Conference Registration Discounts Available Until 9/26

Register Below

KEYNOTE SPEAKER

Tammie Rubin
www.tammierubin.com

Tammie Rubin is an artist, art professor, and active member of the Austin arts community.

As a ceramic sculptor and installation artist, Tammie Rubin's work is a meticulous exploration of the inherent power of objects as signifiers, wishful contraptions, and mythic relics. Her unique approach involves a deep dive into the world of ritual and domestic objects, coded symbols, maps, Black citizenry, and migration.

She holds an MFA in Ceramics from the University of Washington in Seattle and a dual BFA in Ceramics and Art History from the University of Illinois, Urbana-Champaign.

Her recent exhibitions include venues such as C24 Gallery, New York, NY; Rivalry Projects, Buffalo, NY; Patel Brown Gallery, Toronto, Canada; Elisabeth Ney Museum, Austin, TX; Ruiz-Healy Art, San Antonio, TX; and form & concept, Santa Fe, NM; and grayDUCK Gallery, Austin, TX. Rubin is a 2024 USA Fellow in Craft and the 2022 Tito’s Prize winner.

Rubin's contribution to the Austin arts community is significant. She served six years for the City of Austin’s Cultural Arts Division Art in Public Places Panel, ending her term as chair. Her additional contributions include curating exhibitions, acting as a juror, and giving talks at numerous local arts organizations. Rubin is a member of ICOSA Collective, a non-profit cooperative gallery. Born and raised in Chicago, Rubin lives in Austin, Texas; she is an Associate Professor of Studio Arts, Ceramics at Texas State University.

Thursday, October 23

1:00 - 3:00 PM Pre-Conference Board Meeting • HLC 2000
4:00 - 6:00 PM Check-In / Registration Registration • HLC 4000
6:00 - 7:00 PM Meet & Greet One Foot Exhibition Reception • 2 Art Lab HLC 4000
6:00 - 8:00 PM Meet & Greet Casual Dinner

Friday, October 24

9:00 - 9:30 AM Check-In / Registration Registration • HLC 4000
8:00 - 9:00 AM Breakfast • HLC 4000
9:30 - 11:00 AM Breakout Sessions

DM Wittman: Sustainable Practices in Photography: Anthotypes • HLC 4000
This workshop explores anthotypes, a sustainable photography technique using plant-based materials that was pioneered by early innovators like Sir John Hershel but abandoned due to image impermanence, and has recently been revived during the COVID pandemic. Participants will learn the history and best practices of this eco-friendly alternative to darkroom photography, watch a live demonstration, and create their own plant-based photograph to take home.

Leila Hernandez: Student Graphic Design Projects inspired on Tarot Cards & Popular Culture • HLC 2000
This breakout session presents a case study of students' creative tarot deck project inspired by The Magnus Archives, a horror podcast that evolves from anthology-style supernatural witness statements into an overarching narrative about fear, free will, and humanity. The instructor will analyze the student's design process, demonstrating how multimedia storytelling can inform visual design and how students can build upon previous creative work to develop more sophisticated artistic projects.

Liz Kim: Visualizing Life in the Borderlands - Santa Barraza in Gloria Andazula's Nepantla Workshop • HLC 2000/4000
This lecture examines the work of nationally renowned South Texas artist Santa Barraza, focusing on her pivotal 1995 Nepantla Workshop collaboration with Gloria Anzaldúa and how it shaped her exploration of borderlands themes using Mesoamerican and regional folk cultural languages. Barraza's art visualizes South Texas dreams, folklore, and mythology while embodying the concept of nepantla—the state of being culturally and geographically in-between—significantly expanding the visual vocabulary of Chicana/o art and contributing essential but under-studied perspectives to American art narratives.

ART BREAK Self-Guided Tour • Galleries
11:00 AM - 12:30 PM All Member Business Meeting Meeting / Meal • Common Area HLC 2000 (by presentation hall)
1:00 PM - 2:00 PM Excellent in Field Lecture • Presentation Hall HLC 2000
Ann Johnson - When Art Teachers Became History Teachers

I have been teaching now for over 25 years at Prairie View A&M University. A university that was built on a plantation. The Alta Vista Plantation in Waller County. My class is a history lesson before I even open the book. Unfortunately, with the current political climate, this history is meticulously being erased. I teach studio classes; however, my favorite class to teach is African American Art History. I find that teaching this class, I have also become a history, social studies, and political science teacher. I used to be upset and annoyed that so many students, particularly black students, don’t know about their own history. But it’s not their fault. They are not receiving the complete and truthful education in American history that they should be receiving. They know Ruby Bridges and Martin Luther King. Everything else is a struggle. I share my work as an artist throughout the class. I am an experimental printmaker, and I often print on raw cotton. Printing on cotton speaks for itself and undoubtedly analyzes the ills of slavery in this country. Again, something that is increasingly being dismissed from the history books due to the current political climate. I have come to realize that artists and art teachers are the new history teachers and are the last hope to accurately portray and discuss history, as culture is being erased. Toni Morrison boldly proclaimed, “This is precisely the time when artists go to work. There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal." I proudly put my work on the front lines of injustice. If selected to present, I will share my approach and process to teaching my African American Art History course. I will include innovative projects that students have come to embrace. Projects such as Slavery in 5 words or less, integrating AI into projects such as creating a Freedom Quilt, and many more. I find that students are much more engaged in the class with the addition of projects, particularly photographic projects. They are learning about history, learning about artists, and most importantly, learning about themselves.

2:30 - 4:00 PM Breakout Sessions

Dan Sorensen: Portrait Drawing from Life • HLC 4000
This workshop will focus on portrait drawing from a live model using vine charcoal. Participants will learn proportions and strategies for drawing the head. All supplies will be provided. Open to all skill and experience levels.

Tetra Collective Panel: The Impact of Community on Teaching and Studio • HLC 2000
The TETRA Collective comprises four artist-educators from Texas A&M University system campuses across the state who have partnered to promote contemporary ceramics through traveling exhibitions, discussions, and workshops that celebrate both their regional diversity and shared commitment to the clay arts. Their proposed TASA 2025 workshop will demonstrate various ceramic techniques while discussing how community networking and collective collaboration enhance both individual studio research and teaching practices, drawing on their experience with live workshops and exhibitions, such as "Oh, So Ceramic" at the 2024 OSO Bay Biennial.

Hamed Edatali Tabrizi: Redefining the Role of Graphic Design • HLC 2000/4000

ART BREAK Self-Guided Tour • Galleries
4:00 - 4:30 PM Afternoon Snack • Common Area HLC 2000 (by presentation hall)
ART BREAK Self-Guided Tour • Galleries
4:30 - 6:00 PM Keynote Speaker Lecture • Tammie Rubin •  Presentation Hall HLC 2000 (Session info above)
6:30 - 8:00 PM Portfolio Review One-On-One • 2 Mezzanine or Atrium HLC 4000

Saturday, October 25

8:00 - 9:30 AM Breakfast • 1.5 Atrium HLC 4000
9:30 - 11:00 AM Breakout Sessions

Jill Honeycutt: Color and Texture, Exploring the Art of Risograph Printing • HLC 4000
This hands-on workshop introduces participants to Risograph printing, a distinctive technique that combines digital printing speed with screen printing's rich, layered aesthetic, known for vivid spot colors and tactile textures that make it popular for zines, posters, and short-run projects. After a brief lecture and warm-up exercises using collage materials like crayons, markers, and stickers, participants will create a larger personal artwork that combines hand-drawn elements, collage, and typography to explore this affordable, environmentally friendly printing method.

Baotran Vo, Diamond Nguyen, Kristen Duong, and Vajihe Zamaniderkani: Poetry in New Media: Women Artists Exploring Art, Technology and Memory • HLC 2000
This panel features four women artists who use new media technologies, including interactive installations, brainwave data visualization, kinetic sculpture, and multimedia projects to explore themes of memory, resilience, and cultural identity. The discussion will examine how these artists leverage digital media, painting, and immersive technologies as forms of poetry to convey personal and collective experiences, particularly focusing on cultural narratives, displacement, emotional recall, and the immigrant journey.

Luis Valderas, Kim Bishop: Project MASA Exhibit Series • HLC 2000/4000

11:00 AM - 12:30 PM Banquet Luncheon / Awards Meal • 1.5 Common Area HLC 2000 (by to presentation hall)
12:30 - 2:00 PM Breakout Sessions

Kristy Masten, Justin Boyd, Marc McCoin: Art- Art History Partnerships: Reflecting on Interdisciplinary Approaches with Students • HLC 4000
This presentation explores the University of Texas at San Antonio's innovative approach of co-listing thematically paired studio art and art history courses, using their Spring 2025 "Soundscapes" collaboration as a case study where students explored topics like nature, music, and spatial activation through both historical research and hands-on creative work across multiple media. Art historian Kristy Masten and artists Justin Boyd and Mark McCoin will discuss their interdisciplinary teaching collaboration, share student work examples, and reflect on how this approach deepens student engagement and improves learning outcomes in both art-making and art historical understanding.

Clara Hoag & Panel: Distill the Bills: A Review of New Legislation from the Texas Senate • HLC 2000

Tracy Bonfitto: My Travels with Frida: Curating and Couriering an Iconic Kahlo Self-Portrait • HLC 2000/4000
The Harry Ransom Center at The University of Texas is home to one of Frida Kahlo’s most celebrated works, Self-Portrait with Thorn Necklace and Hummingbird (1940). Stewardship of the painting, which is frequently requested for loan and equally important to local audiences, requires strategic thinking to balance conflicting priorities. HRC Curator of Art Tracy Bonfitto provides insight into the loan and courier process—which has taken Bonfitto and the painting from Italy to South Africa to Australia—and into interpreting the painting within its larger context at the HRC: the Nickolas Muray Collection of Mexican Art. 

2:15 - 3:15 PM Paul Hanna Speaker Lecture • Presentation Hall HLC 2000
Steve Hilton – Clay, Connection, and Common Ground

Steve Hilton’s work brings together science, art, and community in surprising and meaningful ways. Drawing on geology, math, and the hands-on experience of working with clay, he creates large-scale installations that turn ordinary spaces into immersive environments where people can connect with each other and with the material. At the heart of Hilton’s practice is a belief in the power of collaboration. His projects often involve groups of all sizes—sometimes hundreds of participants—coming together to shape something bigger than themselves. In a time when our world can feel deeply divided, Hilton uses clay as a way to start conversations, build relationships, and find common ground. In this talk, Hilton will share stories from his creative journey and offer ideas for how participatory art can support connection, empathy, and dialogue. Whether you’re an artist, educator, or simply curious about the role of creativity in community building, this lecture will offer inspiration and practical insights for bringing people together through art.

3:15 - 4:00 PM Farewell Snack / Art Pick Up • 0.5 Atrium / Art Lab HLC 4000
4:00 PM Incoming TASA Board Meeting • Classroom HLC 2000

Pre-Registration Payment must be received by 9/26/2025 for discounted pricing. Conference Registration does not include your hotel stay. Please book your room using the link above (when available).

Full-time Faculty
Pre-Reg Received by 9/26/2025 - $275
After - $325

Part-time Faculty
for those who only teach Part-time
Pre-Reg Received by 9/26/2025 - $125
After - $175

Students
Does not include the Saturday banquet lunch.
Student lunch can be added for $35/ea.
Pre-Reg Received by 9/26/2025 - $40
After - $50

Non-Conference Guest Saturday Lunch Banquet
$65.00

All Conference attendees must be members of TASA.

NEW 2025-2026 Membership Fees

• Individual - $35.00

• Student (Must show current ID at check-in) - FREE

• Institutional Membership - $275.00
  (includes one full conference fee and one individual membership) 

-OR- add your membership fee to your conference registration form below if you prefer to register by mail.

Prefer to Register By Mail?
Please make checks payable to TASA.
Mail to: Texas Association of Schools of Art, c/o Linda Fawcett, Registrar, Box 682, Junction, TX 76849
Or Call: 325-665-4165 to pay by credit card