Can you see the non lit paint brush? I wonder when?
Cleveland Clinic Lou Ruvo Center for Brain Health
Monday, March 7, 2011
Friday, March 4, 2011
New Window Display at CAC
Contemporary Arts Center - East Side Projects
New happenings in the front window
The Utopian www.theutopiancomic.com
by PJ Perez
Wednesday, March 2, 2011
Geolocation Final Week
Geolocation Show Ends March 4th
Make sure you get down to the Contemporary Arts Center to see Geolocation;
Larson + Shindelman
Geolocation portfolio featured in Issue 14 of Fraction Magazine.
Tuesday, March 1, 2011
Preview of Preview Thursday
New dudes coming to CAC front window:
Make sure you come by CAC for Preview Thursday and First Friday, check out PJ's presentation
Monday, February 28, 2011
Sunday, February 27, 2011
Thursday, February 24, 2011
CAC 83rd Movie Awards Gala Silent Auction Artwork
Steven Spann
Title: Happy Train
Size: 40 x 72"
Medium: Mixed media
Size: 40 x 72"
Medium: Mixed media
Dar Freeland
Title: Plus Minus
Size: 24 x 36"
Medium: Giclée on canvas
Title: Plus Minus
Size: 24 x 36"
Medium: Giclée on canvas
Domsky Glass Studio
Larry and Barbara Domsky
Title: Tide Basket
Size: 12"
Medium: Glass, blown glass and metal sculpture
Larry and Barbara Domsky
Title: Tide Basket
Size: 12"
Medium: Glass, blown glass and metal sculpture
Wednesday, February 23, 2011
CELEBRATE THE 31ST ANNUAL GOVERNOR’S ARTS AWARDS
Join us on March 2, 2011 at the Brewery Arts Center in Carson City to recognize recipients of the 31st Annual Governor’s Arts Awards. Tickets are $30 for the reception and awards ceremony. For their contributions of artistic achievement and service to the arts and to their communities, the Nevada Arts Council congratulates:
Please join us on March 2, 2011 at the Brewery Arts Center in Carson City to recognize recipients of the 31st Annual Governor’s Arts Awards. Tickets are $30 for the reception and awards ceremony. Seating will be limited, so we suggest you make your reservations for the Governor's Arts Awards now.
If you have paid or will pay for the Governor’s Arts Awards as part of your OASIS 2011 registration, you do not need to fill out a separate Governor’s Arts Award RSVP card.
Questions? Please give us a call at 775.687.6680 or 702.486.3700.
- Andrea Lenz, Reno - Excellence in the Arts
- Mary Warner, Las Vegas - Excellence in the Arts
- Tsurunokai Taiko, Reno - Excellence in Folk and Traditional Arts
- Sue Kitts Jesch, Carson City - Leadership in Arts Education
- Wally Cuchine, Eureka - Leadership in the Arts: Individuals
- Nevada State Museum, Carson City - Leadership in the Arts: Organizations
- The Donald W. Reynolds Foundation, Las Vegas - Patronage in the Arts
Please join us on March 2, 2011 at the Brewery Arts Center in Carson City to recognize recipients of the 31st Annual Governor’s Arts Awards. Tickets are $30 for the reception and awards ceremony. Seating will be limited, so we suggest you make your reservations for the Governor's Arts Awards now.
If you have paid or will pay for the Governor’s Arts Awards as part of your OASIS 2011 registration, you do not need to fill out a separate Governor’s Arts Award RSVP card.
Questions? Please give us a call at 775.687.6680 or 702.486.3700.
OASIS 2011 CONFERENCE REGISTRATION OPEN!
OASIS 2011: Powering Nevada’s Prosperity is a one-day convening designed for artists, community teams, organizations, and educators—Thursday, March 3, 2011 at The Silver Legacy in downtown Reno. Featured speakers include:
Download the OASIS 2011 speakers and agenda and register today.
- Adam Natale, director of Partnerships and Business Development - Fractured Atlas (an artist-centric national service organization)
- Deborah Obalil, marketing and organizational development specialist - Obalil & Associates
- Lisa Carnevale, executive director - Rhode Island Citizens for the Arts
- Ryan Keiffer, executive director & Beth Flowers, senior producer/project director - Beet Street, (the arts and culture organization serving Fort Collins, CO)
Download the OASIS 2011 speakers and agenda and register today.
Mary Warner: CAC Member Honored
The CAC congratulates Mary Warner, this year's recipient of the Governor's Arts Award for the Excellence in the Arts Category. Mary Warner was one of the dedicated founders of the Contemporary Arts Center, formerly the Contemporary Arts Collective, and one of last year's GAA recipients. Celebrate all she has done for the Las Vegas arts community in Carson City at the Governor's Arts Awards on March 2nd and attend the OASIS Conference.
Mary Warner is a visual artist, educator and curator. Born and raised in Northern California, she has lived in Chicago and New York City as well as teaching at the University of Montana, Oklahoma State University an University of Texas San Antonio before finally settling in Las Vegas in 1989. She is currently an Associate Professor at the University of Nevada Las Vegas. Over the years she has received an N.E..A. Individual Fellowship, a Mid America Arts Alliance Fellowship and two Nevada Arts Council Individual Fellowships, as well as numerous smaller grants and awards. She is the recipient of the 2011 Governors Art Award for Excellence in the Arts. She has shown her work nationally and internationally. Mary Warners work has been featured in forty three solo exhibitions nationally and she has participated in fifty-five exhibitions across the state. Her work has been exhibited widely outside the state including the Whitney Museum, The Drawing Center and the Louis K Meisel gallery in New York. In California she has shown with Sherry Frumkin Gallery (Santa Monica) Wenger, Zara and Limn Gallery San Francisco and JAYJAY Gallery Sacramnento, Sandy Carson Gallery ,Denver as well as being included in a number of group exhibitions in Italy and the UK.
As an artist and curator , Mary Warner has been critical to the development of the local arts community. She was one of the founding members of CAC. She alternated between president and vice president in its formative years. She served for many years on the exhibition committee. She remains active as a member, encouraging her students to become involved.
Tuesday, February 22, 2011
GEOLOCATION at the CAC Until March 4th
The GEOLOCATION project focuses on the cultural understanding of distance as perceived in modern life and grounded in network culture.
Nate Larson is faculty at the Maryland Institute College of Art in Baltimore and serves on the Board of Directors for the Society for Photographic Education. He received his MFA from The Ohio State University in 2002. www.natelarson.comMarni Shindelman is associate professor of art and an associate of the Susan B. Anthony Institute for Gender and Women’s Studies at the University of Rochester. She received her MFA from the University of Florida in 2002. www.marnishindelman.com
Larson + Shindelman have lectured on their work at the Society for Photographic Education National Conference, Shawnee State University, Rochester Institute of Technology, the Alberta College of Art and Design, Nerd Nite NYC, the University of Texas at San Antonio, and Johns Hopkins University.
Monday, February 21, 2011
Who Would You Vote For?
Actor in a Leading Role
83rd Movie Awards Gala - Mercedes-Benz of Henderson is proud to support the Contemporary Arts Center
Friday, February 18, 2011
Thursday, February 17, 2011
Professional Development Workshop - Verbal Communicaitons
Creative Capital Professional Development workshop opportunity for Las Vegas artists
The Metro Arts Council of Southern Nevada is offering a Professional Development workshop on verbal communications on March 4, 2011 conducted by Creative Capital. You, as a local artist, are invited to apply for participation in the workshop. NV Energy is covering the cost of tuition for each artist thus there is no out-of-pocket cost to you. The workshop can accommodate only 20 people so there will be a selection process employed should more than 20 artists apply, and there are still 12 places left. It is our hope that this workshop will be the first of several offering different professional development opportunities to you. Please e-mail or call Joan for the application form. its short and sweet. Should you have any questions please contact Joan :joan@metroartsnevada.com or 702-370-0321
In 2003, Creative Capital launched the Professional Development Program (PDP) to share with a broad community of artists some of the tools and strategies for improved self-sufficiency that were initially developed for grantees. Since then, PDP has refined these methodologies and developed new ones, which it has shared with more than 3,700 artists in more than 50 communities around the country. PDP presents a variety of weekend, one-day and evening length workshop offerings in self-management, strategic planning, fundraising, web strategies, verbal communication and promotion.
The artist-centered approach recognizes that an artist’s career plan must stem from his or her own goals and aspirations. Workshop structures and pedagogy are designed to deliver timely and accurate information while nurturing a community of artists who validate each other's work and provide a context to share resources through peer learning.
Wednesday, February 16, 2011
Tuesday, February 15, 2011
Call For Work
The CAC is accepting submissions of work for East Side Projects, a series of monthly two-week projects in the gallery’s front window space facing Charleston Blvd. This ongoing call is open to all contemporary artists working in any media. Artists must be current CAC members (defined as dues-paying members starting at the $25 level) in order to be eligible for consideration. To become a member go to http://cac.wildapricot.org/join. Site-specific work for the space is encouraged. We encourage artists to visit the gallery to see the space (window specs below.) Please note that the window receives a generous dose of Las Vegas sunshine.
Submissions must include a proposal, current CV/resume, artist bio/statement, disc with JPG images of original artwork (300 dpi at 2 MB or less please) and image reference sheet (including artist, title, media, dimensions, and filename). Send SASE for return.
Submissions must include a proposal, current CV/resume, artist bio/statement, disc with JPG images of original artwork (300 dpi at 2 MB or less please) and image reference sheet (including artist, title, media, dimensions, and filename). Send SASE for return.
Monday, February 14, 2011
Twitter as art
But if our words lingered, suspended against the backdrop from whence they appeared in an otherwise breezy moment, we’d have a deeply personal and revealing snapshot of a social climate. We’d have the work of Nate Larson and Marni Shindelman, whose exhibit, Geolocation, is showing at Contemporary Arts Center.
Larson (from Baltimore) and Shindelman (from Rochester, New York) use GPS coordinates embedded in Twitter to track public tweets. They photograph a tweet’s location of origin and overlay its text, creating poetic and sometimes haunting images on 30-by-22-inch C-Prints they refer to as “historical monuments to small-lived moments.”
The collection includes random tweets and tragic snapshots, compositionally compelling and devoid of humans.
From an urban sidewalk: “Will try my best to live life the right way, morally and ethically. I can’t keep living the way I am now …”
From a car wash: “While I was there a woman WELL into her 70s came in wearing a sweatshirt from ‘Bada Bing,’ the strip club from The Sopranos: Day made!”
The project emerged from the artists’ process of working together, collaborating over long distance and relying on the technology they see changing the world. Larson teaches at the Maryland Institute College of Art; Shindelman at the University of Rochester. The process is ongoing and the two will continue documenting while in Las Vegas.
“We’re fascinated by the sense of lingering presence,” Larson says. “There’s something about these social tools that make people more willing to share. And something about being in that location and imagining what it felt to be like in that location … We think of it as man-on-the-street social documenting, a way to look into the world.”
Kristen Peterson
Art Reporter
Las Vegas Weekly
Friday, February 11, 2011
Thursday, December 9, 2010
Guest blogger Laura Napier
The second installment of our Off the Strip guest blogger series comes from Laura Napier, a Brooklyn-based artist who describes her project. project for a street corner (Fremont Street), 2010
This piece was planned out at least a year in advance - I visited Las Vegas for the first time in Spring 2009, and Wendy Kveck brought me to Fremont Street to show me what happens there during the ‘Experience’ show just before I needed to be at the airport. For ten minutes, I laughed and cried and ran around photographing the amazing stock still ‘tourist zombies’ (as Wendy described them) all exhibiting the same behavior together, facing the same direction, watching the overhead canopy, some with mouths open.
Expectations vs. the reality of the piece.
During our performance I thought that our snake dance would close distances because volunteers would not be able to precisely follow the path of the person ahead of them. Instead, our group was very polite and careful, and so the tourists in the space did not get nudged around by our line as far as I could tell. The focus of the event is meant to be on the shifting of behavior of other people in the space, but I think our conga line became a spectacle in itself. Hard to tell what exactly happened because there are so many people and patterns to watch in the final video, you can see an excerpt and decide for yourself at www.lauranapier.com/project.html (scroll down). Also, unexpectedly, when we started our performance the Fremont crowd was not evenly dispersed over the space because an informal dance circle had formed in front of a temporary stage.
Interactions with local volunteers
Volunteer recruitment started before I landed in Las Vegas thanks to the amazing Justin Favela who was in touch every step of the way. A horde of enthusiastic volunteers came, at least 30, which was wonderful and scary (sometimes it is hard to get enough people together to do a proper intervention) and for a moment I thought maybe we had too many and would overwhelm the crowd already at the site!
Volunteers reported that during the intervention other people present in the space were making little comments to them as they passed by. One volunteer told me she was initially nervous about participating but ultimately felt safe during the performance, I suppose because we were a bunch of people doing the same thing. I find it difficult myself to perform in public alone - there is a pressure to conform to whatever is going on in a space, to do otherwise feels vulnerable. So it was great and necessary to have the crowd along. Dayvid, a volunteer, had a plethora of behavioral ideas the day after the event. A great one was what if we were not connected by hands on shoulders in the conga line or by holding hands, but were just following each other? How would that be different?
My liability and photo release forms, missing crucial information, allowed Superman to sign and participate in the performance, although it is funny I did not see him. Please don’t sue me or the CAC, Superman! I don’t have your contact information.
How you approached this piece differently in relation to your other interventions
Every performance I have produced in this series is unique to each site. Previous interventions include forming a circle in the midst of a stream of rush hour commuters in front of the WTC PATH station in Manhattan, and turning the ordinarily straight queue of tourists waiting to enter the Reichstag in Berlin. The dynamics and source of each group and place are so different. We were traveling more in this piece instead of standing still and holding our ground. Maybe Vegas demands a certain aggression due to the noise.
questions or issues raised in the panel
This project is not supposed to be all about watching the performers. It is more about using regular, usual behavioral cues to change a present public who are not entirely conscious of how we are shifting them in the space. It feels like a misfit to consider our event as a subset of the flash mob meme, and I’m still working out how to make my ideas clearer. I also really enjoyed learning more during the panel about the space of Fremont Street defined as public/private space hybrid and how restrictive rules on behavior were recently successfully contested by hula hooping artists. I subsequently attended a great talk in New York by the artist Mark Tribe who traced the changing ideas about and manifestation of ‘public’ and ‘public space’ through western history into contemporary society. I do not know if we can locate actual public space anymore in this country.
thoughts afterwards
It became clear that in this performance the natives were disturbing the tourists, rather than the usual tourists disturbing the natives. The Fremont Street public caught on during the event, since you cannot hide a conga line. At some point during the performance, a young man who’d been hanging out with a clique of teenagers near the stage came over and began obstructing me at the front of our line, choosing to walk slowly in the way of whichever way I turned with his back turned towards me. It felt strong and like I was losing control, and I faked him out by telling him that I knew what he was up to. You can see him in the video returning to his group and high-fiving his friends afterwards. People in the area definitely joined the conga, either they thought it was part of everything or just perceived as fun by impulsive types. Perhaps one of the few things you can do for free in Las Vegas?
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