of Exhibitions at the Museum for African Art in New York, as a visiting professor this past fall. Herreman taught an undergraduate seminar on museum studies and assembled an exhibition of African art for the University. The course encompassed an introduction to the arts of Africa and a step-by-step study of the process of creating an exhibition and publication. Students examined the history of collecting and exhibiting African art objects in American and European institutions, engaged in critical comparative analysis of past and contemporary museum installations, visited a number of key public and private collections in the region, and contributed significantly to the research and composition of object and informative didactics. Students put classroom theory into practice with the creation of this exhibition and publication. Through the collaboration with The Minneapolis Institute of Arts and the generous support of private lenders, the exhibition included forty-one extraordinary examples of figurative traditions from across sub-Saharan Africa which are reproduced in the publication. The exhibition was featured in a major article in the Spring 2006 edition of Tribal Art magazine, an international publication devoted to non-Western art. The Minneapolis Star Tribune also reviewed the exhibition in a January 6th article. Icons of Perfection: Figurative Sculpture from Africa was edited by Alisa McCusker and MacKenzie Moon, and includes an introduction by Chair of the Department of Studio Arts and Art History and Director of Exhibitions Leonardo Lasansky and an essay by Visiting Professor Frank Herreman. Didactic information was contributed by museum seminar students, Aryn Ar@G(õÂ? ÿ¾Û€  (less)

art practices. Each work in iEcstasy/i, which accompanies an exhibition at The Museum of Contemporary Art, Los Angeles, enacts its own particular intervention into human consciousness -- surprising us, questioning familiar realities, and suggesting alternative ways of ordering experience -- through installation, painting, sculpture, and new media.br /br /iEcstasy/itraces two lines of contemporary inquiry into surrealism's fixation with altered states of consciousness. One follows the tradition of artists attempting to capture metaphysical conditions in representational form -- as seen in the wall-scale, resin-suspended pill paintings of Fred Tomaselli; Charles Ray's photographic self portrait, iYes/i, which depicts the artist on LSD; and Franz Ackermann's recent iMental Maps/i, abstract paintings that represent cities using his own subjective form of GPS. The other trajectory explores the notion of phenomenological experience through works that play on disjunctions in scale, or disrupt our means for spatial orientation. In Carsten Holler's iUpside Down Mushroom Room/i, for example, the ceiling and floor appear to change places, while in Jeppe Hein's iMoving Walls/i, museum walls begin to close in on the viewer. The 2,200 hand-painted polymer psilocybin mushrooms of Roxy Paine's iPsilocybe Cubensis Field/i, meanwhile, suggests other possibilities for altering our sense of reality.br /br /These and the other bold and imaginative works in iEcstasy/ichallenge conventional notions of interactivity while creating a heightened sensory experience for the viewer. Six essays accompany the artworks, considering such topics as the relation@9xQë…¸ÿ¾Û€  (less)

of Paris. The Cyclop is a monumental sculpture made of twisted metal, mirrors, stairways, footbridges, fountains, and a gigantic eye in the middle of the forehead. Inside, an installation of noisy gears, unique gadgets, and riotous machines crafted by such artists as Jean-Pierre Raynaud, Eva Aeppli, and Larry Rivers s delights astonished visitors. Twenty years in the making, the Cyclop created an enchanting world where visitors can explore and interact with the work of several artistic giants of the 20th century.Artists Niki de Saint Phalle and Jean Tinguely embraced the Nouveau Realisme movement of the 1960s, which appropriated ordinary materials and objects from the everyday world and recast them as art. Nearly forgotten until filmmakers Louise Faure and Anne Julien rediscovered it for MONSTER IN THE FOREST, Tinguely s Cyclop remains a shining example of Nouveau Realisme, and a monument to his anti-museum views about art. System Requirements:Running Time 57 Mins.Format: DVD MOVIE  (less)