ICE Conversation: The Innocents Project
Thursday, November 10 at Noon
Lamar Dodd Building Room S160
The Innocents Project residency at UGA examines the issue of wrongful conviction in the American penal system through live musical performance and theatre inspired by the work of photographer Taryn Simon. Atlanta-based contemporary music ensemble Bent Frequency members Jan Baker and Stuart Gerber, along with John Lane and Allen Otte will lead the residency work, with participation by the director of The Georgia Innocence Project, a non-profit that is dedicated to helping individuals who have been convicted of crimes they did not commit.
Full schedule: willson.uga.edu/event/the-innocents-project/
“The early signs from a mix of funders, local authorities and foundations suggest that match funding is set to grow significantly over the next few years. It is highly likely that these organisations will grow more confident using crowdfunding as a mechanism to sit within a range of other funding tools such as grant funding or loan financing.”
By Peter Baeck and Sam Mitchell
Links to articles: www.artsprofessional.co.uk/magazine/300/feature/collaborating-crowds
Oskar Schlemmer’s Prophetic, Dancing Robots
“Between 1921 and 1929, when he served as the Master of Form at the Bauhaus, Schlemmer revolutionized and renewed dance as performance art. Thereafter, his career fell victim to Nazi cultural politics. He was forced to resign, due to pressure from the Nazis, from his professorship at Berlin’s United State School for Fine and Applied Art in 1933 and was publicly labelled a decadent Jew and a Marxist (of which he was neither). Schlemmer’s ambition for creating dancing tableaux vivants was to renew the art theories of his time through a combination of Gropius’s gesamtkunstwerk thinking and humanist ideas stemming from the Renaissance. This led Schlemmer to create a proto-robotic art by virtue of a relocation of embodied and mechanic consciousness — now commonly known as the post-human condition.”
By Joseph Nechvatal
“‘…it’s not uncommon now for me to play in bands where women outnumber men. I think there’s a real momentum, and things are starting to shift.’ But it’s still not all that common to see a young woman leading a jazz band. Halvorson says her philosophy as a leader is to give musicians the freedom to make their own choice, in much the same way that she found her own voice on the guitar. ‘For me it’s more a matter of just trusting my instincts, even if you have a really simple idea — just, OK, I like this, I’m gonna play – and not worrying too much about what it is, what it sounds like, or doesn’t sound like,’ she says. ‘So I try as much as I can to play what I like, and trust what I like.'”
By Joel Rose
Mary Halvorson participated in the AUX 4 Experimental Arts Festival and is featured with Jessica Pavone on AUX Vol. 2. auxfestival.com
“Altering the visual ‘reality’ of theatrical settings by forcing them to accommodate simulated imagery, AR complicates ontological distinctions between real and virtual environments, presenting both with equanimity.”
By Anchuli Felicia King
A limited-edition zine and program guide for Arts + Environment events during UGA Spotlight on the Arts. Featuring photographs, drawings, collage, and digital art of Rinne Allen, Megan Burchett, Matthew Flores, Annette Griffin, ZacHary Harris, Lindsay Pennington, Lindsey Reynolds, Seth Stephens, and a fold-out poster by Justine Stevens.
Free to anyone and available at Arts + Environment Spotlight events sponsored by ICE and Watershed UGA!