Tag Archives: #academicprogram

Act Fast: Apply Now for ARQUETOPIASummer 2016 Special International Summer Academic Program

SUMMER2016 copy 2

Missed the January 31 Deadline?
to request a brief extension.

Scroll Down for Full Program Itinerary and Schedule of Events

Arquetopia’s flagship residency program: ARQUETOPIASummer 2016 will focus on the relationship between the individual art practice and transnational mobility. How do global patterns affect local realities? How is the process of artmaking affected and influenced by encounters with foreign contexts? How is the artist-in-residence experience critical to understand intention and representation?

Special Guest Scholar and Lecturer-in-Residence Kirsten Buick (USA) with program participant in individualized session; Special Guest Scholar and Lecturer-in-Residence Emmanuel Ortega (USA) and program participants
IMG 9628 IMG 8711
ARQUETOPIASummer 2016 Special International Summer Academic Program (with self-directed Art Production) is a prestigious 6-week critical program that offers competitive professional opportunities for local and international students, emerging and mid-career artists, curators, and art historians age 23 and over.

This unique program offers critical methodologies to diverse art practices, exploring how artists construct meaning through objects, relations, and actions. The goal is to provide tools to understand methodologies, visualities, and gestures in art while identifying institutional trivialization of intention, and representation in visual expression. Through the program, participants will conceptualize their art by engaging and their art practice in critical discussions with a complex perspective on visual language. The program will also put into context the relevance of Latin America in global art practices as a region that historically has influenced art production and its circulation worldwide. Participants will also have a chance to place their art practice in a historical context, having the opportunity to consult with a conservation museum expert on the technical improvement of their artistic practice and potential relevant conservation challenges.

Artists-in-Residence Yen-Lin Kong (Singapore), Matthew Schlagbaum (USA), Jeffery Herrity (USA), and Ling Chun (Hong Kong)

IMG 8767 copy

This program includes 27 seminar hours; 9 hours of individual and collective critiques; guided tours and visits to prominent museums in Puebla, independent galleries, and relevant sites. The program also includes a professional consultation and conservation assessment of the participants work, and a 3-hour conservation workshop related to the assessment. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists are expected to allocate self-directed studio hours as part of their weekly schedule.

Renowned international art historians, artists, and master restorers facilitate the dialogues, individual and collective critiques, seminars, and workshops. Seminars are conducted in English. Workshop instruction is in English or Spanish. Participants produce work in our partnered studio at one of Mexico’s most important art museums, in Puebla’s majestic central historic district.

Kirsten Pai Buick, Ph.D. specializes in American art, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, and the history of women as patrons and collectors of the arts. She has advanced scholarship of the work of numerous African-American artists through publications including the first book-length examination of the life and career of 19th-century sculptor Mary Edmonia Lewis. Buick is a tenured associate professor at the University of New Mexico, where she has taught for more than 14 years. She earned her bachelor’s degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master’s and doctorate degrees in art history from the University of Michigan. Buick has published extensively on African-American art. Her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject was published by Duke University Press, and her second book, In Authenticity: ‘Kara Walker’ and the Eidetics of Racism, is currently in progress. Her published articles include studies on the work of artists including Daniel Coburn, Patrick Nagatani, Joseph Delaney, Aaron Douglas, Horace Pippin, and Kehinde Wiley. Buick has earned numerous academic, professional, and scholarly awards and grants including the Driskell Prize, Smithsonian American Art Museum’s Predoctoral Fellowship, the Charles Gaius Bolin Fellowship at Williams College, CAA Professional Development Fellowship in Art History, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.

Kency Cornejo, Ph.D. is a scholar of modern and contemporary Latin American art history with a specialization in Central America and its diaspora. She obtained her Ph.D. from Duke University and holds an MA from UT Austin and a BA from UCLA. Her research and teaching interests center on the intersection between race, gender and coloniality and the resulting decolonial methodologies, visualities and gestures in art. Topics she explores include creative responses to femicide, immigration, prisons, captivity, transnationalism, gangs, and indigenous rights and epistemologies. She especially theorizes decolonial methodologies as manifested in performance art, conceptual art, installation, and new media in the Americas. Currently, she is working on her first book manuscript based on her dissertation Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present. She is a recipient of the Fulbright-Hays DDRA and the Ford Dissertation Fellowship, among others, and has presented her work throughout the U.S., Central America, Mexico and Brazil.
Francisco Guevara is a visual artist and curator specializing in creating projects using contemporary art to promote Development by designing alternative models of social entrepreneurship for human development. He graduated with the degree of University Expert in Management and Planning of Development Cooperation Projects in the Fields of Education, Science and Culture from the Universidad Nacional de Estudios a Distancia (UNED) in Madrid, Spain, in coordination with the Organization of Latin American States for Education, Science and Culture (OEI). He also received his postgraduate degree in Cultural Management and Communication from the Latin American Faculty of Social Sciences (FLACSO) in Buenos Aires, Argentina. He joined the Race, Gender and the Historiographies of Art Seminar at the University of New Mexico in 2009 to incorporate into his curatorial projects a broader understanding of identity in the local and international context. His work and projects emphasize the role of contemporary art practices as a tool for social change. His experience covers international projects including: intangible heritage, public art, exhibits and visual arts education. As an artist he has researched, studied and worked exploring the connection between food, rituals of eating and collective identity. He is Co-Founder and Co-Executive Director of Arquetopia Foundation for Development.
Emmanuel Ortega is a curator and a doctoral candidate in Ibero-American colonial art history at the University of New Mexico. He is an adjunct instructor in the Department of Art and Art History at the University of Nevada Las Vegas. Since 2007, he has investigated images of violence in the Novohispanic context. For his master thesis, Ortega investigated images involving public performances organized by the Novohispanic Inquisition. For his Ph.D. dissertation, Ortega researches visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. He has contributed several entries for the Khan Academy website and the Arizona Center for Medieval and Renaissance Studies online bulletin. He has presented his work in the XXXVI Annual Colloquium of Art History organized by the Universidad Autonoma de Mexico, 2012, the College of Art Association and American Studies Association in 2015. Also, in 2015, Ortega partnered with the Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla, México to curate two art exhibitions based on recently restored paintings from the museum’s permanent collection. 

Week 1
The first week of the program will serve as an introduction to Arquetopia’s methodologies. We will welcome art historian Dr. Kency Cornejo, who will teach the first seminar exploring how violence, modernity, imperialism, and colonialism resonate with contemporary art practices. This first week will include self-directed art production hours and an introduction to Novohispanic art techniques. In addition, individual art critique sessions will help participants establish overall goals. The first tour of Mapping the City will focus on art and power.
  • Seminar with Kency Cornejo (9 hours)
  • Self-directed art production time (12 hours, approx.)
  • Introduction to Novohispanic Art Techniques (6 hours)
  • Individual art critique
  • Mapping the City: Art and Power
Week 2
The second week will focus on the diversity of art practices, collective critique, and in the assessment of conceptual needs for each individual project. Furthermore, we will be sourcing out materials for production. For this reason, the time allocated for self-directed art production will be increased during this week, thus allowing participants an exploration of their themes and projects independently. Art instruction is included in the second week, which will place a particular emphasis on Novohispanic painting techniques. Lastly, the second Mapping the City tour will focus on material popular culture.
  • Self-directed art production time (18 hours, approx.)
  • Novohispanic Painting Workshop (6 hours)
  • Collective art critique
  • Mapping the City: Popular Material Culture
Week 3
During the third week, we will introduce participants to the local art scene. Studio hours will remain the same, allowing artists to continue their production. Art instruction will focus on Novohispanic sculpture techniques, and individual critiques will allow participants to assess their progress. Mapping the City will focus on Puebla’s contemporary art scene, including studio visits and an artist talk.
  • Self-directed art production (18 hours, approx.)
  • Novohispanic Sculpture Workshop 6 hours
  • Individual critique
  • Mapping the City: The Local Art Scene
Week 4
The fourth week will focus on the importance of native culture in the development of the arts, and how its influence became relevant beyond the Americas. Studio hours will continue the same, while collective critique will serve as feedback for the individual art practices. Mapping the City will include a visit to the Cholula archeological site, relevant museums, and a sampling of Mesoamerican ingredients, recipes and cooking techniques.
  • Self-directed art production (18 hours, approx.)
  • Collective critique
  • Mapping the City: República de Indios
Week 5
For the fifth week, we will welcome art historian Emmanuel Ortega who will teach a seminar on stratification of artistic practices. With the main purpose of challenging hierarchies that negatively impact the production of art and art history to this day, the seminar will also include guided visits to relevant sites in order to further contextualize colonial art practices. Participants will continue to produce in the studio, and have individual critiques. The activities and tours will include baroque architecture and relevant sites.
  • Seminar with Emmanuel Ortega
  • Self-directed art production (18 hours, approx.)
  • Individual critique
  • Mapping the City: Stratification of Art Practices and the Baroque
Week 6
For the sixth and final week, we will welcome art historian Dr. Kirsten Buick, who will teach a seminar on the impact of gender, race and class in the production and writing of art history. Through a series of case studies, participants will explore how artists, art historians, critics, and the public construct meaning through objects and how we frame, at various times race, gender, sexuality, and class through visual expression. For the final critique, participants will present the results of their residency and collectively review the diverse processes. A farewell dinner for all ARQUETOPIASummer 2016 participants will be held during this week.
  • Seminar with Kirsten Buick
  • Self-directed art production (18 hours, approx.)
  • Final collective critique
  • Farewell dinner
Museo de Arte Ex Convento de Santa Mónica is one of Mexico’s most prominent religious and colonial art museums. Its collections were formed in the 1930s with artwork from the 16th through 17th centuries including some of the greatest artists of the New Spain such as Juan Correa, Miguel Cabrera, Miguel Jerónimo de Zendejas, and Lorenzo Zendejas, among others. The museum also records monastic life in different periods of history, from everyday life to religious rituals.

Term of 6 weeks. Dates for this program are fixed, from Monday, June 6 to Monday, July 18, 2016.

Residency Fee: USD $795 per week (USD $4,770 total for the 6 weeks). In addition to the full program above, the residency fee covers accommodation, meals, utilities and housekeeping, weekly meetings with guidance and assistance from our staff, studio space, and some tools. For self-directed residencies, artists bring their own materials and supplies or obtain them locally.
Staff Support:
All Arquetopia residencies include weekly individual meetings with our staff for research assistance, project guidance, and critiques.
Accommodation and Meals:
Furnished, private bedrooms and use of Arquetopia’s residency space including wireless Internet, lounge areas, kitchen, dining room, outdoor terraces, and shared bathrooms with modern fixtures and showers are provided. Meals, open access to the kitchen, and housekeeping are included.
Studio Workspace:
Large and bright, shared art studio is provided with personal workspace, large tables, and some tools. Equipped darkroom provided for photographers. Artists bring their own materials and supplies or obtain them locally.

Questions: E-mail info@arquetopia.org for more information about this phenomenal program.

SUMMER2016 copy 2