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Happy 2016! Gartitude, a show at the GRAM and other great stuff
Happy 2016!  Gartitude, a show at the GRAM and other great stuff
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Norwood Viviano&squot;s "Global Cities" at the GRAM through Feb.7, 2016
CLAS Acts January 2016, TT Faculty Monthly Newsletter

FROM THE DEAN’S DESK

Sometimes when the calendar starts to look like a solid block, I can’t resist the temptation to count--in the two weeks after Thanksgiving,  I had 102 calendared meetings, events, scheduled phone calls, celebrations and drop ins.  My conversations with others confirm that they are also inordinately busy. Perhaps when Thanksgiving comes late, it compresses things—and after all, ‘tis the season for finals, and an entertaining variety of other things.  All that busyness makes me particularly grateful to those who came out to hear our three excellent Associate Dean candidates (as one person commented, “they’re ALL so good!”), those who served on search committees, and of course the intrepid five who took on becoming interim assistant deans.  I was also very glad that so many carved out some time to join in our Holiday Open House, and in Pat Haynes’s retirement celebration.
2015 brought with it much important good news.  For the first time in GVSU’s history, we were awarded an NEA grant.  While that certainly brings additional prestige to P.I. Bill Ryan and the New Music Ensemble, it is also a powerful reminder of two things: that nothing is beyond us, and that we exceed expectations a great deal around here.  It is also the furtherance of a dream that Bill had to take students on successive tours of national parks, to commission site specific works, and to bring new music to new audiences. Two of our CLAS colleagues, Andy Schlewitz (Poli Sci) and Nora Salas (History), are involved in a recently announced NEH Common Heritage grant.   I hope this success invites others to think ambitiously about ways to make their big dream happen. 
I also wanted you to know that while we were still coming down off the thrill of opening Kindschi Hall of Science, we learned that the long awaited dream of the black box theatre is now on the docket.  Colleagues outside the performing arts have sometimes asked what a black box theatre is.  Unlike the black boxes of science, we actually do know what’s going on inside.  This kind of space is stripped down to the essentials, usually painted black and is highly reconfigurable—it can be set up with the audience on more than one side, for instance.  For those who have worked within the tight constraints of Louis Armstrong Theatre, it provides different opportunities, and more of them.  In a couple years this mutable space will become a huge gift to all of us as we attend performances that are the realized visions of our colleagues and students.  And remember, every new space has cascades of implications that can touch other units too.
I hope you have the chance to congratulate our new Associate Dean for Curriculum, Pedagogy and Academic Opportunity Kevin Tutt.  It turns out that he was performing his interim Assistant Dean role on strategic planning so well that several unit heads asked that we keep him on that task.  Instead of having to refill that slot just as units do their own strategic updates, as mentioned in the Weekly Mailing interim Assistant Dean Brad Ambrose will keep the fraction of his portfolio that addresses student concerns for Winter semester. I’m grateful for his willingness to extend beyond our initial one term deal—and like departments which are living within their means, this solution allows us not to add a dollar of cost to the College Office.  Unable to come up with a similarly excellent excuse, I must allow interim Assistant Dean Janel Pettes Guikema to escape (I meant “return”) to MLL with our deep appreciation and thanks.  Janel proves that “effective” and “a joy to work with” can fit in the same sentence about a dean.  We really do hate to break up the band—the whole office is in agreement that they have brought an injection of great energy, new ideas and perspectives, different timbres of humor, and a reinvigorating respect for all the kinds of work departments do.  They have also been a veritable Urban Dictionary of new terms for the functions of the College Office.  Merritt Taylor and Donovan Anderson continue in their roles as planned through this academic year while masterfully juggling their departmental work, and the interim-senior Associate Dean Gretchen Galbraith’s many humane and effective contributions should not go unnoticed.  If this is what functional stability can look like, well, it’s way more fun than it’s given credit for.
Oh, and while I’m expressing my gratitude to the highly reconfigurable, the variously adaptable, the willing, and the very busy, my hat’s off to our governance committees.  They approached their work with remarkable intelligence, flexibility, and good humor all year.  Much has been done to bring you sustainably better elections, an engaging Out of the Box event coming in 2016, rich curricular innovations, a commitment to strengthening the faculty, and personnel processes based on deep understanding of our standards and the things that matter in an academic life.
At Commencement, we were up slightly on 2014, graduating 432 undergraduates and 9 master’s students.  The numbers are just a shorthand for the many stories in which you played a part.  Perhaps a good New Year’s resolution would be to keep in touch with these Lakers for a Lifetime.
I wish you a happy and fulfilling 2016.  It is already shaping up with exciting events and new ventures.  Most of all, I thank you for a rousing, unpredictable, productive and deeply engaged 2015—the best thing to be said about it is that it raises our sights.
N. Viviano bronze

Seeing Implications with Norwood Viviano

“Global Cities,” an exhibit by Norwood Viviano (ART) occupies a large room at the GRAM until February 7.  Exquisite in execution and far-reaching in its layered messages, it is well worth the time.  In fact, it is about, among other things, time.
Those familiar with Norwood’s bronze works, memorable features of the university collection, know that he is very interested in capturing the ephemera that we bring with us as we move through time and place.  From the bronze lace collar on the ground floor of Lake Ontario Hall to the bronze rendering of a sewing basket, his work preserves for us that which his family brought when migrating to America.  
More recent work in bronze has, through use of GIS and 3D printing--and sophisticated software to link the two—an image of a particular moment in the history of the GV campus.  The minute detail of this relief has as its foundation a section of a tree that was unavoidably removed when the most recent addition to Mackinac Hall was constructed.  One of the castings is now on the lower level of Mackinac Hall.
“Global Cities” takes Norwood back to his roots in glass work.  Suspended over a world map are pendular glass objects whose shape, dimension, and color tell the story of the population of cities over time.  As the viewer moves around this work, she cannot help but be struck by the effect on population in Europe of WWII, the temporal extent of the Roman Empire, the newness of antipodean cities, how recently some cities burgeoned, how one city’s gain was its neighbor’s loss, and how commonly a boom precedes a bust.  As these objects are glass, we can see the shadows the large cities cast.  Their delicate suspension from above achieves a perfect stillness inside the museum, but somehow invites us to think about what a small puff it would take to see these populations centers in disastrous collision with one another.  Our fragility is palpable. 
That this work is rich in implication has not been lost on others.  After a period of taking and giving many summer workshops from Oxbow to Anderson Ranch Art Center, he has added new competencies and sees how these experiences feed opportunities to our students.  He sees this same potential for expanding horizons here at GVSU amongst his colleagues.  “The university is a knowledge-base and I’ve had exciting conversations with faculty in many departments on GIS, LiDar, 3D scanning, 3D printing, software, population…”  Whether interacting with other artists as varied as architects and animators or with scientists and local fabricators, he is thinking about his students as artists and how they need to not only work on their practice of making objects, but also crossing disciplines.
His own recent opportunities bear this out.  In February he will be part of a community adaptive forum sponsored by old Dominion University in Norfolk Virginia.  The topic is climate change which poses a very real threat of flooding the original Williamsburg settlement, and yet that message is discounted by many locals.  Norwood will help to facilitate discussion with urban planners, biologists, theatre professionals, museum representatives, and the community.  He will be displaying work that should help the people of Norfolk to interact with the effects of climate change.  “Population is the subject matter, implications for natural resources, getting past denial and ‘daylighting’ the actual relationship of that place to water and the potential for flooding.  This is the reason for the project and it will look at what will be lost—the Williamsburg settlement—using LiDar as a tool to look at those areas and show what the flooding would look like,” Norwood explains.  “It will have historical and metaphorical significance.” 
In preparation, a meeting was held last April and occasioned fascinating conversations that Norwood feels are needed across the country.  He hopes that this could turn into a grant to do just that.
Since these projects are not the only ones on his plate (the DeYoung Museum in San Francisco and others presented themselves); and then the Smithsonian also came knocking.  It became clear that to do justice to the opportunities presenting themselves in 2016, that a semester’s leave would be necessary.  The newly renovated Renwick Gallery at the Smithsonian invited Norwood and three other artists to bring a mid-career surveys of their work.   Seven pieces will be borrowed from GVSU’s collection such as some of his first generation artifact pieces.  There will be a catalog including 8 pages on several bodies of Norwood’s work.  From the personal to the global, it will show that his work is about larger patterns of migration.   
“My new projects document population movement over time and globally, how that is tied to economics, colonialism, and forced migration.  Some of the patterns are horrifying, to look beyond the statistics to the implications.”
As part of the career of this digital artist who works in metal and glass, the essay on his work that accompanies the GRAM show and the upcoming catalogue at the Smithsonian will help him by making his work comparable to that of others in 30 years.  On one hand he is looking forward to the September 9 opening of the show at the Renwick, but he is also looking longer term both in his art and career. 
The legacy we leave is also on his mind closer to home.
The recent workshop in Colorado allowed his son to see him as a teacher and a learner.  His son was also able to participate.  “He’s into music, and I hope he does what he believes in—even if it is tangential to his profession, I hope it is active not passive engagement.”
Viviano a work at GRAM