A dropbox is set up in ANGEL for you to send your exhibition announcement to me by 6 p.m. on Dec. 2. I will print and we will post in Borland, Visual Arts Building, Patterson, and Arts Cottage on Dec. 2 within the class session.

On your exhibition announcement include: a title, image(s), the time (6:00-8:00 p.m. EST), date/year (Dec. 9, 2014), location of http://cyberhouse.arted.psu.edu/322/exhibition.html and 304 Patterson Bldg, University Park, The Pennsylvania State University.

URL for exhibition location to put on your announcement is http://cyberhouse.arted.psu.edu/322/exhibition.html
On this page will be the art in VoiceThread and photos of the exhibition in VCER, as well as instructions on how to enter the exhibition space with a guest account that Sandrine will set up for Dec. 9, exhibition opening, 6:00-8:00 p.m. EST

On your exhibition announcement include a title, image(s), the time (6:00-8:00 p.m. EST), date/year, and location of http://cyberhouse.arted.psu.edu/322/exhibition.html and 304 Patterson Bldg, University Park, The Pennsylvania State University and a brief curator statement. You can include more such as the names of the artists, titles of works, etc.

The instructions for adding your selected art and creating signage (titles, medium, artist name, year, dimensions) and objects for the table in which to select the findcard you make is on the calendar for Nov. 20 (see http://cyberhouse.arted.psu.edu/322/cal.html).

VCER (Sandrine) wrote: "I only get one new registration request today: Anastasia Richeal" Mary Cate and Laura, she does not find that you registered. I am not sure why but can you register again and then email "Sandrine" to let her know and allow 24 hours for her response.

Sandrine registered Anastasia, Mary Cate, and Laura. You will find an email from her with your password.

My name is Elexa and I am a student organizer with United Students Against Sweatshops (USAS), a student organization that advocates for workers rights locally and internationally. USAS is holding a Teach-In event called The BLOOD that makes your PSU Gear to spread awareness about the sweatshop conditions some of our university apparel is produced in. We would like to invite you and your students to attend!

Jansport - a division of VF Outdoor, a company that Penn State has a contract with, subjects its workers to deadly working conditions and refuses to take the rightful actions to protect them. We as students, faculty, staff, alumni and supporters of Penn State should not stand for our administration allowing business with unethical brands. Come out on Wednesday, November 12th at 6:30pm in 140 Fenske Building to learn more about the truth behind our Penn state clothing and how we can get Jansport/VF off of our campus.

For more information about the campaign, visit www.northfacedeathtraps.com.

Best,

Elexa Mabry
Penn State United Students Against Sweatshops

Tammy Hosterman forwarded this note to share with students. If you would like to exhibit your art at a cancer center in State College, see the contact information at the end of the post.

As per our conversation by phone. We are looking for students that are interested in displaying their art work in the Lance and Ellen Shaner Cancer Pavillion @ 1800 East Park Ave. State College, PA 16803. We are looking for student's art pictures to display that are inspiration to fill our cancer center. You can put a small card on the bottom of your art work with your information on it so that our patients can contact you if they are interested in buying your art work. If you are not interested in selling your art work you may still display it on our walls. We are looking to change the picture about every 6 mths. If you are interested and need more information please contact Brenda Willett RN at 231-7800 (6272).




Brenda Willett, RN Oncology Dept.
Cancer Care Partnership
1800 East Park Avenue, State College, Pa 16801
PH: 814-231-7800 (6272)
FX: 814-231-7293

Diversity WebQuest Critiques: WebQuest drafts by preservice teachers for middle school students will be available from Oct. 31 to complete the critique by Nov. 5. Post critiques from a diversity awareness perspective (as discussed in the readings for this exploration) in this thread in DIIGO for each of the 5 WebQuests. The WebQuests will be used in Dr. Jennifer Motter's middle school 7th & 9th grade art courses in Johnston, Pennsylvania from Nov. 17-21. The WebQuest assignment for the preservice art teachers is at http://cyberhouse.arted.psu.edu/322/projects/5_wq.html

The webquests drafts are linked below.

Collecting (7th grade)
https://sites.google.com/site/aed322collecting/

Around the World in 80 Minutes (7th grade)
http://anastasiaricheal.wix.com/80-minutes

Self Exploration (9th grade)
http://tkb1792.wix.com/hellofrompennstate

Memory (9th grade)
http://gim5147.wix.com/memoryinart

Water: Environmental and Social Issues (9th grade)
http://prezi.com/hiwnd1jv0wzk/water-a-love-story/

Go to https://groups.diigo.com/group/aed-322-fall-2014/ and "join group"
It is a different group than prior semesters.
Once you have joined this particular group you can reply to the thread.

From Sandrine Han about activating your accounts in VIEW. Look in your email.

By the way, here are the 6 accounts I received and activated: leslie sotomayor, madi m, Yenni Nguyen, Gabriella McDannel, Tiffany Bragunier, John Guilyard


On Tue, Nov 4, 2014 at 4:32 PM, Sandrine wrote:

Hi Karen,
I just activated all the accounts.
If you need any help, please feel free to let me know.

Sandrine

Kara Walker http://www.art21.org/artists/kara-walker

Catherine Opie http://www.art21.org/artists/catherine-opie

Michael Ray Charles http://www.art21.org/artists/michael-ray-charles

Carrie Mae Weems http://www.art21.org/artists/carrie-mae-weems

Judy Chicago The Dinner Party http://judychicago.arted.psu.edu/dpcp/

In "Knowmad," Mel Chin worked with software engineers to create a video game based on rug patterns of nomadic peoples facing persecution.

http://melchin.org/oeuvre/knowmad

http://www.flo-oy-wongartist.com/gallery/suit/1942.html
Flo Oy Wong

Andrea Zittel http://www.art21.org/artists/andrea-zittel

http://www.warhol.org/education/resourceslessons/Collecting-Lesson-3--Contemporary-Artist-Examples/

At this site, students are introduced to artistic practices that use personal, professional and institutional collecting, as well as a wide array of contemporary artists employing these practices. Symbolism, anthropology and archival information are presented and discussed.


Stefan Hoderlein, Matching Jacket and Pants, 1996, Slide projection, 3 views, Installation at Gallerie Fricke, Berlin

Portia Munson, Pink Project, 1994, Installation of found pink objects
Portia Munson, Green Piece; Sarcophagus, 101 x 210 x 147 cm
More of her work at http://portiamunson.com/

Andy Warhol

Mark Dion
The archaeological methods that Dion adopts to assemble this work are distinctive. The artist spent two weeks with a team of invited archaeological experts and volunteers beachcombing on two sites on either bank of the river Thames. ...

In the late 1980s Peter Atkins began composing visual journals comprised mostly of non-precious, found objects carefully re-presented in formal arrangements. Atkins' collections offer no obvious hierarchy or economic value but rather reflect a highly personalised approach to selection and display and serve as a time capsule of the artist's life at any given time.

Fred Wilson
http://www.art21.org/artists/fred-wilson

Irina Werning
back to the future
http://irinawerning.com/back-to-the-fut/back-to-the-future/

http://dx.doi.org/10.4236/adr.2014.21002

Development of Ceramic Filters for Household Water Treatment in Nigeria

Art and Design Review
2014. Vol.2, No.1, 6-10
Published Online February 2014

Ceramic water filtration is the process that makes use of a porous ceramic (fired clay) medium to filter
microbes or other contaminants from water.

The Great Cleansing of the Rio Grande
a pilgrimage, September 17, 1987 to April 17, 1994
http://earthheartist.com/cleansing.html

Dominique Mazeaud

Betsy Damon
Keepers of the Water
http://keepersofthewaters.org/

Forty years ago, Betsy Damon stepped outside her traditional art training and carved a unique path to work with the environment, communities, science and art. She began looking to her inner consciousness as a source of inspiration which initiated her public engagement, starting with gritty art performances on the New York City streets. She was engaged in the women's movement of the 1970s, where she founded No Limits for Women Artists, a network to join and support female artists.

In 1985, after a cross-country camping trip with her children, Betsy found herself reconnected to the primal elements of the natural world --the sound of wind, the flow of water, the forest, the rain. This initiated the casting of a 250-foot dry riverbed, The Memory of Clean Water, which brought her attention to the invisible destruction that development was having on water sources. In the early evening, while casting the riverbed, Betsy looked up to realize that the stones of the riverbed were patterned like the stars of the sky, that everywhere were the patterns of water. She committed herself to learning everything about water, little did she know that 27 years later she would still be deeply entrenched.

Beginning with the creation of Keepers of the Waters in 1991, Betsy has continued to work towards creating community based models of water stewardship. Her work includes sculpture, teaching, lectures and workshops. In China, she created the nation's first public art event for the environment, and most notably the Living Water Garden, a world renowned public park and natural water filtration model. In the US, she is continuously working with communities and grassroots groups, as well as completing art/ design commissions.

Betsy Damon's inspiration comes from extensive research of sacred water sites, and her curiosity for the biology and earth sciences that compose living systems. Always seeking new ways to articulate the complexity of water and engage communities in caring for this precious resource, Betsy continues her passion.

Audience Development Assistant
Work study position
10 hrs/week
Seeking a dynamic, flexible self-starter to assist a fast-paced and varied department in the Center for the Performing Arts. Excellent written and verbal communication skills required. Ability to work during performance times, and a very occasional weekend is necessary. Ability to lift up to 35 pounds required. Valid drivers' license required. Supervised by the education programs manager.
Primary Duties
Assist with Artistic Viewpoints preparation, execution, and tear-down. Set up and disassemble simple sound system (training provided). Escort artist participants backstage in a timely, courteous and professional manner.
Assist with logistics of programs, including deliveries around campus, making purchases at local stores, providing assistance with marketing efforts, etc.
Assisting on-site with events, including participants sign-in for attendance records, carrying equipment to the site, assisting with welcoming participants, etc.
Maintain mailing lists and Access database entries, updating them after each event.
General office duty assistance, including copying, mailing correspondence, mass mailing preparation, etc.

contact:
Amy Dupain Vashaw

Audience & Program Development Director

Center for the Performing Arts @ Penn State

107 Eisenhower Auditorium

University Park, PA 16802

Ph: 814.863.8205

Examples of k-12 art teaching with the Judy Chicago Art Education Collection is part of the Collection at http://judychicago.arted.psu.edu/living-curricula/teaching-with-collection/award-winning/

STEMinist in the Making: A Choose Your Own Career Story
by Veronica Hicks

https://writer.inklestudios.com/stories/qfn5

http://www.inklestudios.com/inklewriter/

This is a very creative mixed reality animation.

Jamie Nesbit, representative of Studio Art Centers International (SACI) in Florence Italy, will present information about study abroad opportunities at 11:15 in the Resource Room (across from the shop) in the Visual Arts Building, and at 2:30 in the Conference Room, 210 Patterson Building, on Tuesday, October 7th. Her presentation will last approximately fifteen minutes and she will be available for questions afterward.

SACI is a four-year art school for Americans and is a Penn State approved study abroad program in the historic center of Florence, Italy. SACI offers a full range of studio courses as well as a selection of art history, museum studies, and art conservation courses.

SACI is available to Penn State students as an approved study abroad program for Fall, Spring or Summer semesters. Next summer, Penn State drawing and painting instructor Ann Tarantino will accompany a group of Penn State students to Florence for a six-week, six-credit summer semester. Prof. Tarantino will teach a painting class for SACI but students will be able to chose any courses from the SACI course offerings.

Jamie Nesbit is visiting our campus to attend the Education Abroad Fair, 11:00 to 4:00 on Wednesday, October 8th in the HUB Alumni Ballroom. If you miss Jamie on Tuesday, come to the Fair on Wednesday where you can learn about all Penn State study abroad programs.

For more information, contact Randy Ploog at: RandyP@psu.edu

Randy J. Ploog
Coordinator of International Programs
College of Arts and Architecture
104 Borland Building
The Pennsylvania State University
University Park, PA 16802
814-865-7317

A Confidential Discussion With an Art Gallery Owner
An Art Marketing Message from
Eric Rhoads, Art Magazine Publisher

Just recently I had the chance to sit quietly over dinner with a major player in the art gallery business. We've become great friends, and are close enough that we can share our deepest problems, issues, and concerns. It's wonderful to be so close with someone that you can share confidences to get an opinion or advice.

In our conversation the gallery owner offered some words of wisdom I thought needed to be shared with artists. I have permission, as long as I don't share the name of the gallery owner. These are insights that I think will help you, as an artist, further your art career when it comes to galleries.

When I asked what determines who gets into this owner's gallery -- one of the most coveted galleries in America -- it was not the answer I was expecting.

In my Art Marketing Boot Camp™ series of DVDs, I address specific strategies about how to get into an art gallery. But lo and behold, I learned something I'd never thought about.

We're Watching
Everything The gallery owner went on to tell me that the gallery picks and chooses artists by reputation, which is expected. They want whoever is hot. What was not expected from this gallery is that they are watching artists at every turn, and are seeking artists who are good at self-promotion.

Seeking Great Promoters
"We've realized that we're in this together with the artists," he told me. "If they are great promoters, we want them in our gallery because we're great promoters too. The combination is powerful. Too many artists want us to do all the heavy lifting, but we have discovered that their promotion is also important. If they prove to us they are good at promoting themselves, we know that we can be twice as successful than if we have to do all the work."

He went on, "We watch everything they do. We watch the advertising artists are doing in various art journals, we watch who is showing up as finalists in various art competitions, and we're looking at the consistency of their work, their ability to tell their story, and of course we watch their behavior." He told me that they had walked away from artists because of some of the things those artists are posting on Facebook, Instagram, or Twitter.

They Have to Sell Your Image
"We have to be able to sell them," the gallerist said. "If they are posting bad paintings, half-finished works, their bad party photos, or their political opinions, we avoid them like the plague. We have to sell them to responsible collectors, and the image they create for themselves is everything. Artists are on social media sites saying, 'Hey, look at me,' and don't realize they are hurting themselves." He suggested that artists need to edit, that not every painting is a good one, and that too much bad work is showing up online. He also suggested that those who don't craft their image carefully are hurting themselves.

How to Discover Artists
"We don't really want established stars alone," he said. "We want to make our own stars, so we're constantly on the lookout for artists who are unknown but are doing good work. We can build their brand, build their collector base, and build their pricing over time." He went on to say he especially watches who is winning, and even entering, art competitions, because they're a great place to discover unknown talent. "We spend time browsing the winners and finalists of these competitions, because a lot of the people entering are trying to be discovered. Maybe they don't have the money to market themselves yet, maybe they don't have a gallery yet. We watch every competition to see the consistency of their work. Even if they are not winning, but just finalists or even entrants."

The Unexpected Way Galleries Are Watching You
This gallery owner continued, "If I were an artist wanting to be discovered, I'd enter every art competition I could. It only costs them a few dollars, but we watch month to month, and if we see the same people, they tend to grow on us. We've picked up several great unknowns by watching art competitions."

I'd never have expected to hear this.

Five Things You Should Be Doing As an Artist
Based on my conversation with this gallery owner, here are five things you need to be doing as an artist:

* Carefully Craft Your Image.
Your online presence matters. Galleries may not be "friends," yet may see your posts through visits or connections. Make sure the things you post are supportive of a positive image for you. Resist posting those drunken moments with your head in the toilet. It may seem like fun at the time, but the gallery owner I spoke with -- and others -- will write you off at that moment.

* Edit What You Post.
Less is more. Every painting is not good. Most painters are lucky to get one good painting out of 10. Be careful what you post. The gallery owner suggested getting third-party opinions on works before posting them because you're probably too close to judge your work objectively.

* Be Careful About Progress Shots.
This gallery owner said he was often turned off by painters who show works in progress because it often isn't good work yet. Posting an unfinished painting tends to be damaging to an artist's reputation among those who see it and don't understand that there's a lot more work to be done.

* Enter Every Art Competition, Every Time.
This gallerist is watching, and says others are as well. He suggests entering paintings in competitions every month because it increases your chances of winning and getting noticed. "We look for patterns of success," he said. "If someone keeps winning, we seek them out. But they don't have to win. We look at entries too, and look for painters who are innovative and consistent. It's like a catalog of unknown artists to us. A great resource."

Promote Yourself.
Not only is promotion good for you and your art career, and for selling paintings, this gallery reveals that they love people who are good at self promotion. By doing so you're showing that you make a good business partner who will help them sell your art.

Art galleries are looking for advantages, and those advantages often come from discovering new artists who will sell. It's a good idea to manage your career as though galleries are watching your every move, watching social media, watching your website, seeing your newsletters (even if they're not on your list, newsletters are often forwarded by friends), and watching art competitions.

Eric Rhoads

PS: I also learned that at least one artist who continually enters our PleinAir Salon was discovered by this gallery owner, who has been watching the results. Don't let the PleinAir name fool you: The Salon includes landscape, figurative, still life, studio, and plein air painting -- the name comes from its association with PleinAir magazine. The grand prize is $15,000, and there is $21,000 in prizes overall, plus lots of monthly winners of other prizes. The current competition ends on September 30. It takes two minutes to enter and upload your best paintings. Last day to enter! Enter now at www.pleinairsalon.com.

Streamline Publishing, Inc., 1901 S. Congress Ave., Ste. 118, Boynton Beach, FL 33426

You are invited to the opening of the virtual learning space for The Bread and Roses Strike of 1912. Thanks to a generous grant from the Linden Endowment for the Arts, this exhibit will be open to the public until December 31, 2014. The site was designed as part of coursework for the entry-level distance course in The Department of Women's, Gender and Sexuality Studies at The Ohio State University, but it has much to offer students of other disciplines, and the general public.


Visitors are able to wander the streets of this virtual city on their own; they can listen in on conversations, see the living conditions of strikers, and even "work" in the mill. The exhibit is not a replica of Lawrence, Massachusetts, site of the famous strike; however, the immersive nature of the exhibit gives visitors the feeling of "being there." The site itself will grow and change as student projects are completed and included in the exhibit.

This space is open to everyone, and entry is free. A set of study and essay questions are available at the entrance to the exhibit which encourage students to think about the gender, class, ethnic and racial conflicts that underlie this historic event.

To learn more about the exhibit, and to learn how to visit it, please see this site: http://elliebrewster.com/blog/

If you would like to learn more about the virtual Bread and Roses Strike, please contact me.

Dr. Sharon Collingwood
Department of Women's, Gender and Sexuality Studies
The Ohio State University
286 University Hall, 230 North Oval Mall
Columbus, Ohio 43210-1311

Blog: Exploring the Virtual Classroom
http://www.elliebrewster.com

Second Life, Open Sim, Twitter: Ellie Brewster

Feminist Cyberspaces: Pedagogies in Transition
http://academia.edu/1394625/Feminist_Cyberspaces_Pedagogies_in_Transition

Virtual Worlds in Education Wiki: http://www.vwed.org

Hi Everyone,

I hope you had fun during the field trip in Second Life. Unfortunately, we ran out of time and couldn't visit more places. We just dropped at the door at two places. You can go back and explore more places by your own. Many places are worth spending more time to explore. Here are some information and suggestions. Please feel free to contact me and ask questions about Second Life. My email is cllyliao@gmail.com

SL destination guide (The website with lists of places to visit.)

http://secondlife.com/destinations


Art Box (The first site we went.)

http://maps.secondlife.com/secondlife/Klaw/28/19/35


The Sea of Cubic Dreams (The second site we went. The whole site is an installation art.)

http://maps.secondlife.com/secondlife/LEA25/133/125/23


Echoes in the Garden (This is an installation art.)

http://maps.secondlife.com/secondlife/Rosas/38/71/1800

University of Delaware Art Gallery- Andy Warhol: Behind the Camera (example of real life gallery in virtual world)

http://maps.secondlife.com/secondlife/University%20of%20Delaware/56/183/28

The Bread and Rose Strike (visit the history)

http://maps.secondlife.com/secondlife/LEA13/10/244/301



Best,


Christine

I suggest the Exquisite Corpse FTN DOCC project be renamed "Exquisite Engendering" after reading Manning, Erin (2007). Politics of touch: Sense, movement, sovereignty. University of Minnesota Press. She describes engendering from Latin roots generrare, to generate. "To engender is to undertake a reworking of form. To engender is to potentialize matter. Engendering involves potentiality at its most fertile: it calls forth the link between the incorporeal and the material, between the virtual and the actual" (p. 90).

At Tuesday class, the foldthatstory app should help each of the 4 groups to begin at the end of the group prior. I set up the group "Difference" for this process.

http://foldthatstory.com/Story/311319
password: aed322

Below is how each group imagines their 75-second segment of the exquisite engendering video will end (as imagined on Sept. 23). Edit in FoldthatStory at http://foldthatstory.com/Story/311319 according to what materializes as the end of your video segment in the exquisite engendering video.

Group 1 ENDS: "Character" is JUST LIKE YOU! We explore their identity and how it was formed. As this is taking place, the camera zooms out and shows them in a bubble. Bubble is replaced by raw footage.

Group 2 ENDS: The audience then sees all of the misconceptions and sexism that has come with it all.

Group 3 ENDS: With frowns on their faces they knew they would challenge this oppression with song.

Group 4 ENDS: Does the definition of a word change based on the contexts in which it's used? If I speak my mind, does that make me a ****?