Amy Franceschini
Lecture: Art Is a Verb
Tuesday, March 6 at 4 PM
Miller Learning Center Room 101

A Conversation with Amy Franceschini
Wednesday, March 7 at 2:30 PM
Lamar Dodd School of Art Room S151 

Ideas for Creative Exploration (ICE) is pleased to host Amy Franceschini for a lecture and conversation at the University of Georgia supported by the Willson Center for Humanities and Arts and the Lamar Dodd School of Art. She will focus on her recent work with sustainable energy, urban food production, and dialogues between artists and scientists.

Amy Franceschini is the founder of Futurefarmers, a critically acclaimed group of artists and designers who have worked together since 1995. Their highly innovative studio produces art projects, design for print and interactive websites, workshops, and research that explores social, cultural, and environmental systems.

Franceschini received a BFA from San Francisco State University and an MFA from Stanford University. She is a professor of Art and Architecture at the University of San Francisco and a visiting artist at the California College of the Arts.

Amy Franceschini and Futurefarmers have been featured in exhibitions at prestigious institutions such as the Guggenheim Museum, Museum of Modern Art (MoMA), The Whitney Museum (included in the Whitney Biennial), Ars Electronica Festival in Linz, Austria (winner of the Prix Ars Electronica, the top prize in new media art), the Cooper-Hewitt Museum (Smithsonian National Design Triennial), and many more. Their clients include Adobe, Swatch, Hewlett Packard, Levi’s, Nike, LucasFilm, Dreamworks, the New York Times, PBS, Wired Magazine, and more. They received a Webby Award (Art and Design category) and in 2007 created the “Twitter” logo.

For more information about Amy Franceschini visit http://www.futurefarmers.com.

ICE-Vision: Death Race 2000 (Paul Bartel, 1975)
Thursday, February 23 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Vintage 1975 sleazebucket production from Roger Corman’s New World Pictures, loaded with sex, violence, and general vulgarity, but orchestrated by one of the most interesting personalities then operating in the exploitation field, Paul Bartel. The story, about a road race in the not-too-distant future for which the drivers are given points for running down pedestrians, becomes an elaborate and telling fantasy about our peculiar popular entertainments. Fine work carved from minimal materials. With David Carradine and a pre-Rocky Sylvester Stallone. R, 78 min.” -Chicago Reader

“…may well represent the most immediate effect of late-60’s radicalism on American filmmaking. Mr. Corman’s habit of hiring promising young talents fresh out of film school introduced a deep strain of anarchic rebellion into otherwise routine exploitation formulas. As a character in ”Death Race 2000” announces, ”The era of obedience has passed,” and the film gives free rein to anti-authoritarian sentiments.”

ICE Seminar: Art and Social Practice
Tuesday, February 28 at 5:30 PM
MLC Room 214

Over the past twenty years, discourse in the arts has increasingly blurred with that of the social sciences. Art critic Nicolas Bourriaud popularized the term “relational aesthetics” to describe “a set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space.”

Despite this trend, voices from professionals in social sciences are largely missing from the conversation. Come hear an interdisciplinary panel of faculty from anthropology, psychology, social work, and sociology share their reactions to some “classic” examples of relational art.

Jody Clay-Warner is a Professor of Sociology and Director of the Criminal Justice Studies Program. Her specialty areas include social psychology, criminology, and gender.

Psychology professor W. Keith Campbell is the author of several books on narcissism including “The Narcissism Epidemic” and his research focuses on the regulation of the self in the context of close relationships.

Shari Miller joined the School of Social Work as an Assistant Professor after practicing as a social worker in New York City in a variety of settings, with a primary focus on the delivery of individual, family, and group mental health services to a diverse population of children, adolescents, and adults.

J. Peter Brosius is a Professor of Anthropology and the Director for the Center for Integrative Conservation Research. His research focuses on the understanding of the human impact on the physical and biotic environment, but also in showing how that environment is constructed, represented, claimed, and contested.

ICE-Vision: If… (Lindsay Anderson, 1968)
Thursday, February 9 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.

“Lindsay Anderson’s If… is a daringly anarchic vision of British society, set in a boarding school in late-sixties England. Before Kubrick made his mischief iconic in A Clockwork Orange, Malcolm McDowell made a hell of an impression as the insouciant Mick Travis, who, along with his school chums, trumps authority at every turn, finally emerging as a violent savior in the vicious games of one-upmanship played by both students and masters. Mixing color and black and white as audaciously as it mixes fantasy and reality, If… remains one of cinema’s most unforgettable rebel yells.” -Criterion

UGA Nourish International & ICE-Vision: God Grew Tired of Us (Christopher Quinn, 2006)
Thursday, February 2 at 8 PM
Lamar Dodd School of Art Room S150

Film Studies major Will Stephenson continues ICE’s informal weekly series, selecting a variety of world cinema classics and subcultural curiosities.
“Three Sudanese men struggle to adjust to life in the United States — from their perspective, a very strange place — in this affecting and well-made culture-shock documentary. The central figures are members of the “Lost Boys” of Sudan, tens of thousands of young men separated from their families, who oftentimes were murdered, during that nation’s horrific civil war.” -San Francisco Chronicle

“So much history and geography is covered in “God Grew Tired of Us,” and the human story it conveys is so moving and so charged with ambiguous moral lessons, that it seems almost irresponsible to complain about it on formal or historical grounds. Let’s put it this way: This is an important film. It’s amazing that it exists, and the events it recounts are still more amazing. Everybody should see it.” -Salon