&COMMUNITY2012TA

SA

Message from the President

Welcome to Austin and the TASA Conference at St. Edward’s University. It promises to be an outstanding program of speak-ers, 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.

Cathie TylerTASA President

1

TASA Conference 2010We would like to welcome you and thank you for being a part of Art + Community, the 42nd 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 2010 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.

Texas Association of Schools of Art

Hollis Hammonds & Angela Rodgers

Conference Chairs

WELCOME2

3:00–5:00p5:00p

5:00–7:00p7:00p

check-in and registration - Hyatt

bus leaves for the Austin Museum of Art

Kick-off reception at the Austin Museum of ArtDinner on your own (See map on pg 28 for sug-gestions)

APRIL 9TH

FRIDAY

8:00a8:15a-12:00p

8:15a-2:00p9:00a-12:30p

12:301:30p

2:00-3:15p3:30-4:45p

2:00p3:30p5:00p

Bus leaves for St. Edward’s University from the HyattRegistration - Mabee Ballroom BDrop off of artwork for One Cube Foot & TASA Student Juried Exhibitions - Ragsdale

Vendors & Student Poster Sessions in Mabee Ballroom BFeatured Speakers - Mabee Ballroom A Lunch Provided - Mabee Ballroom C

Campus Tour & Robert Hite exhibit

Panel & Workshop SESSION I - Fleck

Panel & Workshop SESSION II - Fleck

Set up for Iron Pour - Fleck

Iron Pour (meet transport van in back of Fleck @ 2:30)Bus Leaves for Hyatt

APRIL 8THTHURSDAY

3

8:00a8:15a-12:00p

8:15a-2:00p9:00a-12:30p

12:301:30p

2:00-3:15p3:30-4:45p

2:00p3:30p5:00p

8:00a8:15a-9:30a8:30a-9:30a

9:30a-10:45a11:00-12:15p12:30p-2:30p2:30p-3:30p

3:30p4:00p-4:30p

4:30p6:00p6:30p7:30p8:30p9:00p

Bus leaves for St. Edward’s University - Hyatt

Registration - Art Building

One-Cube Foot Exhibition † - Fine Arts Gallery (pastries & coffee provided)Panel & Workshop SESSION III

Panel & Workshop SESSION IV Lunch provided - Maloney room(Annual Business Meeting)Interconnected TASA Student Juried Exhibition‡ - Art Buildingbus leaves for Flatbed Press

tour of Flatbed Press - Flatbed

Bus leaves for Hyatt

Bus leaves for Mexican American Cultural Center - HyattDinner Banquet - Mexican American Cultural Center

Keynote Address by Mel Chin

Presentation of Awards

Bus leaves for Hyatt

* Off-campus venue

† 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.

APRIL 10THSATURDAY

SCHEDULE4

SESSION1FLEC

KApril 92:00p

106

rm106: Panel: Collaborative/Community (p 9)rm108: Panel: Green Art/Environmental (p10)rm109: Panel: Art & Community (p 11)rm111: Workshop: Art & Community – Part 1 (p 12)

Panel: Collaborative/Community Multiplicity in Collaboration and Community Borderland Youth: A Social Geography Revealed through Participatory Art PracticeEastland Outdoor Art Museum

rm

108 Panel: Green Art/EnvironmentalWe’re green, participatory and public!Curly, Shaggy, Gleaming, Streaming, The Air of Hair: An Intimate Recycling ProgramRed Listed

rm

109 Panel: Art & CommunityAppreciating Life Through ArtThe Struggle For Meaning Between The Artist And The Audience, A Balance between Artist and CommunityEastland Outdoor Art Museum

rm

111 Workshop: Art & Community - Part 1Moving Beyond Image and into Community with: Relational Aesthetics: Part 1

rm

5

SESSION2FLEC

KApril 93:30p

106

rm106: Panel: Masters Showcase (p 13)rm108: Lecture: Art & Community (p 14)rm109: Panel: Collaboration (p 15)rm111: Workshop: Art & Community – Part 2 (p 16)

Panel: Masters Showcase Virtual Humans and Living Worlds - Graduate Programs in Arts and Technology at UT DallasA Growing University - The Graduate Art Programs at UT ArlingtonPreparing Students for Effective Practice and Leadership in Art Education

rm

108 Lecture: Art & CommunityThe Returning Vet and FILM NOIR: The Problematic

rm

109 Panel: CollaborationThe Arts Triangle Arts Walk ProjectCollaborative ProjectsLow-Rider Bikes in Higher Education: A Project by Throw Away Youth

rm

111 Workshop: Art & Community - Part 2Moving Beyond Image and into Community with: Relational Aesthetics: Part 2

rm

Iron PourMeet transport van in back of fleck at 3:20

SESSION OVERVIEW6

SESSION3ARTSApril 10

9:30a

110

rm110: Workshop: Green Art/Evnironmental (p 17)rm113: Panel: Collaborative Projects (p18)rm116: Workshop: Innovations in Foundations (p 20)rm120: Panel: Innovations in Foundations (p 20)rm121: Workshop: Technology (p 22)

Workshop: Green Art/Environmental *Limit first 15 participants

Weathergrams: A Spring Peace Project

rm

113 Panel: Collaborative ProjectsImagillaboration - A National Sculpture Collab oration Project, the logistical challenges and rewards of working, exchanging and exhibit ing these 3-D compositions on a national scaleA Cast Iron Chain for AmericaTaking Iron to the ArticUTSA Collaborative Editions

rm

116 Workshop: Innovations in Foundations*Limit first 20 participants

Colored Slips And The Clay Surface

rm

120 Panel: Innovations in FoundationsInnovations in Foundation CurriculumFrom 2D to Cross-Disciplinary Space - Revis ing Beginning DesignDrawing Structure: Beginning Drawing and a DIY Textbook

rm

Workshop: Technology*Limit first 20 participants

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

121rm

7

SESSION4ARTSApril 10

11:00a

113

rm113: Panel: Art & Activism (p 22)rm114: Panel: Collaboration (p 24)rm120: Panel: Art & Community (p 26)rm121: Workshop: Technology (p 26)

Panel: Art & ActivismHuman Rights Art & Community Education“Cash Paid for Rags” A “sketchbook” performanceDeportes Para Compartir and the Albergues Escolares Indigenas (Sports For Sharing and the Indigenous Shelter Schools of Mexico)

rm

114 Panel: CollaborationArt, Aesthetics, Education and Activism deal ing with the Border WallCan border wall artwork change minds, influ ence policy and alter popular culture?The Border Wall and Community Based Art EducationWhat role can art play? - Border Wall

rm

120 Panel: Art & CommunityFundred: Engaging in a 300 million Dollar Difference

rm

121 Workshop: Technology*Limit first 20 participants

Reality Community: Fostering a Sense of Involvement in the Classroom and Beyond

rm

SESSION OVERVIEW8

PANELCOLLABORATIVE/

COMMUNITYMULTIPLICITY IN COLLABORATION AND

COMMUNITY

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 percep-tion 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 collec-tive 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

Guided by a conceptual framework of reciproc-ity, 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 cross-cultural, 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 aware-ness 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.

SANG-MI YOO - ASSISTANT PROFESSOR TEXAS TECH UNIVERSITY

JASON REED - ASSISTANT PROFESSOR OF PHOTOGRAPHYTEXAS STATE UNIVERSITY

SESS

ION1

FLECK

1069

EASTLAND OUTDOOR MUSEUM

Cathi Ball has completed work on the Eastland Outdoor Art Museum, a project conceived in her sketch-books. 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 fa-mous art while advertising the artist ‘work. This community wide project has truly “painted the town”.

CATHI BALL - ASSISTANT PROFESSORHOWARD PAYNE UNIVERSITY

PANELGREEN ART/

ENVIRONMENTAL

FLECK

108SESS

ION1

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 & 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.

RANDY JEWART - DIRECTOR OF GREEN ARTWWW.AUSTINGREENART.ORG

WE’RE GREEN, PARTICIPATORY AND PUBLIC!

CURLY, SHAGGY, GLEAMING, STREAMING, THE ART OF HAIR:

AN INTIMATE RECYCLING PROGRAM

This presentation examines the history of re-cycling 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 hu-man body - hair. Cultural perceptions and myths about hair will be discussed in an art historical context.

ROSEMARY MEZA-DESPLAS - ARTIST & EDUCATOREL CENTRO COLLEGE

SESSION DESCRIPTIONS10

APPRECIATING LIFE THROUGH ART

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.

TERRY BARRETT - PROFESSOR OF ART EDUCATION & ART HISTORY

UNIVERSITY OF NORTH TEXAS

RED LISTED

Pulitzer Prize winner Edward O. Wilson is quot-ed 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.

CATHERINE PROSE - ASSISTANT PROFESSOR OF ART & GALLERY DIRECTOR

MIDWESTERN STATE UNIVERSITY

SESS

ION1

SESS

ION1

PANELART &

COMMUNITY

FLECK

109

APPRECIATING LIFE THROUGH ART

11

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 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.

JOE KAGLE - PROFESSOR OF ARTLONE STAR COLLEGE-KINGWOOD

THE STRUGGLE FOR MEANING BETWEEN THE ARTIST AND THE AUDIENCE, A

BALANCE BETWEEN ARTIST & COMMUNITY

WORKSHOPART & COMMUNITY

PART 1

FLECK

111

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 Katrina 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.

GEORGANNA TAPLEY - ARTIST & TEACHERART ALLIANCE CENTER, BRAZOSPORT COLLEGE, LEE COLLEGE

MOVING BEYOND IMAGE & INTO COMMUNITY WITH:

RELATIONAL AESTHETICS: PART 1

SESS

ION1

SESSION DESCRIPTIONS12

UT Arlington is a growing University with enroll-ment approaching 30,000. UT Arlington has a mfa pro-gram 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.

LEIGHTON MCWILLIAMS - ASSOCIATE PROFESSOR & ASSISTANT CHAIR OF ART & HISTORY

THE UNIVERSITY OF TEXAS - ARLINGTON

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 applica-tion 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.

MARJORIE A ZIELKE PH.D. - ASSISTANT PROFESSORTHE UNIVERSITY OF TEXAS - DALLAS

PANELMASTERS

SHOWCASE

SESS

ION2

FLECK

106

VIRTUAL HUMANS & LIVING WORLDS - GRADUATE PROGRAMS IN

ARTS & TECHNOLOGY AT UT DALLAS

A GROWING UNIVERSITY -THE GRADUATE ART PROGRAMS

AT UT ARLINGTON

13

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 institu-tional 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 com-munity. The introduction of the program at the 2010 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.

CHRISTOPHER ADEJUMO - ASSOCIATE PROFESSOR OF VISUAL ART STUDIES/ART EDUCATION

THE UNIVERSITY OF TEXAS - AUSTIN

SESS

ION2

LECTUREART &

COMMUNITYTHE RETURNING VET & FILM NOIR:

T1HE PROBLEMATIC

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.

DR. JOHN A CALABRESE - PROFESSOR OF VISUAL ARTSTEXAS WOMAN’S UNIVERSITY

FLECK

108

PREPARING STUDENTS FOR EFFECTIVE PRACTICE & LEADERSHIP IN

ART EDUCATIONSE

SSIO

N2

SESSION DESCRIPTIONS14

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 collabora-tive relationship. Most of these have involved installation settings with some kind of interactive element inviting the viewer’s participation in the work.

COLBY PARSONS - ASSOCIATE PROFESSOR OF ARTTEXAS WOMAN’S UNIVERSITY

SESS

ION2

SESS

ION2 PANEL

COLLABORATIONTHE ARTS TRIANGLE ARTSWALK PROJECT

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-tradi-tional settings; in and around the buildings on the map, where virtually anything could happen.

GARY WASHMON - INTERIM CHAIR OF VISUAL ARTSTEXAS WOMAN’S UNIVERSITY

FLECK

109

COLLABORATIVE PROJECTS

15

Inspired by Chicano youth culture that involves “low-rider” bikes and hoping to motivate junior high stu-dents to consider art as a stepping stone towards attend-ing 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 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.

FUTURE AKINS - ASSISTANT PROFESSOR OF ART EDUCATION & VISUAL STUDIES

TEXAS TECH UNIVERSITY

LOW-RIDER BIKES IN HIGHER EDUCATION:

A PROJECT BY THROW AWAY YOUTH

WORKSHOPART & COMMUNITY

PART 2

FLECK

111

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.

GEORGANNA TAPLEY - ARTIST & TEACHERART ALLIANCE CENTER, BRAZOSPORT COLLEGE, LEE COLLEGE

MOVING BEYOND IMAGE & INTO COMMUNITY WITH:

RELATIONAL AESTHETICS: PART 2

SESS

ION2

SESSION DESCRIPTIONS16

Watch students & Faculty pour their molds for the Charm Breacelet of Texas, and other projects.

BUTCH JACK - LAMAR UNIVERSITYAMY GERHAUSER - ST. EDWARD’S UNIVERSITY

DONNIE KEEN - KEEN FOUNDRY

SESS

ION3

MEET TRANSPORT VAN IN BACK OF FLECK AT 3:20

MEET-UPIRON POUR

FLECK

ARTS

110 WORKSHOPGREEN ART/

ENVIRONMENTAL

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.

JUDY STONE-NUNNELEY - ARTIST & EDUCATOR

WEATHERGRAMS:A SPRING PEACE PROJECT

*LIMIT FIRST 15 PARTICIPANTS

17

PANELCOLLABORATIVE

PROJECTS

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 ev-ery 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.

JACK GRON - DIRECTOR/PROFESSOR OF FINE ARTTEXAS A&M - CORPUS CHRISTI

ARTS

113

IMAGILLABORATION-A NATIONAL SCULPTURE COLLABORATION PROJECT

THE LOGISTICAL CHALLENGES & REWARDS OF WORKING, EXCHANGING AND EXHIBITING THESE 3D COMPOSITIONS ON A NATIONAL SCALE

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. 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 2010 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.

MERIDETH “BUTCH” JACK - PROFESSOR OF ARTLAMAR UNIVERSITY

A CAST IRON CHAIN FOR AMERICA

SESS

ION3

SESSION DESCRIPTIONS18

SESS

ION3 In 2008 Donnie Keen of Keen Foundry in Hous-

ton 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 northern-most state. He will present the planning, logistics, and implementation of this ambitious endeavor and the five year reunion pour set for June 2013.

DONNIE KEEN - DIRECTOR OF KEEN FOUNDRYHOUSTON, TX

TAKING IRON TO THE ARCTIC

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.

KENT RUSH - PROFESSOR OF ARTUNIVERSITY OF TEXAS - SAN ANTONIO

UTSA COLLABORATIVE EDITIONS

19

ARTS

116 WORKSHOPINNOVATIONS IN

FOUNDATIONS

COLORED SLIPS AND THE CLAY SURFACE

*LIMIT FIRST 20 PARTICIPANTS

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.

STAN IRVIN - PROFESSOR OF ARTCONNIE MCCREARY - ARTIST & EDUCATOR

ST. EDWARD’S UNIVERSITY

PANELINNOVATIONS IN

FOUNDATIONINNOVATIONS IN FOUNDATION CURRICULUM

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 a pursuit of knowledge). For the last forty years many art departments have overlooked the critical poten-tial of Foundations. “I thrive on working with young, fresh talented students that remain open and observant, mal-leable and motivated” says Mutchler. “I hope to heighten the status of Foundations within the academic world, to bring about the new Bauhaus.”

LESLIE MUTCHLER - ASSISTANT PROFESSOR OF ARTTHE UNIVERSITY OF TEXAS - AUSTIN

ARTS

120

SESS

ION3

SESSION DESCRIPTIONS20

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 accom-plished 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.

ERIC ZIMMERMAN - ASSISTANT PROFESSOR OF ARTST. EDWARD’S UNIVERSITY

FROM 2D TO CROSS-DISCIPLINARY SPACE - REVISING BEGINNING DESIGN

SESS

ION3

Drawing is possibly the most important foundational skill for the beginning artist. It is also one of the most popular subjects in art, with more drawing books on the market today than most other disciplines. Finding the right textbook for your course however is almost impossible. As faculty we find ourselves piecing together resources for our students, trying to balance technique with concept, and often failing at finding source material that is truly appropriate for a specific course. Sometimes you have to take matters into your own hands, and if you can’t find the right book… just make one.

HOLLIS HAMMONDS - AREA COORDINATOR & ASSISTANT PROFESSOR OF ART

ST. EDWARD’S UNIVERSITY

DRAWING STRUCTURE: BEGINNING DRAWING & A DIY TEXTBOOK

21

ARTS

121 WORKSHOPTECHNOLOGY

TEACHING SOFWARE ON THE FLYOR RESOURCES FOR TEACHING TECHNOLOGY

OR HOW TO TEACH COMPUTER STUFF YOU DON’T KNOW OR COMPUTER INSTRUCTION FOR DUMMIES

*LIMIT FIRST 20 PARTICIPANTS

This workshop will provide participants with the tools and resources needed to introduce technology into studio classes. It is designed for the educator that does not use technology in his or her own work, and may not be comfortable with technology, but would like to incorporate digital tools in their classroom. I will discuss what technology is important, what is absolutely necessary, and what you can teach with no budget. The heart of the workshop explores teaching resources, tutorials and on-line opportunities for both teacher and student to learn and explore digital technologies. Workshop attendees will be given access to a website created specifically for the workshop that has links to resources, ideas for assignments, and on-line tutorials.

PETER TUCKER - ASSISTANT PROFESSOR OF MEDIA ARTSSUNY FREDONIA & ST. EDWARD’S UNIVERSITY

PANELART & ACTIVISM

HUMAN RIGHTS & COMMUNITY EDUCATION

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.

JENNY BRYSON CLARK - POLITICAL SCIENCE FACULTYSOUTH TEXAS COLLEGE

PROFESSOR RICHARD LUBBEN - VISUAL ARTS FACULTYSOUTH TEXAS COLLEGE

ARTS

113

SESS

ION3

SESS

ION4

SESSION DESCRIPTIONS22

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 second-hand shirts and blueprinting them with phrases and images from nineteenth-century material culture, creating wearable hybrids of the early American women’s movement and con-temporary “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.

CAROL FLUECKIGER - ASSISTANT PROFESSOR OF ARTTEXAS TECH UNIVERSITY

“CASH PAID FOR RAGS”A “SKETCHBOOK” PERFORMANCE

SESS

ION4

Working in Collaboration with the Mexican Association of the United Nations and Deportes Para Com-partir, 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.

ROGER COLOMBIK & JEROLYN BAHM COLOMBIK STUDIOSWIMBERLY TEXAS

DEPORTES PARA COMPARTIR & THE ALBERGUES ESCOLARES INDIGENAS

SPORTS FOR SHARING &THE INDIGENOUS SHELTER SCHOOLS OF MEXICO

23

PANELCOLLABORATION

ARTS

114

Photography has been a tool for social and po-litical 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 chal-lenges 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.

DAVID FREEMAN - VISUAL ARTS FACULTYSOUTH TEXAS COLLEGE

ART, AESTHETICS, EDUCATION & ACTIVISMDEALING WITH THE BORDER WALL

The border wall controversy affects every citi-zen 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’ aware-ness 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.”

TOM MATTHEWS - ASSISTANT CHAIR & VISUAL ARTS FACULTY

SOUTH TEXAS COLLEGE

CAN BORDER WALL ARTWORK CHANGE MINDS, INFLUENCE POLICY

& ALTER POPULAR CULTURE?

SESS

ION4

SESSION DESCRIPTIONS24

This presentation focuses on how art educa-tion 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.

BRET LEFLER, PH.D. - ASSISTANT PROFESSOR/ART ED. ADVISOR/ ART COORDINATOR

THE UNIVERSITY OF TEXAS - BROWNSVILLE&TEXAS SOUTHMOST COLLEGE

THE BORDER WALL & COMMUNITY BASED ART EDUCATION

The art of the modern and postmodern eras sought to establish its autonomy, “art for art’s sake,” leav-ing 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, relegat-ing 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?

SCOTT NICOLE - VISUAL ARTS FACULTYSOUTH TEXAS COLLEGE

WHAT ROLE CAN ART PLAY? - BORDER WALL

SESS

ION4

25

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.

MEL CHIN - ARTIST & KEYNOTE SPEAKER

PANELART &

COMMUNITY

ARTS

120

FUNDRED: ENGAGING IN A 300 MILLION DOLLAR DIFFERENCE

ARTS

121 WORKSHOPTECHNOLOGY

REALITY COMMUNITY:FOSTERING A SENSE OF INVOLVEMENT IN THE CLASSROOM AND BEYOND

*LIMIT FIRST 20 PARTICIPANTS

Many students today believe that they possess a sense of community through social and screen media such as Twitter, Facebook, blogs and texting – often engag-ing 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 com-munal 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 com-munity in and outside of the classroom.

JANA C. PEREZ - ASSISTANT PROFESSOR OF GRAPHIC DESIGN

TEXAS WOMEN’S UNIVERSITY

SESS

ION4

SESSION DESCRIPTIONS26

SESS

ION4

BLOG, DESIGN, TECHNOLOGY

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 structur-ing of the blogs from the faculty perspective.

DANIEL LIEVENS - GRAPHIC DESIGNER & FACULTYST. EDWARD’S UNIVERSITY

27

MEL CHINKEYN

OTE

SPEA

KER

ness. 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 2010, 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 Fun-dred Dollars for 300 million dollars worth of aid for New Orleans.

Mel Chin was born in Houston, Texas in 1951, he gradu-ated 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 conscious-

BIOGRAPHIES28

KEN DAWSONLITTLEPA

UL HA

NNA

LECT

URE

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 includ-ing: 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 Contempo-rary 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 fac-eted career, his artwork and its development over his lifetime.

29

ART H

ISTOR

YPR

ESEN

TATIO

N

Catherine Caesar’s current research interests include feminist art, concep-tual practice, and reading rooms/librar-ies 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 land-scape and its impact on the conception of sculpture and the formation of a modern, itinerant identity in a transglobal community.

ART H

ISTOR

YPR

ESEN

TATIO

NSTACYSHULTZ

Stacy Schultz received her Ph.D. in Art History from Rutgers University in 2004. Her previous teach-ing 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 North-ridge/Fullerton/San Bernardino, and San Diego State University) ranging from women’s studies to 19th century art. Professor Schultz’s research and teach-ing concentrate on the intersections of race and gender in contemporary perfor-mance 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” (‘05) and “Southern California Feminism and Body Image: A Performative Response” (‘07). She will present her paper, “The Intersection of Social Activism and Community: Performing Civil Rights in Southern California”, at the ‘10 TASA conference.

CATHERINE CAESAR

BIOGRAPHIES30

ST. E

DWAR

D’S

SPON

SERE

D ROBERTHITESP

EAKE

R

Born in 1956 in rural Virginia, Robert Hite attended Virginia Com-monwealth University in Richmond and the Corcoran School of Art in Washington, D.C. Af-ter 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 be-tween 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 dislo-cation 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 presenta-tion of his work at the 2010 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.

31

ONE C

UBE F

OOT E

XHIB

ITION

2010

Every year at the tasa Annual Conference, conference attendees are invited to participate in the tasa One Cube Foot Exhibition. As tasa’s One Square Cube Exhibition’s title indicates, submis-sions for this show must be limited to one square foot, and submissions can be 2-d or 3-d. This year Robert Hite will judge the exhibition. There will be an opening reception for the exhibit on Saturday, April 10th, in the St. Edward’s Univer-sity Fine Arts Gallery from 8:30 a.m. – 9:30 a.m., and will include an awards presentation.

Note:Work from the One Cube Foot Exhibit should be picked up from arts140 between 2:30 – 3:30p. (Unless you’ve made arrangements to have the work shipped)

Solar Powered Paper DollCarol Flueckiger

OTHER32

BOAR

D OF D

IREC

TORS

TASACathie Tyler

Paris Junior College

PRESIDENT 2008-2010

Greg RueterTexas A&M University - Corpus Christi

PRESIDENT-ELECT 2009-2010

Susan Witta-KemphSan Antonio College

BOARD MEMBER/ RECORDER 2007-2010

Greg ElliottUniversity of Texas - San Antonio

BOARD MEMBER/ ACADEMIC AFFAIRS,PROFESSIONAL STANDARDS 2007-2010

Bill SimpsonTrinity Valley Community College

BOARD MEMBER 2008-2012

Liz Yarosz-AshMidwestern State University

BOARD MEMBER/ TREASURER 2008-2012/ ANNUAL EXHIBITIONS COORDINATOR, GALLERY NETOWRK

Gary FrieldsStephen F. Austin University

BOARD MEMBER/ ACADEMIC AFFAIRS,PHOTOGRAPHY SURVEY 2007-2010

Brian RowTexas State University - San Marcos

BOARD MEMBER/ DATABASE 2008-2012

Sandra BakerBrazosport College

BOARD MEMBER 2009-2012

Kurt DyrhaugLamar University

BOARD MEMBER/ NEWSLETTER 2007-2010

Omar HernandezEl Centro College - DCCCD

BOARD MEMBER/ MEMBERSHIP 2008-2012

Linda FawcettHardin-Simmons University

STAFF MEMBER/ EXECUTIVE ASSISTANT

Victoria Taylor-GoreAmarillo College

STAFF MEMBER/ WEBMASTER

Hollis HammondsSt. Edward’s University

CONFERENCE CHAIR 2010

Angela RodgersSt. Edward’s University

CONFERENCE CHAIR 2010

33

TASA

CONFERENCESchool of Humanities

ST. EDWARD’S UNIVERSITY

St. Edward’s University

THE KOZMETSKY CENTER OF EXCELLENCE IN GLOBAL FINANCE

THE STILL WATER FOUNDATION

dickblick.comBLICK ART MATERIALS

redriverpaper.comRED RIVER PAPER

goldenpaints.comGOLDEN ARTIST COLORS

cheapjoes.comCHEAP JOE’S ART STUFF

ampersandart.comAMPERSAND

richesonart.comJACK RICHESON & COMPANY

artlies.orgART LIES

amoa.orgAUSTIN MUSEUM OF ART

wildflower.org

LADY BIRD JOHNSON WILDFLOWER CENTER

mexic-artemuseum.orgMEXIC-ARTE MUSEUM

blantonmuseum.orgBLANTON MUSEUM OF ART

guerostacobar.comGUERO’S RESTAURANT ON SOCO

austinchronicle.comAUSTIN CHRONICLE

prismacolor.comPRISMACOLOR

liquitex.comLIQUITEX

smooth-on.comSMOOTH-ON

okpaper.comOLMSTED-KIRK PAPER COMPANY

lucky13mixology.comLUCKY 13

SPONSORS & DONORS

VENDORSOn Friday, April 9th

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 8am

and will be avail-

able until 2pm.

Shelley MinusPRISMACOLOR REPRESENTATIVE

Peter AndrewLIQUITEX REPRESENTATIVE

bigmedium.orgBIG MEDIUM

OTHER34

POSTERPRESENTATIONS

*On Friday, April 9th, 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 9 a.m. until 2 p.m.

Texas Tech UniversityCHRIS ADAMS

Texas Tech UniversityBRUCE ALVES

Texas Tech UniversityJARED APPLEGATE

Texas Tech UniversityREBECCA BEALS

Texas Tech UniversitySHELLY FORBIS

Texas Tech UniversitySCOTTY HENSLER

Texas Tech UniversitySARAH JAMISON

Texas State UniversityBENJAMIN LAMB

Texas Tech UniversityKRIS LEINEN

St. Edward’s UniversityAIDEN LILLER

Texas Tech UniversitySHANNON RAMOS

St. Edward’s UniversityEMILY SPECK

St. Edward’s UniversityKELLY WAGUESPACK

Texas Tech UniversityCHRIS WALNOHA

Texas State UniversityERIC MATHIS

STUD

ENT S

POTL

IGHT

35

STUD

ENT S

POTL

IGHT

INTERCONNECTEDTASA JURIED STUDENT EXHIBITION 2010

STUD

ENT S

POTL

IGHT

STUD

ENT S

POTL

IGHT

Eric ZimmermanArtist & Writerezimmerman.org

JURORRECEPTION

SATURDAY, APRIL 10

2:30-3:30p

Hardin-Simmons Univ.SAMANTHA ALEXEICHIK

St. Edward’s UniversityERICA BOGDAN

St. Edward’s UniversityMEAGAN CARNEY

Midwestern State Univ.ALEXANDRA COODY

McMurry UniversityELIANA FANOUS

Texas State universityKENNETH FONTENOT

Texas State UniversitySHANNON GOWEN

Texas State UniversityJACLYN HUDAK

Texas State UniversityBENJAMIN LAMB

St. Edward’s UniversityAIDAN LILLER

Texas State UniversityALBERT LONGORIA

Hardin-Simmons Univ.KRYSTAL N. MAESTAS

St. Edward’s UniversityREBECCA MARINO

Texas State UniversityERIC MATHIS

Texas State UniversityCAITLIN MCCOLLOM

Sul Ross State Univ.MIGUEL ORTIZ

Sul Ross State Univ.KEVIN DEAN RAMLER

Hardin-Simmons Univ.CARI RITCHIE

Midwestern State Univ.BRI ANNA SATTERFIELD

St. Edward’s UniversityMICHAEL SCOT

St. Edward’s UniversityCALLIE SIMPSON

St. Edward’s UniversityEMILY SPCK

Midwestern State Univ.TYLER TAILIAFERRO

St. Edward’s UniversityKHRISTINE TANGANGUI

St. Edward’s UniversityASHLEY WATSON

Midwestern State Univ.SIMON WELCH

*54 students from all over Texas applied for this juried exhibition

OTHER36

TASA

CONFERENCEVOLUNTEERS

Pilar Arrieta

Emily Borneman

Mary Brantl

Jessica Buie

Walle Conoly

Barbra Curtin

Caroline Eck

Chrissy Flanigan

Amy Gerhauser

Hollis Hammonds

Kelly Hanus

Donal Haughey

Guillermo Hinojosa-Canales

Stan Irvin

Miriam Jurgensen

Daniel Lievens

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

Kelly Waguespack

Lindsey Webb

Maline Werness

Colleen White

Monica Wright

Eric Zimmerman

We would like to extend our thanks to all volunteers, especially those whose names didn’t make it ino the printed program.

THURSDAYNOTES+AGENDA

38

FRIDAYNOTES+AGENDA

35

SATURDAYNOTES+AGENDA

40

THANK YOUFOR ATTENDING

2012TASA