4 research outputs found
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Honoring the Legacy: an Exhibition of Works Presented by ART CART: SAVING THE LEGACY
The story of ART CART: SAVING THE LEGACY is one of tenacity, resilience and positive aging where art, education, health, and aging intersect to provide a model for society (www.artsandcultureresearch.org/artcart ). In the mid-2000s the Research Center for Arts and Culture (RCAC) conducted the only research on professional visual artists age 62 and over in the New York City metro area. ABOVE GROUND1 found that 61% of professional visual artists age 62+ have made no preparation for their work after their death; 95% have not archived their work; 97% have no estate plan; 3 out of every 4 artists have no will and 1 in 5 have no documentation of their work at all.2 Yet, in many respects they are a model for society, maintaining strong social networks and an astonishing resilience as they age. ART CART is a response to this research, begun by six women faculty in higher education from the arts, education, health and aging. We all valued interdisciplinary, inter-generational education and saw too little of it in our practice. We saw advantages for our students to gain a grounding in both creativity and aging, learn basic health prevention principles, and take these lessons back to a variety of disciplines from social work and occupational therapy to art education, art history, arts administration, museum studies, art therapy, oral history, and dance education. We saw a model of experiential learning where students could put what they learned into immediate practice. For artists, we saw a way to keep their work from their greatest fear: the dumpster. We saw a mechanism to help them get organized, urge them to sign, date, and document their work, archive their digital records at Columbia University, obtain wills and estate plans,3 while participating fully in an inter-generational team where an artist, an artist-selected working partner and student fellows worked together towards the same goals. ART CART began with six artists and twelve students at Columbia University in 2010. By 2016, it operates both in New York City and Washington, DC, with 18 artists and 18 fellows. Alumni artists post-ART CART have secured lifetime achievement awards, grants, studio space, sales, gallery representation, exhibitions and a rejuvenated appreciation of their work across generations. And they are still documenting their work
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Terry Svat: Catalog of Works and Images
Throughout my adult life, art was my vocation and avocation. After graduating with a BFA from Kent State University, I worked in commercial art in Ohio, Minnesota, and the Washington, D.C. area. When my family began living and working abroad, I studied, taught, and worked in many art related fields in the former Soviet Union, Chile, Argentina, Panama and Germany. For twelve years abroad, I was exposed to the cultural currents in Russia, Latin America and Europe. I produced, exhibited and sold my work in most of the countries in which we lived. My one-person shows were in Santiago, Chile; Buenos Aires, Argentina; Panama City, Panama; and Munich, Germany. Returning regularly to the United States allowed me to remain current with art trends and to maintain relations with various organizations and galleries. Some of my one person exhibits were in Cleveland, Ohio, Washington, DC., Raleigh No. Carolina.
Later I received an MA in art therapy from George Washington University. I worked as an art therapist and taught in the program at GWU. For many years I have worked at the Graphics Workshop in Silver Spring MD
I am a co-founder of Washington Printmakers Gallery where my most recent exhibit was November 2014.
Artist Statement
"The artist's job is to keep alive the rituals of life…We are the myth
makers of the world." anonymous
If we judge by what has been preserved through the ages, we can see that the first
artists made images in an effort to communicate with the forces that
had power over their lives. Perhaps their imagery was a talisman or
prayer of sorts to ease their journey through life, helping them deal
with their joys and life struggles.
Over the past 25 some years, my art has been influenced by the
various ways in which people and societies not only leave their mark
on their civilizations but also provide a legacy of images, symbols,
and monuments that can speak to other societies and other times.
Because I have also had the opportunity to live and travel abroad, I was
able to study some of the symbols and images of those places. I
explored huacas from Pre-Columbian period, symbols and images of
Stonehenge and Machu Picchu, the significance of the Berlin Wall and
its demise, Apartheid, and our own Vietnam Wall.
My works are more of an inquiry into the efforts of mark markers in other
Societies, while trying to encourage an interaction with life forces. Working as an art therapist has opened my mind to understanding more fully these connections. I want my work to convey a sense of connectivity, a flow of past to the present and back again.
My latest series has a more noted focus on the passing of time, in the
form of generational issues. Using a small canvas and fragments of prints from past series, I have begun conversations on canvas.
In my work, I have chosen to use various forms of traditional and experimental
etching; Zinc, Copper, Plexiglas, Linocut, Solar Plate, ImagOn, pastel
transfer, and other forms of printing to compliment my exploration.
Found materials are incorporated into handmade paper that is made
from recycled prints.
Types of work include: prints, mixed media, assemblage, etching, paintin
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Terry Svat- ART CART Oral Histories
Printmaker, Terry Svat was born and raised in Cleveland, Ohio. Upon graduating with a BFA from Kent State University, Terry married and worked as a commercial artist in Ohio, Minnesota, and the Washington, D.C. area. After the birth of their second child the family began living and working abroad. Terry studied, taught, and worked in art related fields in the former Soviet Union, Chile, Argentina, Panama and Germany. During this time, she experienced the many diverse cultures that were reflected in her work.
Her one-person shows were exhibited in Santiago, Chile; Buenos Aires, Argentina; Panama City, Panama; Munich, Germany; and Leningrad, USSR. Returning regularly to the United States allowed Terry to remain current with art trends and to maintain relations with diverse organizations and galleries. She has shown in numerous galleries throughout the States. Her works are held in National Museum of Women in the Arts; Smithsonian Museum of Natural History; Museo de Arte in Buenos Aires, Argentina; Corcoran Gallery of Art in Washington, DC; Ratner Museum in Bethesda, MD; State Museum of Majdanch, Lubin, Poland; Frans Maserell Archives, Frans Maserell Zentrum, Kasterlee, Belgium; Archives of Flemish Museum of Fine Art, Antwerp, Belgium; Library of Congress Print Collection.
In her work, Terry uses various forms of traditional and experimental etching; Zinc, Copper, Plexiglas, Linocut, Solar Plate, ImagOn, pastel transfer, and other forms of printing to compliment her exploration. Found materials are incorporated into handmade paper, which is made from recycled prints. Over the years, Terry’s work has reflected the numerous ways in which people and societies have left their marks on civilizations through images, symbols, and monuments that can speak to other societies and other times.
Some of the images she has explored are Huacas from Pre-Columbian period, symbols and images of Stonehenge and Machu Picchu, the significance of the Berlin Wall and its demise, Apartheid and its struggles, and our own Vietnam Wall. Her works are more of an inquiry into the efforts of mark markers in other societies, while encouraging an interaction with the viewer and current life forces.
Growing up in the Midwest, working, living in many foreign countries, and working as an art therapist in Washington, D.C. contributed to opening Terry’s mind to understanding more fully these connections.
Currently she is using small canvases and fragments of prints from past series, to begin conversations on canvas. Here Terry wants her work to convey a sense of connectivity, a flow of past to the present and back again. Rebirth!
This oral history discusses Terry’s life history as related to her artwork. It gives a description of her work’s influences and how spending much of her adult life traveling and living abroad has changed her work process and her worldview.
Her web site is www.terrysvat/flickr.com.
Keywords: Russia, USSR, Santiago, Chile, Argentina, Germany, Moscow, Munich, printmaking, printing, press, huacha, generations, wall, Cleveland, Washington D.C., Art Therapy, Graduate School, Kent State, George Washington University, Target, Cleveland Art Museum, Berlin Wall, Woodward and Lothrop, Alex Russo, D.C. Color School, Allende, Panama City, Panama
Recommended from our members
Art Cart: Honoring the Legacy HD
The story of ART CART: SAVING THE LEGACY is one of tenacity, resilience and positive aging where art, education, health, and aging intersect to provide a model for society (www.artsandcultureresearch.org/artcart ). In the mid-2000s the Research Center for Arts and Culture (RCAC) conducted the only research on professional visual artists age 62 and over in the New York City metro area. ABOVE GROUND1 found that 61% of professional visual artists age 62+ have made no preparation for their work after their death; 95% have not archived their work; 97% have no estate plan; 3 out of every 4 artists have no will and 1 in 5 have no documentation of their work at all.2 Yet, in many respects they are a model for society, maintaining strong social networks and an astonishing resilience as they age. ART CART is a response to this research, begun by six women faculty in higher education from the arts, education, health and aging. We all valued interdisciplinary, inter-generational education and saw too little of it in our practice. We saw advantages for our students to gain a grounding in both creativity and aging, learn basic health prevention principles, and take these lessons back to a variety of disciplines from social work and occupational therapy to art education, art history, arts administration, museum studies, art therapy, oral history, and dance education. We saw a model of experiential learning where students could put what they learned into immediate practice. For artists, we saw a way to keep their work from their greatest fear: the dumpster. We saw a mechanism to help them get organized, urge them to sign, date, and document their work, archive their digital records at Columbia University, obtain wills and estate plans,3 while participating fully in an inter-generational team where an artist, an artist-selected working partner and student fellows worked together towards the same goals. ART CART began with six artists and twelve students at Columbia University in 2010. By 2016, it operates both in New York City and Washington, DC, with 18 artists and 18 fellows. Alumni artists post-ART CART have secured lifetime achievement awards, grants, studio space, sales, gallery representation, exhibitions and a rejuvenated appreciation of their work across generations. And they are still documenting their work