• Evening classes include drawing, art history, and calligraphy, most recently taught by our regional artists trained in Finland, Peru, Japan, and sometimes the United States and Canada. Class offerings change, so regularly check our website. Registration costs and fees vary, as do the length of the classes and the dates they are offered. No prior art experience is necessary. • Museum exhibition tours for groups or individuals are welcome and free of charge. The education staff can tailor your tour to your group’s needs or interests based on the current exhibitions in the Museum's galleries. We encourage advance notice to schedule a tour. • Join the Museum’s Art Odyssey to travel with the Director and staff for long weekend trips (up to five days) to the art capitols of the world. Visit artist studios, museum and galleries, private receptions, and surrounding landscapes. Art Odyssey groups have traversed Iceland as the volcano blew; traveled to Montevideo, Uruguay to attend the opening of the Museum’s exhibition “The Disappeared” and gone on to Buenos Aires; visited to the hottest little art town in the United States, Marfa, Texas: spent days in New Orleans only four months before the Flood; and toured such cities as Philadelphia, Mexico City, Winnipeg, Santa Fe, Houston, Montreal, Kansas City, Vancouver, Minneapolis, and New York City.
In the planning stages are: • The formation of the Museum’s own Buena Vista Social Club to collectively read novels and non-fiction, biographies and mystery stories about goings on in the art world, while watching the best from Montreal’s International Festival of Films on Art (FIFA), which presents documentaries and more experimental films, with a particular emphasis on the visual arts. • In conjunction with the exhibition “The Vase Project: Made in China — Landscape in Blue,” the Museum will organize a symposium on replication, the copying and transmitting of knowledge, the systemization of images, and forgery as art passes down through generations. The Vase Project is a sequence of 101 porcelain vessels painted by âÂ¨Qing Hua (blue and white) painters in Jingdezhen, China. The Project reflects on the industrial development and mass production of objects that are nevertheless processed by individual artists. Other work to be considered include the Chinese artist Xu Bing who created the Mustard Seed Garden, the definitive painting manual of Chinese landscape wherein landscape motifs meant for instructional purposes are cut from their pages and rearranged to form a new panorama of rocks, trees, and water, each element with its instructional text intact. The composition is then carved onto woodblocks from which long scrolls of landscape are printed. Through this seemingly mechanical process, the artist examines the issue of copy-making in the Chinese tradition, a critical step in an artist’s training and practice. The Museum has recently begun to acquire African art which brings its own authentication issues. Most African art is new, from the twentieth century, from a place where countries often don’t permit the removal of early works, that is pre 1973. Images, forms and styles, however, are passed down through the centuries by skilled makers. Do they qualify as forgeries? • “The Crochet Coral Reef is a woolly celebration of the intersection of higher geometry and feminine handicraft, and a testimony to the disappearing wonders of the marine world,” according to Christine Wertheim and Margaret Wertheim of the Institute For Figuring who will master mine the building of a North Dakota/Minnesota Coral Reef. As explained by the Twins, the inspiration for making crochet reef forms begins with the technique of “hyperbolic crochet” discovered in 1997 by Cornell University mathematician Dr. Daina Taimina. The Wertheim sisters adopted Dr Taimina's techniques and elaborated upon them to develop a whole taxonomy of reef-life forms. Loopy “kelps”, fringed “anemones”, crenelated “sea slugs”, and curlicued “corals” have all been modeled with these methods. The basic process for making these forms is a simple pattern or algorithm, which on its own produces a mathematically pure shape, but by varying or mutating this algorithm, endless variations and permutations of shape and form can be produced. So welcome crocheters, mathematicians, and those that want to be. The first workshop will take place in the fall, followed by six months of crocheting and a grand exhibition opening in April 2014.