4/1: 1st Year Juried Show - Applications Due
The application for 1st Year Show Submissions is listed under the category Current Students.
Students are asked to submit up to 3 pieces for consideration. A maximum of 5 images permits multiple images of the same work. Students will also be prompted to include an artist statement or summary of work, along with a website or tumblr account as a way to view additional work.
3/28: MICA Grad Show-Opening Reception THIS FRIDAY !
Openings will take place at the Graduate Studio Center, the Fox Building, and Bunting Center.
Click Here to visit the MICA Grad Show Website!
Friday, 3/28, 5-8 PM
Graduate Studio Center: Sheila & Richard Riggs Gallery, Leidy Gallery
Fox Building: Fox 3 Gallery, Meyerhoff Gallery, Decker Gallery
Bunting Center: Pinkard Gallery
3/27: Janet Olney puddle-wonderful
3/28: Case Studies in Post-Medium Specificity, Robert Holmes on Robert Smithson
Location: MAIN 110
Featuring art historian and critic Robert Hobbs speaking on the work of Robert Smithson. Professor Hobbs will be focusing his presentation on two very brief readings, these are encouraged but optional and will made available at the event.
Robert Carleton Hobbs is an art historian and curator specializing in twentieth-century art. Since 1991 he has held the Rhoda Thalhimer Endowed Chair of American Art in the highly respected School of Arts, Virginia Commonwealth University. Since 2004 he has served as a visiting professor at Yale University. He has held positions at Cornell University, University of Iowa, Florida State University and Tehran Museum of Contemporary Art in Iran, and is known for a number of books, in-depth essays, and exhibitions.
The series aims to bring together graduate students and faculty from MICA and Johns Hopkins, with hopes of sustaining an in-depth conversation on advanced questions of artistic practice. In each discussion, we take a particular artist as a 'case study'--and try to think through the terms, ambitions, and assumptions by which her practice is defined outside of traditional disciplinary conventions.
3/28: Design Fictions Opening Reception
Reception Friday, March 28 from 5 to 8pm
Fox Building, 3rd floor Gallery
Following a personal process of generative thinking and making, students exhibit artifacts, experiences, and ideas based on the theme Design Fictions. The exhibition explores how designers borrow conventions of language and literature, like myth, metaphor and character, for use in their work. Thinking and making outside of reality provides an opportunity for experimentation and invention.
Featured designers: Emilia Aragon, Alex Bailey, Anna Bitskaya, Sarah Claggett, Sheena Crawley, David Dale, Nick Emrich, Sharon Forrence, Angad Medi, Shuyi Meng, Kelly Nealon, Tiffany Small, Tiffany Thompson and Hieu Tran.
3/29: DTAKK Music & Drawing Workshop
Date: Saturday March 29
Time: 9-3:30 p.m.
Light Breakfast & Lunch provided
Andrew Tanner, MFA student at Maryland Institute College of Art, will lead this workshop. Young rap musicians from the group “DTAKK” will assist with the workshop and perform. There will be a meditative drawing demonstration and breakout sessions on electronic music making, meditative drawing and rap lyric writing. Participants will perform their songs for the group and we will end with a guided breathing meditation.
RSVP with Andrew Tanner: firstname.lastname@example.org or 410-337-2788
Visiting Artist Lecture Series
1:30pm, Graduate Center Auditorium, 131 W. North Ave
7-9pm, Graduate Student Center, Auditorium, 131 W. North Ave
4/1: Marrk Harris
4/1: Michelle Handelman, Glimmer & Gloom
Sponsored by: MA in Critical Studies as part of the graduate colloquium on “Totem and Taboo.”
InVisible Culture- Submissions for Issue 22: "Opacity"
Sumissions due: May 1, 2014
For Issue 22, we would like contributors to consider the tension between
transparency and opacity and reflect on the cultural and political contexts that gave rise to their connotations of openness and secrecy. What does it mean to claim either as a right? The late writer,
poet, and critic Édouard Glissant (1928-2011) developed a model of opacity as a means of creating ethical relationships, writing in Poetics of Relation, “Transparency no longer seems like the bottom of themirror in which Western humanity reflected the world in its own image. There is opacity now at the bottom of the mirror, a whole alluvium deposited by populations.” How could opacity be used as a tool of resistance? What stakes are involved in the revelation or obscuring of artworks’ racial, cultural, or gendered origins? How might we imagine opacity to be useful or limiting to the work of visual culture? We also seek to address optical properties of opacity more broadly as a conceptual tool for approaching medium specificity, innovations in color theory, and other subjects. Does our understanding of opacity shift in regard to digital technologies as it may between cultural spheres and political territories? How might visual culture be invested in the theoretical and physical properties of opacity and transparency?
We welcome papers and artworks that further the various understandings of opacity. Possible topics of
exploration include, but are not limited to:
● Aesthetic and political dimensions of transparency and opacity
● Identity politics, “the right to opacity”
● Privacy and visibility, surveillance
● The “transparent society” and digital panopticism
● Scientific and medical visualization, the body, big data
● Opacity of architectural traditions
● Liminal spaces, borders, zones of conflict
● Transparency and globalization, geopolitics
● Emerging, established, and decaying democracies
● Politics of clothing, fabric, screens, interstitial space and material● Camera obscura/lucida, properties of darkness and light, color, pigmentation
● Transparency and opacity in the plastic arts (painting, film, sculpture)
● Penetration and resistance
Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to email@example.com