception of sculpture and
the formation of a modern, itinerant identity in a transglobal
community.
10
11

8. fleck 106 Panel:
Collaborative/Community
Multiplicity in Collaboration and Community
Sang-Mi Yoo, assistant professor at texas tech
Globalization has seemingly brought the world
closer together and has resulted in a heightened sense of
the familiar. This feeling of familiarity provides a bridge
through which Yoo can access and magnify her perception
of a world derived from personal experience. In her work,
the fictive nature of a space that is both idealized and
conditioned by our society reflects skepticism and multiplicity
as she obscures the distinction between the past and the
present, stereotypes and the real, and collective and personal
memories. By embracing both personal and collaborative
presentations, her work explores the possibilities of an
idealized environment.
Borderland Youth: A Social Geography Revealed through Participatory Art Practice
Jason Reed, assistant professor of photography at texas
state university-san marcos
Guided by a conceptual framework of reciprocity,
Borderland Youth at Texas State University is working
collaboratively with various communities of youth living in the
US/Mexico border region to creatively reflect upon the crosscultural, human experiences existent within this significant
social geography. By utilizing participatory art practices
we are able to create a public body of work that functions
as a tangible mechanism to activate social awareness and
provide access to a more realistic, complex, and complete
story of the US/Mexico border and its residents. The resulting
work is exhibited, published, and ultimately archived at Texas
State University.
Cathi Ball, assistant professor at howard payne university
Cathi Ball has completed work on the Eastland
Outdoor Art Museum, a project conceived in her sketchbooks.
12
fleck 108 Panel: Green Art/Environmental
We’re green, participatory and public!
Randy Jewart, director of austingreenart.org
The mission of Austin Green Art is to help the
community to fully understand the revolutionary calling that
defines “sustainability” by visually representing it, inspiring
people to engage it, and building participatory programs
that give people a real feeling of its transformative power.
We aspire to train a new generation of artists who serve
their communities and to inspire a new generation of creative
citizens. A Green Artist is an agent for change, uniquely
qualified to merge environmental, social and economic
considerations into collaborative projects that raise social
network capital and community standards of sustainability.
Curly, Shaggy, Gleaming, Streaming, The Art of
Hair: An Intimate Recycling Program
Rosemary Meza-DesPlas, artisteducator at el centro
college
This presentation examines the history of recycling
human hair to create art. The utilization of human hair in art
can be traced back to Queen Victoria’s reign in the mid
nineteenth century. The presentation examines the multiple
ways human hair is used by contemporary artists. Artists ‘go
green’ by recycling a personal part of the human body - hair.
Cultural perceptions and myths about hair will be discussed
in an art historical context.
Red Listed
Catherine Prose, assistant professor of art gallery director at midwestern state university
Pulitzer Prize winner Edward O. Wilson is quoted
as saying that “destroying rainforest for economic gain is
like burning a Renaissance painting to cook a meal.” Art
certainly does not have the ability to correct global climate
change, but it can educate and inform in an evocative rather
than didactic manner. There is an abundant history of using
nature as a metaphor to reflect and comment on morals,
values and humankind. In the same respect, the use of nature
as a metaphor emulates an attempt to place ourselves within
nature. Today we face an unknown and unseen nature as it
is being lost before we discover it and invented before we
understand it.
fleck 109 Panel: Art Community
Appreciating Life Through Art
Terry Barrett, professor of art education art history,
university of north texas
This presentation will look at a diverse group of
people responding directly to contemporary works of art and
how these works affect their lives. Barrett has been working
with elderly in assisted-living homes, cancer patients, autistic
teen-agers, business men and women, and students of
all ages, pre-K through Ph.D., in the USA and in Holland
(visiting artist position). He is concerned with people building
meaningful connections between contemporary art and their
personal and communal lives.
must understand fundamental ingredients: 1) recruiting a
team of dedicated individuals who use all their senses to
communicate with each other; 2) mix in the dedication and
passion of the focused creative effort; and 3) envision an
ideate transcending the surface to universal humanity
fleck 111 Workshop:
Art Community – Part 1
Moving Beyond Image and into Community
with: Relational Aesthetics: Part 1
Georganna Tapley, artist teacher at art alliance center,
brazosport college, lee college
This workshop has a structure that deals with
the individual person as the artist and the teacher. When
catastrophic things occur within communities it affects
everyone. When hurricanes IKE and Karina devastated the
shores and lives of thousands, it was impossible for me to
go into the classroom with the attitude of lessons as normal.
The relational and artist parts of me collaborate with the
participants to respond to the events in the world around us.
I use these events to teach how artists with conscience might
respond. The Art becomes the result and or response to these
events.
The Struggle For Meaning Between The Artist
And The Audience
Joe Kagle, professor of art, lone star college-kingwood
To understand the artist, we start with what
makes an artist the creator that he becomes: the Complete
Artist Communicator. To accomplish this, the 21st century
artist uses all his/her talents and abilities to serve human
beings through a team effort that make up for deficiencies
in a single individual. Building this ‘creative-effort-team’, we
13
SESSION I
Eastland Outdoor Art Museum
This unique Museum is an attempt to make art history
accessible to all the children of Eastland, Texas. The museum
includes 42 works at 40 locations completed over 3½ years
with 144 local volunteers and students. The project allows
the students of Eastland access to world famous art while
advertising the artist ‘work. This community wide project has
truly “painted the town”.

9. fleck 106 Panel: Masters Showcase
Virtual Humans and Living Worlds – Graduate
Programs in Arts and Technology at UT Dallas
Marjorie A. Zielke, Ph.D., assistant professor at UTD
The University of Texas at Dallas (UT Dallas) offers a unique
masters and mfa in Arts and Technology (atec). The atec
program is one of the fastest growing degree plans at
UT Dallas. A Ph.D. program is also in the final phases of
development. Students study the application of technology
in art to produce interactive exhibits, computer games,
training and simulations, web programs, animation, 3-d
modeling and other technology-based art media. Students
can also combine the study of atec with Emerging Media
and Communications (emac) to study the evolution of text
and narrative within the context of arts and technology.
A Growing University – The Graduate Art Programs at UT Arlington
Leighton McWilliams, associate professor and assistant
chair of art art history at UT Arlington
UT Arlington is a growing University with enrollment
approaching 30,000. UT Arlington has a mfa program
that offers study in one of four media areas- Visual
Communications, Film/ Video, Glass, and Intermedia. Their
large department enrolls more than 800 undergraduate
majors and boasts extensive facilities. Arlington is situated
directly between Dallas and Fort Worth and is convenient
to an extensive cultural experience, many world-class
museums, and a growing economy.
Preparing Students for Effective Practice and
Leadership in Art Education
14
fleck 108 Lecture: Art Community
The Returning Vet and FILM NOIR: The Problematic
Dr. John A. Calabrese, professor of visual arts at texas
woman’s university
Dr. Calabrese will present film noir clips and discourse
related to the problematic. This means that the films attempt
to deal with a problem without overtly stating it. Ostensibly
these are thriller/suspense films, murder mysteries. Beneath
many plots are issues dealing with the returning vet to a
society that is less than eager to have him, a world in
which he does not fit. He is oftentimes forced to assume
the position of a criminal who has to vindicate himself by
overcoming various insurmountable obstacles. Each film
presents variations on this theme.
fleck 109 Panel: Collaboration
The Arts Triangle ArtsWalk Project
Gary Washmon, interim chair of visual arts, texas woman’s
university
A committee of faculty members was formed from the
various departments in the School of the Arts (soa); Dance,
Music, Drama and the Visual Arts to create an identity
for this new school and to create an event that would
encompass all of the arts in the soa. The concept of the Art
Triangle came about through looking at a map of campus
and noting that a line drawn around all of the buildings
in the soa created a triangular shape. Following this
theme the concept of a connective experience tying these
sites together began to emerge as an interactive tour or
artswalk, featuring the various arts in non-traditional settings;
in and around the buildings on the map, where virtually
anything could happen.
course created “dream bikes” using metals and fabrication
work. Both sets of resulting bikes were displayed along
with true low-rider bikes from the local community in a
sidewalk parade. This presentation will dissect and discuss
both student populations’ experiences and performances,
community and academic reactions/feedback, fund-raising
efforts and obstacles, cultural considerations and reactions
based on social class, race and ethnicity.
Collaborative Projects
fleck 111 Workshop: Art Community Part 2
Colby Parsons, associate professor of art at texas woman’s
university
Colby Parsons is a sculptor who has been involved in
several collaborative projects. One in Denmark with
sculptor Brian Boldon in 2006, one in Dallas with the
painter/sculptor Mark Collop from 2007–2008, and one
in Denton with electroacoustic composer Greg Dixon from
2008 up to now. These collaborations have incorporated
a broad range of media including clay, glass, video,
wood, cardboard, found objects, and light; and each one
has taken its own direction depending on the particular
interests we share, and the “chemistry” of the collaborative
relationship. Most of these have involved installation
settings with some kind of interactive element inviting the
viewer’s participation in the work.
Low-Rider Bikes in Higher Education: A Project
by Throw Away Youth
Future Akins, assistant professor of art education visual
studies, texas tech university
Inspired by Chicano youth culture that involves “lowrider” bikes and hoping to motivate junior high students to
consider art as a stepping stone towards attending college,
Future Atkins co-created an art opportunity for low-income
youth in Lubbock, Texas. Fourteen and fifteen year-olds
enrolled in an art class where they created low-rider bikes
with discarded parts and throw-away materials, while
Texas Tech University art studio majors in a kinetic sculpture
Moving Beyond Image and into Community
with: Relational Aesthetics: Part 2
Georganna Tapley, artist teacher at art alliance center,
brazosport college, lee college
This workshop deals with the person as the artist and
the teacher... The Relational Aesthetics workshop will be
offered to individuals uniting them in a common theme of
research. They will actively participate in all stages of a
creation to be completed during the conference. Although
this is the second part of a two-part workshop, if you
missed part one, you can still participate in part two.
fleck Iron Pour
MEET TRANSPORT VAN IN BACK OF FLECK AT
3:20
Butch Jack, lamar university
Amy Gerhauser, st. edward’s university
Donnie Keen, keen foundry
Watch students faculty pour their molds for the Charm
Breacelet of Texas, and other projects.
15
SESSION II
Christopher Adejumo, associate professor of visual art studies/art education at the university of texas at austin
The mission of the art education program at the University
of Texas at Austin is to provide excellence in the
preparation of art teachers, art museum educators, and
community art programmers. The aim of the program is
to cultivate top-rated scholarship through institutional and
community partnerships and research-based development
of art education theory and practice. The art education
faculty members are committed to helping students
make connections between knowledge acquired in the
classroom, student teaching in the public schools, and
experiential learning in alternative settings in the community.
The introduction of the program at the 2013 TASA
conference will entail a detailed description of the degree
options in the graduate art education program, which are
school focus, art museum education, and community-based
art education.

10. arts 110 Workshop: Green Art/Environmental
Weathergrams: A Spring Peace Project
Judy Stone-Nunneley, artist educator
Judy will present a hands-on workshop focusing on the
creation of simple printed collages with found images,
text, and expressive monoprints. Printed on recycled paper
sacks, the Weathergrams are records of contemplation,
shared observations of the natural world, and messages
of hope. The Weathergrams will be installed on campus
for the Spring season and will recycle with the season’s
weather.
arts 113 Panel: Collaborative Projects
Imagillaboration – A National Sculpture Collaboration Project
Jack Gron, director/professor of fine art, texas am, corpus
christi
From 2007–2009, 106 sculptors representing twenty-six
states across the country have joined together to undertake
a collaborative art project of unprecedented proportions.
Working in regional groups of five to nine people, the
artists have created an immense body of collaborative
three-dimensional artwork. Each participant was to create
a “seed” element, the beginning segment of a sculpture,
which was then passed onto other group members who
each added their own artistic element to every piece.
Once the cycle of exchange was complete, each artist
will have contributed to every sculpture, and there is one
finished sculpture for each person participating.
Meredith “Butch” Jack, professor of art at lamar university
Meredith Jack will present his on-going project to cast a
cast iron chain with a link cast in all 50 states of the union.
16
Taking Iron to the Arctic
Donnie Keen, director of keen foundry in houston, tx
In 2008 Donnie Keen of Keen Foundry in Houston led a
group of artists and artisans north of the Arctic Circle to the
Village of Wiseman, permanent population 13, to cast a
cast iron public sculpture. Wiseman is known outside of
the arctic primarily from the PBS documentary “Gateway
to the Arctic: the Brooks Range”, which featured the village
and its inhabitants. Collaborating with the Alaskan sculptor
Patrick Garley, Keen has been instrumental in establishing
a thriving artist/iron casting community in the US’s northernmost state. He will present the planning, logistics, and
implementation of this ambitious endeavor and the five year
reunion pour set for June 2013.
UTSA Collaborative Editions
Kent Rush, professor of art at the university of texas at san
antonio
Since 1983 the University of Texas at San Antonio has
informally run utsa Collaborative Editions (utsace). Professors
Dennis Olsen and Kent Rush who head the printmaking
program at utsa have worked with the semester long visiting
artist/faculty and faculty members to produce a substantial
portfolio of wonderful prints primarily in lithography, intaglio
and relief. Recently Kent Rush, in an effort to reach out
to the community, offered the press to Dr. Ricardo Romo
as a format for printing editions for local and regional
Chicano/a and Mexican American artists. The two Master
Printers are former mfa graduated printmakers, Neal Cox
(two years now teaching at sfau) and currently, Steven
Carter. Since 2004 over 20 prints in editions of 30 have
been printed and we are working with more artists with an
anticipated total of 32 editions.
arts 116 Workshop: Innovations in
Foundations
Colored Slips And The Clay Surface
Stan Irvin, professor of art at st. edward’s university
Connie McCreary, artist educator at st. edward’s university
There is a long history of potters using colored slips and
engobes to decorate the clay surface. Due to their opacity,
sensuous texture, potential for color, and possibilities
for application at various stages of drying, these types
of liquid clays offer artists and potters many decorative
options. seu art faculty, Stan Irvin and Connie McCreary,
will demonstrate various surface decoration and forming
techniques using primarily colored clays and slips. They
will present options for both low and high-fire. Workshop
attendees are invited to participate in a hands on
experience with slip decoration that can be employed by
beginning students and offer some interesting options for
more advanced exploration.
a pursuit of knowledge). For the last forty years many
art departments have overlooked the critical potential of
Foundations. “I thrive on working with young, fresh talented
students that remain open and observant, malleable and
motivated” says Mutchler. “I hope to heighten the status of
Foundations within the academic world, to bring about the
new Bauhaus.”
From 2D to Cross-Disciplinary Space – Revising Beginning Design
Eric Zimmerman, assistant professor of art at st. edward’s
university
How might two-dimensional design courses better respond
to contemporary cross-disciplinary space and student
needs? St. Edwards University Art department recently
undertook a restructuring of its two-dimensional design
course with this question in mind. Emphasizing design
process, conceptualization, and the relationship between
two, three, and four-dimensional thinking, in a laboratory
type studio environment, this restructuring embeds learning
hand skills and design principals with reading and
discussion. The goal is to provide students with the tools to
be both articulate and technically accomplished within a
world that is increasingly cross-disciplinary. By providing
them with technical skills and theoretical frameworks
students are better prepared to engage and make in a
variety of fields.
arts 120 Panel: Innovations in Foundations
Innovations in Foundation Curriculum
Leslie Mutchler, assistant professor of art, area head of 2d
foundations at the university of texas at austin
Mutchler’s interests in Foundations derive from the Bauhaus
Preliminary Course- and consequently bringing relevance
to these ideals. Foundations should be comprised of three
equally emphasized components: craft (the teaching
of technical proficiency), context (relevant vocabulary
and history), and conceptual acuity (art and design as
17
SESSION III
A Cast Iron Chain for America
This project is an extension of his involvement with the “Iron
Trail to the Arctic” in 2008 and the in-state extension of
the “Chain” that is the “Charm Bracelet for Texas”, to be
cast during the 2013 TASA conference. The academic iron
casting community begun by Julius Schmidt in the 1950’s,
has grown and prospered. There are university iron foundry
programs in most states and many independent artists have
set up their own facilities. The “Cast Iron Chain” is an effort
to bring all these disparate individuals into communication
for the exchange of ideas, techniques, and aesthetic
deliberations.

11. arts 113 Panel: Art Activism
Human Rights Art Community Education
Jenny Bryson Clark, south texas college political science
faculty Professor Richard Lubben, south texas college
visual arts faculty
We are entering our 5th year at South Texas College
hosting an annual human rights art exhibition in conjunctions
with the Human Trafficking Conference sponsored by
the Women’s Studies Committee. Jennifer Clark from the
STC Political Science Department and Women’s Studies
President would present an overview of the Sex Trafficking
Conference and how they collaborate with artists to
educate the community and bring awareness of this global
and regional problem. Richard Lubben from the STC Art
Department and Exhibit Curator will show selected images
from previous shows and discuss how artists have used
their art to communicate a personal experience, open a
dialogue or encourage self-reflection about the issue.
“Cash Paid for Rags” A “sketchbook” performance
Deportes Para Compartir and the Albergues
Escolares Indigenas
18
arts 114 Panel: Collaboration
Art, Aesthetics, Education and Activism dealing
with the Border Wall
David Freeman, visual arts faculty at south texas college
Photography has been a tool for social and political
change for many years and it can exude tremendous
educational authority. What better time than now for artists
to utilize art as a tool of enlightenment and education on
the specific issue of the border fence and all the challenges
it produces. The border fence strikes at the very essence
of our culture and democracy. I ask my class how we can
investigate the relationships of image, community, concept,
and the cognitive process. In this political climate how
do we produce a didactic principle and call authority into
question and do it via digital photography.
Can border wall artwork change minds, influence policy and alter popular culture?
Tom Matthews, assistant chair visual arts faculty at south
texas college
The border wall controversy affects every citizen of the
United States and Mexico in one way or another whether
directly or indirectly. Teaching eight miles from the border
in McAllen, Texas has heightened Matthews’ awareness
of the effects the wall is having on our two countries
and how these changes will impact our lives for years to
come. He uses the classroom as an incubator to discuss
the pros and cons of the wall and what artists can do to
bring awareness to the situation. “Can border wall artwork
change minds, influence policy and alter popular culture?”
asks Matthews. “Yes, I believe it can.”
The Border Wall and Community Based Art
Education
Bret Lefler, Ph.D., assistant professor/art ed. adviser/art coordinator at the university of texas at brownsville texas
southmost college
This presentation focuses on how art education majors
at the University of Texas at Brownsville have addressed
the needs of the community by developing an exhibition
using the border wall as a theme. It also includes specific
research and curriculum to heighten awareness for the
need of community based art and arts education within
secondary and upper division students.
What Role Can Art Play? – Border Wall
Scott Nicol, visual arts faculty at south texas college
The art of the modern and postmodern eras sought to
establish its autonomy, “art for art’s sake,” leaving behind
the societal functions of the past. In our time, art is not
supposed to do something, it is merely supposed to be.
This has led to the segregation of fine art, relegating it to
the rarified world of galleries and museums, as distinct from
daily life and the “real world.” This poses a dilemma for
artists who seek to engage social or political issues, such as
the walls that are being erected along the U.S. – Mexico
border. More than 600 miles of border wall have been
built, tearing through cities, farms, and wildlife refuges. In
the face of something that inflicts itself so powerfully and
destructively upon the “real world,” what role can art play?
arts 120 Panel: Art Community
Fundred: Engaging in a 300 Million Dollar
Difference
Mel Chin, artist keynote speaker
This workshop will engage Texas artists and educators
in a fun and simple art project with a powerful solution
based mission. You will leave prepared to mobilize your
community! The Fundred Dollar Bill Project reaches out to
students of all ages to create Fundred Dollar Bills in hopes
of gathering 300 million creative voices from across the
country in the form of drawings. The original artworks
will be delivered to congress with a request that they are
exchanged for their equivalent in goods and service to
transform the lead contaminated soils in New Orleans and
ultimately every lead affected city.
arts 121 Workshop: Technology
Reality Community: Fostering a Sense of Involvement in the Classroom and Beyond
Jana C. Perez, assistant professor of graphic design, texas
woman’s university
Many students today believe that they possess a sense of
community through social and screen media such as Twitter,
Facebook, blogs and texting – often engaging in several
of these simultaneously. Design students in particular, as
learners and future practitioners of visual communication,
must be able to function in both virtual and real
communities. Are students really interacting in a communal
way via technology or simply settling for a less active,
internal dialogue? This presentation will outline the results
of key objectives and projects incorporated into graphic
design coursework that utilize both personal relationships
and technology to create and contribute to the idea of
community in and outside of the classroom.
Blog, Design, Technology
Daniel Lievens, graphic designer faculty member at st.
edward’s university
This presentation will discuss the use of blogs to
archive work, present new work, and give students a venue
for receiving and giving feedback outside of the traditional
critique. We’ll look at the use of blogs from the student/user
perspective as well as setting up and structuring of the blogs
from the faculty perspective.
19
SESSION IV
Carol Flueckiger, associate professor of art, texas tech
This “sketchbook performance” is inspired by the
nineteenth-century practice of recycling rags for paper.
Many early American broadsides, children’s books,
almanacs, and newspapers printed the phrase “Cash Paid
for Rags” to solicit old cloth for use in paper-making. My
project revisits the rag trade by taking discarded or secondhand shirts and blueprinting them with phrases and images
from nineteenth-century material culture, creating wearable
hybrids of the early American women’s movement and
contemporary “artifacts” from my local thrift store. Research
and ideas for this project were gathered at the American
Antiquarian Society in Worcester, MA, and the TTU
Women’s Studies Program.
Roger Colombik and Jerolyn Bahm Colombik, colombik
studios in wimberly texas
Working in Collaboration with the Mexican Association of
the United Nations and Deportes Para Compartir, we are
developing a documentary project that will raise awareness
about the cultural heritage of indigenous children that are
educated and cared for in shelter schools. The shelters
are located throughout the country and often provide the
only means of insuring that children living in very remote
communities can receive three meals a day as well as
a fine general education. Deportes Para Compartir uses
group sport activities to promote the United Nations
millennial goals that include issues of gender equality and
child health.

12. TASA Board of Directors
President 2008–2013
Cathie Tyler
Paris Junior College
President-Elect 2009–13
Greg Reuter
Texas AM - Corpus Christi
Board member/Recorder
2007–2013
Board Member 2008–2013
Bill Simpson
Trinity Valley Community College
board member/academic
affairs, photography survey
2007–13
Gary Frields
stephen f. austin university
Susan Witta-Kemph
San Antonio College
board member/database
2008–2013
board member/academic
affairs, professional standards
2007–2013
board member 2009–2013
Greg Elliott
UTSA
Board Member/Treasurer
2008–13/annual exhibitions
coordinator, gallery network
Liz Yarosz-Ash
midwestern state university
Brian Row
texas state university-san marcos
Sandra Baker
brazosport college
board member/newsletter
2007–2013
Kurt Dyrhaug
lamar university
Conference Vendors
board member/membership
2008-13
Omar Hernandez
el centro college–dcccd
staff member/executive
assistant
Linda Fawcett
hardin-simmons university
staff member/webmaster
Victoria Taylor-Gore
amarillo college
conference chair 2013
Hollis Hammonds
st. edward’s university
conference chair 2013
Angela Rodgers
st. edward’s university
On Friday, April 13th in the Robert and Pearle Ragsdale Center, Mabee Ballroom B, several vendors will set
up displays and materials to view or take. Vendors will set up around 8 a.m. and will be available until 2 p.m.
Art Lies www.artlies.org
Prismacolor Representative: Shelley Minus
Liquitex Representative: Peter Andrew
Big Medium bigmedium.org
20
Conference Volunteers
Pilar Arrieta
Erica Bogdan
Emily Borneman
Mary Brantl
Jessica Buie
Walle Conoly
Barbra Curtin
Caroline Eck
Chrissy Flanigan
Amy Gerhauser
Hollis Hammonds
Kelly Hanus
Donal Haughey
Stan Irvin
Miriam Jurgensen
Daniel Lievens
Kelly Waguespack
Lindsey Webb
Maline Werness
Colleen White
Monica Wright
Eric Zimmerman
Guillermo Hinojosa-Canales
Justin Martin
Michael Massey
Connie McCreary
Rebecca Marino
Jorge Muñoz
Tuan Phan
Kaletia Roberts
Angela Rodgers
Kate Rosati
Nicole Ryder
Jennah Slinran
Emily Speck
Art Thompson
Brenda Torres
Vicki Totten
Khristine Tugangui
We would like to extend our thanks to all volunteers, especially those whose names didn’t make it into the printed program.
Conference Sponsors Donors
St. Edward’s University, School of Humanities
The Kozmetsky Center of Excellence in Global Finance at
St. Edward’s University
The Still Water Foundation
Blick Art Materials dickblick.com
Red River Paper redriverpaper.com
Golden Artist Colors goldenpaints.com
Cheap Joe’s Art Stuff cheapjoes.com
Ampersand ampersandart.com
Jack Richeson Company richesonart.com
Art Lies artlies.org
Austin Museum of Art amoa.org
Lady Bird Johnson Wildflower Center wildflower.org
Mexic-Arte Museum mexic-artemuseum.org
Blanton Museum of Art blantonmuseum.org
Guero’s restaurant on SoCo guerostacobar.com
Austin Chronicle austinchronicle.com
Prismacolor prismacolor.com
Liquitex liquitex.com
Smooth-On smooth-on.com
Olmsted-Kirk Paper Company okpaper.com
Lucky13 lucky13mixology.com
21

13. Interconnected: TASA Juried
Student Exhibition 2013
juror: Eric Zimmerman,
artist writer, ezimmerman.org
54 students from schools all over Texas applied for this juried exhibition. The exhibition reception will be Saturday, May
11th, from 2:30-3:30p, in the Fine Arts Gallery at St. Edward’s University.
Eric Mathis, texas state university
Samantha Alexeichik, hardin-simmons university
Caitlin McCollom, texas state university
Erica Bogdan, st. edward’s university
Miguel Ortiz, sul ross state university
Meagan Carney, st. edward’s university
Kevin Dean Ramler, sul ross state university
Alexandra Coody, midwestern state university
Cari Ritchie, hardin-simmons university
Eliana Fanous, mcmurry university
Bri Anna Satterfield, midwestern state university
Kenneth Fontenot, texas state university
Michael Scot, st.edward’s university
Shannon Gowen, texas state university
Callie Simpson, st. edward’s university
Jaclyn Hudak, texas state university
Emily Speck, st. edward’s university
Benjamin Lamb, texas state university
Tyler Tailiaferro, midwestern state university
Aidan Liller, st. edward’s university
Khristine Tugangui, st. edward’s university
Albert Longoria, texas state university
Ashley Watson, st. edward’s university
Krystal N. Maestas, hardin-simmons university
Simon Welch, midwestern state university
Rebecca Marino, st. edward’s university
Student Spotlight
Poster Presentations
On Friday, May 10th, students from various schools in Texas will present their research in a poster session. The session will be held in the Ragsdale Center’s Mabee Ballroom B from 9a until 2p.
Benjamin Lamb, texas state university
Chris Adams, texas tech university
Kris Leinen, texas tech university
Bruce Alves, texas tech university
Aidan Liller, st. edward’s university
Jared Applegate, texas tech university
Shannon Ramos, texas tech university
Rebecca Beals, texas tech university
Emily Speck, st. edward’s university
Shelly Forbis, texas tech university
Kelly Waguespack, st. edward’s university
Scotty Hensler, texas tech university
Chris Walnoha, texas tech university
Sarah Jamison, texas tech university
22
Social Media
Facebook: TASA Art (Group)
759 members (+210)
Twitter: @tasart
1,101 followers (+667)
Linkedin: TASA Art Group
541 members (+263)
Subscriber Emails
Current number of subscribers: 834
Last year: 764
Total number of emails sent...
This year to date: 37
All of last year: 56
Average of 3 emails sent out a month.
On average, over a third of our list opens the emails.
About 10% of the list clicks through.
If you don’t receive our emails and would like to be added to our mailing list,
subscribe through tasart.org or email communications@aigaaustin.org.
Other Communications
Flickr (photos): flickr.com/photos/tasart
The photos document most of our TASA events from 2004-2013.
Website: tasart.org for all information.
You can also subscribe to our iCal feed and follow our event schedule.
23

14. Membership Numbers:
On March 7, 2013:
396 Members: (+17)
122 Professors (-42)
62 Adjuncts (+9)
201 Students (+48)
9 Artists
2 Corporate Groups (+2)
Compared to last year:
379 Members
164 Professors
53 Adjuncts
153 Students
9 Artists
24
Financial Numbers:
2013 Beginning Balance:
$34,382.91
2013-13 Ending Balance:
$48,654.41**
Expenses:
$87
,003.42
Revenue:
$101,274.92
YTD Profit/Loss:
+$14,271.50
Revenue/Expense Detail:
Administrative
Expense
Revenue
Profit/Loss
Artist Ranch 2011
2011 Annual Membership Party
2010 Annual Membership Party
Artist Breakfast Series
Creative Mass
Art Speak
Finding Grants
Reel Artist
Small Talks
“Making Faces” screening
Lounge Bowl
What’s New With Easels
Get on Press! Workshop
The Mix
Student Portfolio Review
Preparing Speaking About Your
Portfolio
Self Promotion in the Digital Age
Resume Workshop
Brand You
Student Picnic
Summer Shindig
The Texas Show 2013
$56,430.77
$585.00
$2,804.17
$670.74
$0.00
$0.00
$329.02
$732.94
$302.56
$139.64
$4,324.64
$110.62
$630.91
$4,068.24
$96.69
$0
$62,809.28
$0
$1,771.91
$1,560.00
$0.00
$180.00
$458
$1,470.69
$1,131
$130
$5870
$601.75
$650
$4,790
$0
$99
$6,378.51
-$585.00
-$1,032.26
$889.26
$0.00
$180.00
$128.98
$737
.75
$828.44
-$9.64
$1,545.36
$491.13
$19.09
$721.76
-$96.69
$99
$0
$0
$0
$161.76
$3,573.66
$764.95
$55
$80
$50
$45
$3,850
$0
$55
$80
$50
-$116.76
$276.34
-$764.95
TOTAL
$87
,003.42
$101,274.92
$14,271.50
Membership Dues
Student Group Reimbursements
Chapter Development
Supplies, Admin and Operations
Events
0
$1,900.00
$4,294.20
$4,806.57
$14,775.69
$0
$13.78
$883.82
$14,775.69
-$1,900.00
-$4,280.42
-$3,922.75
25