http://socialcapitalmarkets.net/ART SPACE SOCAP11
This year SOCAP is experimenting with a new approach to knowledge sharing using visual and kinetic learning. We hypothesize that we can share more and move further with our ideas if our minds are stimulated and encouraged on multiple plains of consciousness simultaneously. To test our hypothesis, we have set off two initiatives: we invited artists to share their interpretation of Money + Meaning = ? and we are introducing Show Me Stations which are actions spots for model making available throughout the conference.
INTRODUCING TRACK CURATOR: MAURA DILLEY
My name is Maura Dilley and I’m an Organizational Learning Consultant who relies on the creative arts to engage and teach.
I am in constant pursuit of the “Ah-ha” moment; I believe that peer-to-peer collaboration and sharing are strategic cultural shifts towards a sustainable society. Since 2009, I have been experimenting with collaboration techniques that enable groups to co-learn and co-teach. My approach is iterative and determined by questions such as: Why do we do what we do and if our social-systems functioned differently, would we enjoy superior outcomes?
I design group-learning experiences that capture and leverage collective intelligence for social innovation such as the Show Me Stations you’ll see on the floor at SOCAP11. I look forward to learning with you in September.
This body of work attempts to literally and visually map the causes of the 2008 recession. It is an attempt to understand the complexity of the financial system, its interrelated parts, and how recessions occur. I enjoy the audacity of knowing that the act of mapping it is futile but is done anyway. Everyone can relate to being a part of a larger system out of their control. This imagery is also juxtaposed against explosions, weather patterns, and abstract expressionist references. The size of the painting is also quite large which along with the history of abstract expressionism is a reference to the “macho” and manhood in contemporary culture.
I am a conceptual artist who was trained as a painter. Every body of work has different materials and processes which help its meaning. I was born and raised in Cincinnati, Ohio until relocating to San Francisco two years ago. My B.F.A. is from Ohio University and received my M.F.A. from the University of Cincinnati in 2008. The Bay Area is now my home and I currently balance making work and teaching foundations at the Art Institute of Sunnyvale, CA.
Designer, Inventor, Social Entrepreneur
“NoKero Solar Lamps”
From his earliest days, Stephen Katsaros has lived a life filled with innovation. A mechanical engineer with a penchant for competitive ski racing, Steve began his colorful career with the invention of several commercial products for the ski industry. His first brush with “impact inventing” came in 2002 with RevoPower, a motorized wheel for bicycles. In early 2010, he came up with another bright idea – a simple, portable solar light bulb with the potential to revolutionize life for the 1.4 billion people in the world who live without access to electricity. Five months after his first sketch, Steve launched Nokero, a for-profit company that designs affordable solar technology solutions expressly for poor, off-grid communities around the world. He currently holds the title of Chief Inventor and CEO of Nokero International. Stephen has a BS in Mechanical Engineering (BSME) from Purdue University, is a patent agent registered with the US Patent and Trademark Office, and was a non-degree seeking student at the Bard Center of Entrepreneurship at the University of Colorado from 1998-1999. He received the B.F. Goodrich Collegiate Inventors Award in 1995.
Nokero (short for No Kerosene) was formed in June 2010 with a mission to develop safe and environmentally-friendly solar products that eliminate the need for harmful and polluting fuels used for light around the world, and most importantly, are affordable to the communities that need them. Nokero is built on an enterprise model. Wherever possible, Nokero works to partner with local entrepreneurs to provide a compelling small business opportunity, spur local enterprise and reduce poverty, while at the same improving health, greening the environment and empowering communities.
Donna Anderson Kam
I am concerned with the experience of “self” in contemporary society as a political condition; something that society controls or overshadows. In this regard, my drawings reflect the realities of sustaining our culture.
The images in my recent series entitled, datelines, represent the restlessness and ambiguity of modern life
exacerbated by messages from the media. I have chosen to focus this work on the media within the culture of consumption. In these images we see figures drifting through the world as if they are experiencing amnesia. They consume the information without absorbing it. With the potential to represent several realities at once–information and communication–media requires us to suspend personal identity and choice. The confusing, and often contradictory, experience of witnessing and taking in such realities has shaped our culture into one that is concerned with economic prosperity in spite of the consequences. The fragmentary experience of contemporary media has resulted in information overload and a cultural identity crisis.
My intent has always been to make a drawing with photography as a point of departure. I cast young actors to retell stories of recent news events taken from print and online media. I choreograph situations in the studio to photograph. The captured images are edited, with information erased or activated and combined with photographs taken of the detritus from neighborhood streets. Each element is chosen carefully, each a piece in the narrative puzzle. The resulting collages become studies for life size drawings in pastel, some as large as 52 x 96 inches. These drawings exist as biographies of the modern social experience.
Karrie Hovey re-creates natural landscapes with the bi-products generated from our “Buy-Product” retail obsession.
The brand-name goods we recognize and covet emerge as the source materials used to create the works. The waste-stream produced from our consumer culture is immense and is expanding with the release of each passing season’s wears. Although the seasons change and the newness fades, the plastics will be with us forever. Our insatiable desire to purchase “beauty” and to obtain the “new” has removed us from the natural system of organic renewal and replaced it with a continuous cycle of consumption and waste. This system measures “Growth” in financial gains and units moved. Growth is no longer defined in terms of nature or evolution or biology.
The Garden Grows is a series of site specific installations made primarily from discarded and single use plastic, paper, foam, and cardboard.
The artist is available for commissioned works.
What kind of world shall we create together?
How are we sharing our unique gifts with our people?
These are questions I ask in my life, the answers to which I call our Self-Portrait, which has, at times, had various addresses on the planet as formal public exhibitions.
At this juncture in history, the notion of Self in any healthy culture’s necessarily vital relationship with its art must include the entire web of life, which means a long overdue acknowledgment and integration of all our relations, the wisdom of the indigenous and spiritual traditions–especially by the participants in our planet’s imbalanced culture of technology and domination.
This Self-Portrait Project asserts the inclusion of everything into our expression of the self as responsible participant in the constant conscious creative project we call Life. What happens when this man’s Self-Portrait looks like a tree leaf and a colorful altar of recyclable refuse or an olive pit and a group of people? Who am I in this world?
Please join us in clearing our mental and physical spaces of the pollution distracting us from a life lived in ecological balance. In this laboratory space we will continue to explore ways to transform ourselves and our culture into a more effective support -structure for realizing our visions for a sustainable, integrated Body of Work.
Organizational Learning Consultant
Show-Me Stations are walk up distribution kiosks for modeling materials such as clay, paper, glue, pipe cleaners, gizmos, dodads and whatchamacallits. The materials are used to create illustrative examples of newborn ideas. Show Me Stations are found in places where people are thinking such as conferences, workshops and group discussions; they are portals through which people can pull ideas into the physical world. Show Me Stations are a relief point for fatigued verbal descriptions that need density and shape to be understood, shared and enhanced.
The Show Me Stations can take many physical forms, at SOCAP11, they will made of tables, wheels, baskets, hooks and bins. Show-Me Stations were inspired the design thinking framework coined by Stanford’s dschool. They are a place to embrace experimentation, have a bias towards action and to show, instead of tell.
from the SOCAP11's website: http://socialcapitalmarkets.net/money-meaning-impact/