Robert Flowers, Richland College Multimedia Adjunct Faculty, will have a show coming up in early 2010 in Houston, TX.
flickerlounge: 35mm
By Robert Daniel Flowers
co-presented by Aurora Picture Show
January 15-February 20, 2010
Opening Reception: Friday, January 15, 2010, 6-8pm
http://www.diverseworks.org/index.php?pgid=3&subid=6&cid=262
Monday, November 30, 2009
Thursday, November 5, 2009
Former Multimedia Student to be Honored
Former Multimedia student Uyen Vo will be added to the Richland College "Student Wall of Honor". After completing her Multimedia degree, Uyen got her BFA at the UTD Arts and Technology Program. She has been successfully employed as a Flash developer ever since. Because of her professional activity, Uyen now serves on Richland's Multimedia Advisory Committee."
The award ceremony will be November 18 at 10:00am in Crockett Hall.
Monday, October 12, 2009
Richland College student and journalist Rebecca Aguilar has received national attention for a social networking group she formed a couple of months ago on Facebook. She credits the Multimedia Program for opening her eyes to social media and networking.
USA Today article: Read it here
Facebook Community: Wise Latinas Linked
USA Today article: Read it here
Facebook Community: Wise Latinas Linked
Tuesday, August 4, 2009
Student Work from Tuan Ho's Interactive Storyboarding class, GAME 1302
Some student storyboard pages from Tuan Ho's Interactive Storyboarding class.
Friday, July 31, 2009
one of our students, Mary Benedicto, is in this show
SUBTEXT PROJECTS presents EVERYTHING MUST GO
FOR IMMEDIATE RELEASE
July 17, 2009
FORT WORTH-Subtext Projects, a group of Fort Worth area curators and writers, presents Everything Must Go. The exhibition, which opens July 23, 2009 at the Fort Worth Contemporary Arts Center and runs through August 6, 2009, takes a storefront approach to the traditional art gallery experience. The works showcased address the prevalence of our society’s increased addiction to commodities and the marketing industries’ goal of eliciting desire, bringing to the forefront the idea that the language of marketing and advertising is part of the fabric of contemporary art.
While Everything Must Go incorporates artworks of varying media, the works themselves are physically removed from the space of the viewer by the glass-paned façade of the gallery (which will not be open). Viewers will see the works strictly through the glass wall, much like viewing merchandise from a storefront of a closed shop or department store.
Traditionally, the gallery space serves as a location of display and ingestion of visual stimulus and concepts. Though often viewed with sincerity and thoughtful consideration, art is also unfairly subjected to mere glimpsing and blind looking. Throw in the added barrier of a glass wall and the formula for looking changes considerably. The storefront window obfuscates that which is normally so approachable. Unlike the storefronts in your local mall that shelter various wares meant to tease the senses and drive you right into the site of commerce, an altogether difference mechanism takes hold when an impenetrable glass barrier is placed in front of art-curiosity is piqued and, on a good day, it makes you want to take a long look at the work inside.
Artists have often explored the relationship between art and commerce - the gallery and store. Perhaps most famously, Andy Warhol provided a link between art as commercial display and the loftier realm of fine art. With his background in designing Bonwit Teller department store window displays in the early 1960s, Warhol pulled this approach to art making along with his as he launched his career as an artist.
Using a similar language as marketing and sales, the work in Everything Must Go mimics the tropes and conventions of the profession to expose its falsehoods and inadequacies. As the exhibition’s title suggests, everything does go in regards to rampant consumerism. And the artistic responses to it call attention to this often faulty free-for-all. As the market-savvy term-noted for its ability to move just about anything-entices and deceives our culture, it normatively does so under the cloak of progress and improvement. Here it is quashed when applied to a closed storefront full of artworks-tempting, indeed, but only agents of provocation and never fully obtainable.
Everything Must Go includes works by the collaborative group Everything in Heaven is TV (including artists Chad Allen, Ben Aqua, Juan Cisneros, Amanda Joy, and Eli Welbourne), and artists Mary Benedicto, David Horvitz, Fawn Krieger, Jason Simon, Viginia Yount, and Chu Yun.
This exhibition is the first organized by Subtext Projects and is curated by Alison Hearst and Erin Starr White. They are both art historians and writers living in Fort Worth, Texas.
Fort Worth Contemporary Arts is located at 2900 West Berry Street (at Greene Street), Fort Worth, Texas 76109.
A brief viewing of the exhibition will take place from 7:30- 8:00 pm on Friday, July 24.
Subtext Projects will also host a mini-film festival of works related to the exhibition. It will be held at Fort Worth Contemporary Arts on Saturday, July 25 beginning at 2:30 pm. A discussion with the curators will follow and all are invited to attend.
FOR IMMEDIATE RELEASE
July 17, 2009
FORT WORTH-Subtext Projects, a group of Fort Worth area curators and writers, presents Everything Must Go. The exhibition, which opens July 23, 2009 at the Fort Worth Contemporary Arts Center and runs through August 6, 2009, takes a storefront approach to the traditional art gallery experience. The works showcased address the prevalence of our society’s increased addiction to commodities and the marketing industries’ goal of eliciting desire, bringing to the forefront the idea that the language of marketing and advertising is part of the fabric of contemporary art.
While Everything Must Go incorporates artworks of varying media, the works themselves are physically removed from the space of the viewer by the glass-paned façade of the gallery (which will not be open). Viewers will see the works strictly through the glass wall, much like viewing merchandise from a storefront of a closed shop or department store.
Traditionally, the gallery space serves as a location of display and ingestion of visual stimulus and concepts. Though often viewed with sincerity and thoughtful consideration, art is also unfairly subjected to mere glimpsing and blind looking. Throw in the added barrier of a glass wall and the formula for looking changes considerably. The storefront window obfuscates that which is normally so approachable. Unlike the storefronts in your local mall that shelter various wares meant to tease the senses and drive you right into the site of commerce, an altogether difference mechanism takes hold when an impenetrable glass barrier is placed in front of art-curiosity is piqued and, on a good day, it makes you want to take a long look at the work inside.
Artists have often explored the relationship between art and commerce - the gallery and store. Perhaps most famously, Andy Warhol provided a link between art as commercial display and the loftier realm of fine art. With his background in designing Bonwit Teller department store window displays in the early 1960s, Warhol pulled this approach to art making along with his as he launched his career as an artist.
Using a similar language as marketing and sales, the work in Everything Must Go mimics the tropes and conventions of the profession to expose its falsehoods and inadequacies. As the exhibition’s title suggests, everything does go in regards to rampant consumerism. And the artistic responses to it call attention to this often faulty free-for-all. As the market-savvy term-noted for its ability to move just about anything-entices and deceives our culture, it normatively does so under the cloak of progress and improvement. Here it is quashed when applied to a closed storefront full of artworks-tempting, indeed, but only agents of provocation and never fully obtainable.
Everything Must Go includes works by the collaborative group Everything in Heaven is TV (including artists Chad Allen, Ben Aqua, Juan Cisneros, Amanda Joy, and Eli Welbourne), and artists Mary Benedicto, David Horvitz, Fawn Krieger, Jason Simon, Viginia Yount, and Chu Yun.
This exhibition is the first organized by Subtext Projects and is curated by Alison Hearst and Erin Starr White. They are both art historians and writers living in Fort Worth, Texas.
Fort Worth Contemporary Arts is located at 2900 West Berry Street (at Greene Street), Fort Worth, Texas 76109.
A brief viewing of the exhibition will take place from 7:30- 8:00 pm on Friday, July 24.
Subtext Projects will also host a mini-film festival of works related to the exhibition. It will be held at Fort Worth Contemporary Arts on Saturday, July 25 beginning at 2:30 pm. A discussion with the curators will follow and all are invited to attend.
Monday, June 29, 2009
35mm Flowers
Robert Flowers, Richland College Multimedia Adjunct Faculty, has a currently-running show. Article: http://www.dallasobserver.com/events/35mm-1424201/
Robert Daniel Flowers' "Disjecta"
35mm Flowers
By Anastasia Jakse
If you've got a penchant for the psychedelically weird, then Robert Daniel Flowers' newest film project might be right up your alley. After graduating from the San Francisco Art Institute with an MFA in filmmaking, Flowers has produced a collection of films and videos from The Garden of Eden to Are There Fairies Dancing on the Lawn?...And If There Are, Can I Catch Them in a Net? From June 20 until July 6, an exhibition of his newest project, 35mm: a collection of five digitally manipulated films will be presented at the University of Texas at Dallas' Centraltrak from noon to 5 p.m. Wednesdays through Saturdays. Get out of the summer heat and into a little oddity and a lot of creativity by checking out Flowers' films while you still can. Admission is free to UTD students with an ID. For more information contact the box office at 972-883-2552.
35mm
Date/Time: Every week Wednesday, Thursday, Friday, Saturday from Sat., June 20 until Mon., July 6, 12:00pm-5:00pm
Price: Free
Venue
Centraltrak
800 Exposition Ave.
Dallas, TX 75226
972-UTD-ARTS
Website
Robert Daniel Flowers' "Disjecta"
35mm Flowers
By Anastasia Jakse
If you've got a penchant for the psychedelically weird, then Robert Daniel Flowers' newest film project might be right up your alley. After graduating from the San Francisco Art Institute with an MFA in filmmaking, Flowers has produced a collection of films and videos from The Garden of Eden to Are There Fairies Dancing on the Lawn?...And If There Are, Can I Catch Them in a Net? From June 20 until July 6, an exhibition of his newest project, 35mm: a collection of five digitally manipulated films will be presented at the University of Texas at Dallas' Centraltrak from noon to 5 p.m. Wednesdays through Saturdays. Get out of the summer heat and into a little oddity and a lot of creativity by checking out Flowers' films while you still can. Admission is free to UTD students with an ID. For more information contact the box office at 972-883-2552.
35mm
Date/Time: Every week Wednesday, Thursday, Friday, Saturday from Sat., June 20 until Mon., July 6, 12:00pm-5:00pm
Price: Free
Venue
Centraltrak
800 Exposition Ave.
Dallas, TX 75226
972-UTD-ARTS
Website
Friday, May 15, 2009
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