2009
Southern Graphics Council Memorial Exhibition
Including Leonard Baskin, H. C. Cassill, Anthony Gross, Joseph Hecht, Jules Heller, Anton Heyboer, John Paul Jones, Max Kahn, Kenneth Kerslake, Kent Kirby, Wayne Kline, Misch Kohn, Jacob Landau, Malcolm Myers, Gabor Peterdi, Keith Rasmussen, Michael Rothenstein, Karl Schrag, Bernie Solomon, John Sommers, Julian Trevelyan, William Walmsley, William Wolff, Ross Zirkle, Richard Zoellner, and others.
March 2 - 28, 2009
Faculty Exhibition
Including Alberto Aguilar, Jess Bader, Victoria Beal, Jelena Berenc, Michelle Bolinger, Helen Maureen Cooper, Jennifer Greenburg, Matthew Gregory Hollis, Turtel Onli, Jane Regan, Richard Repasky, Felicity Rich, Armen Sarrafian, Ivanhoe Tejeda, Vassi Vasevski, Marjorie Woodruff, and Craig Yu
December 4, 2008 – February 11, 2009
2008
Masked Production
intersections of ceramics and printmedia, including Jess Bader, Heather Coffey, Jennifer Geisler, Brian Gillis, Ada Rima Grysbauskas, Carrie Ohm, Antonio Pazzi, Derek Walter, and Paul Andrew Wandless
October 2 – November 14, 2008
Anyhere, but where?
including Mat Daly, Peter Hoffman, and Amy E. Mayfield
August 19 – September 26, 2008
Human Intricacies
Paintings, drawings, and prints by Jennifer B. Scott
May 1 – June 13, 2008
Lessons in Looking
March 24 – April 25, 2008
City Wide 2008
March 3 – 14, 2008
Sherry Diaz: Hirsute Pursuits!
(hair pulling and tub drawings)
January 17 – February 29, 2008
2007
Michelle Bolinger
November 26, 2007 – January 11, 2008
ie:Between
works by Benjamin Bellas, Justin Cooper, Stuart Keeler,
Clinton King, Noelle Mason, Ross Moreno, and
Magdalen Wong
October 11 – November 16, 2007
ART_LAB_HWC 2007
Alberto Aguilar with Ev'rythang Sandwich
exhibition includes: May Anuntarungsun, Brittini Duncan, Riley Hall, Jr.,
Thomas Henderson, Brandan Johnson, Darin Miner, Shizuwa Noda,
Shaquill Richberg, and Alyssa Zamayoa
August 27 – October 5, 2007
How it begins, or everything is everything
new prints, drawings and paintings by Richard Repasky
April 19 – June 8, 2007
I'll be your mirror
new paintings and video by Marcelino Stuhmer
March 5 – April 13, 2007
Alberto Aguilar Hardly Works
January 22 – March 2, 2007
City Streets / Country Roads
Ruth Moscovitch
November 20, 2006 – January 19, 2007
2006
Kit Rosenberg
October 5 – November 17, 2006
Displaced Occupation
Anne Heironymous, Aay Preston-Myint, Paul Lloyd Sargent, and Marjorie Woodruff
August – September 30, 2006
Rob Bain: New Works
April 17 – June 2, 2006
Relative
Jennifer Greenburg, Lisa Hecht, John Henley, and Robbin O’Harrow
March 10 – April 7, 2006
Southern Graphics Council Memorial Exhibition
Including Leonard Baskin, H. C. Cassill, Anthony Gross, Joseph Hecht, Jules Heller, Anton Heyboer, John Paul Jones, Max Kahn, Kenneth Kerslake, Kent Kirby, Wayne Kline, Misch Kohn, Jacob Landau, Malcolm Myers, Gabor Peterdi, Keith Rasmussen, Michael Rothenstein, Karl Schrag, Bernie Solomon, John Sommers, Julian Trevelyan, William Walmsley, William Wolff, Ross Zirkle, Richard Zoellner, and others.
March 2 - 28, 2009
Not long ago, printmaking programs were rare in the United States. Many programs that exist today were pioneered by members of the Southern Graphics Council.
These founders, teachers, and mentors were innovators in the field through the revival of engraving, the invention and development of collagraphs, mixed media prints, big prints, color prints, waterless and psychadelic lithography. This exhibition highlights the works of groundbreaking print artists.
Southern Graphics Council Memorial Exhibition is organized by David B. Johnson, Associate Professor, Ball State University.
Faculty Exhibition
Including Alberto Aguilar, Jess Bader, Victoria Beal, Jelena Berenc, Michelle Bolinger, Helen Maureen Cooper, Jennifer Greenburg, Matthew Gregory Hollis, Turtel Onli, Jane Regan, Richard Repasky, Felicity Rich, Armen Sarrafian, Ivanhoe Tejeda, Vassi Vasevski, Marjorie Woodruff, and Craig Yu
December 4, 2008 – February 11, 2009
Fantasy, deterioration, experience, issues of the self, and humor are a sampling of the varied concepts embodied by the works in this exhibition. Ivanhoe Tejeda’s photo collage examines the conceptual reality of home through images of the environs where he lives, inlaid into a floorplan of what is architecturally considered to be his home. Marjorie Woodruff’s vessel uses decoration as a confrontational element to illustrate atrocities of war and torture. Jess Bader’s slipcast porcelain log cabins address idealized Americana facing off with gender identity of the rugged romantic. Frequent with his practice, Craig Yu’s monochromatic painting create a sense of trauma through disorientation where time, place, and specifics of imagery are indecipherable, and a book by Jelena Berenc presents an example of her durational self-portraits: an autobiographical record of self consciousness over a period of 30 days.
Vassi Vasevski, Lake of Peaches, 2007. Acrylic on canvas.
Masked Production
intersections of ceramics and printmedia, including Jess Bader, Heather Coffey, Jennifer Geisler, Brian Gillis, Ada Rima Grysbauskas, Carrie Ohm, Antonio Pazzi, Derek Walter, and Paul Andrew Wandless
October 2 – November 14, 2008
Masked Production exemplifies the utility of clay and the print as multiple and edition producing media. While commercial manufacture provides items for the masses, the creative basis for objects that evolve from the compromise between form and function, while craft and design influence the aesthetic. The works in this exhibition consider the cast, the mold, relief, stamp, screen, and decal, demonstrating the range with which fabrication takes place.
For many artists working with these media, the multiple functions as visual alliteration. Patterns are incorporated to exemplify storytelling, histories are given perspective through text, and socio-political issues are addressed with images on repetitive shapes. The broadcast of ideas is facilitated by the physical existence of multiple objects, the catalyst for communication.
Photo credit: Jess Bader.
Anyhere, but where?
including Mat Daly, Peter Hoffman, and Amy E. Mayfield
August 19 – September 26, 2008
Anyhere, but where? considers the scope of landscape imagery from the serene to the strange. As landscapes, these works do not intentionally describe the likeness of a specific place. What is presented are indications of an acquaintance, encounter, or recollection where reality is negotiable. These works linger along the boundary between the factual and the imagined, from the past or from the future, begotten by memory and experience.
Peter Hoffman, Sunrise on Grandma's Chocolate Lake, 2007. Acrylic on canvas.
Human Intricacies
Paintings, drawings, and prints by Jennifer B. Scott
May 1 – June 13, 2008
Scott’s work focuses on the non-discriminatory nature of disasters such as hurricane Katrina and the Indian Ocean tsunamis of late 2004. The vast destruction of human life left survivors in shock, horrified, and helplessly overwhelmed. Tragedy and death gradually become apparent through the composition of the figures: lying, wading, watching, or turning away. Despite the lack of direct confrontation from the subjects depicted, the works command attention via color, contrast, composition or the gaze of the subjects.
Jennifer B. Scott, Boys on a Tree, 2006. Oil on board.
Lessons in Looking
Including: Jung Hee Lee, Nikki Markin, Antoinette Merchant, Jamel Moore,
Matthew Murray, Shizuwa Noda, Kimberly Prowell, Nancy Rios, Evelyn Sanford, Ronald Schrimer, Aya Suzuki, Cordarice Thomas, Yuko Uemura, Carrie Vasquez, Ana Velazquez, Christina Villalpando, Margarette Ware, Anika L. Williams, and Ifé Williams
March 24 - April 25, 2008
The conceptual viewfinder is the primary tool used to initiate communication between the artist and audience. A story may be told through an image, series of frames, or the choice of material to represent the image. This exhibition requires the viewer to become engaged with both the material choice of the objects as well as the conveyed subject. Striking positions between viewer and subject often question the audience’s perspective of what is seen when looking everyday.
Kimberly Prowell, A Closer Look, 2007. Ink on paper.
City Wide 2008
March 3 – 14, 2008
Sherry Diaz: Hirsute Pursuits!
(hair pulling and tub drawings)
January 17 – February 29, 2008
Often working with found materials and experimental techniques, Diaz has turned to her personal and constant discards to reflect on both the internal and external impulses of the day to day. Somewhere between the meditative tending of a Japanese rock garden and musical improvisation lies the drive and inspiration for these images.
The forms, culled from wads of hair in the bath, begin as a negotiation between order and disorder, structure and freedom. The wads are indeterminate, their open-endedness providing the springboard for their fictive nature. The drawings reveal themselves through the manipulation of the media.
This body of work emanates from the quality of a line, the volume of a form, and an innate compulsion to balance order and chaos. Much like meditation, the drawings are an essential daily exercise. The simplicity of the materials, hair and water on porcelain, have a beauty, glow and dimension that are inwardly personal and yet outwardly reflective, but observations all the same. Like watching clouds or examining wood grain, the shapes of the images are playful and familiar, and at the same time, the act of drawing provides a vehicle to understand ideas and interactions between vision, body, and material.
Sherry Diaz, Tree, 2007. Inkjet print mounted on fiberboard, 8" x 8" x 1.5".
Michelle Bolinger
November 26, 2007 – January 11, 2008
Landscape representations are often inspired by form, color and light, and an artist will make deliberate choices to successfully render three dimensions on a two dimensional plane. Through the simultaneous process of flattening and molding, the image becomes an interpretation and will inevitably vary from what is “real” or “present” in the referenced space.
While memory rarely preserves every detail, elements pertinent to distinct characteristics of the place are retained such as color, light, shape, and relative position. In these paintings, color is used to relay a variety of significant aspects about the spaces. The pre-dawn yellows of Pellet contrast hot urban hues of In/North. The saturated greens of Was convey a particular time of day, season, and topography, as opposed to the misty atmosphere and receding space of Over/Across. The forms in the landscapes are executed with confidence and determination, and they incessantly validate their permanence in the space the artist has created.
Michelle Bolinger paints both from memory and constructed still life. Using these devices, she strips a landscape to its crucial elements in order to describe its essence. When working on canvas, edits become physical by scraping and abrading the painted surface. On the contrary, her most recent works on paper are rendered landscapes positioned within a void. These minimal compositions are clear and immediate, preserving only the absolute nub of the place. In either instance of canvas or paper, the viewer is invited to experience and move through the fantastic space she has created.
Michelle Bolinger, Over, 2007. Oil, pencil, colored pencil and pastel on canvas paper, 16" x 20".
ie:Between
works by Benjamin Bellas, Justin Cooper, Stuart Keeler, Clinton King, Noelle Mason, Ross Moreno, and Magdalen Wong
October 11 – November 16, 2007
Media such as performance, photography, sculpture, and video serve to manifest each individual’s vision. These diverse artistic sensibilities contribute to provocative points of conjunction and are represented in works that make use of surveillance, musical scores, vaudeville act, and scientific schematics. Interactions with objects, strangers, companions, and the self set up platforms to examine relationships, and their success and failure. Between considers these interactions by focusing on the space between object and viewer.
ART_LAB_HWC 2007
Alberto Aguilar with Ev'rythang Sandwich
exhibition includes: May Anuntarungsun, Brittini Duncan, Riley Hall, Jr.,
Thomas Henderson, Brandan Johnson, Darin Miner, Shizuwa Noda,
Shaquill Richberg, and Alyssa Zamayoa
August 27 – October 5, 2007
ART_LAB_HWC is an annual artist residency that brings Chicago area teens and Harold Washington College art students together with professional artists. The program is a month-long extension of studio practice for both resident artists and HWC art students, and is designed to encourage youth to collaborate, to stimulate creativity, to initiate partnership and leadership roles, as well as collectively develop a group identity. Through the collaborative process, ART_LAB participants develop critical thinking, problem solving, and project management skills. Through group interaction and art making within a non-hierarchical setting, the classic idea of artist as individual is challenged. Random experiments evolve and creative exchange flows. As a result, no idea is taken for granted as the dialogue between object and maker expands, realizing art works that challenge parameters of traditional artistic categories.
Alberto Aguilar with Ev'rythang Sandwich, SIAM DUNK, 2007. Digital photograph.
How it begins, or everything is everything
new prints, drawings and paintings by Richard Repasky
April 19– June 8, 2007
One of many aesthetic qualities, Repasky is interested in interpretations of beauty. The images beg attention be paid to the details painstakingly rendered and printed layer upon layer. He utilizes a variety of printing processes such as stone and multi-plate color lithography, screen printing, and toner transfers, as well as the use of a pencil, a metal point, and a “hairy stick” to render his images. The intricate draftsmanship and detail of the images aim to mirror a particular examination of humanity. There are discomforts and repulsions that offer moments, or holes, where one may have a revelation or transcendent understanding of beauty. The artist asks that we not give credence to surface matter alone, but reflect and understand the depth and complexity of seemingly simple interactions and restrain knee-jerk reactions
Repasky working on Untitled – Demand, stone lithograph in black, 2007
I'll be your mirror
new paintings and video by Marcelino Stuhmer
March 5 – April 13, 2007
"I am exhibiting a selection of paintings from a continuing series called I'll be your mirror. To make these paintings, I intentionally use a material and process that is difficult to control; I put down a thick layer of industrial enamel and work wet-in-wet into that surface. I'm interested in incorporating the accidental or uncontrollable into the process of representation, to isolate the moment when a mental image of an experience is just about to form. The photographic sources of the paintings range from film stills, news imagery, found photos and my own photographs, so working from these various sources is a way to acknowledge an inclusive visual "narrative" from both real and imaginary experience.
The video I just happened to be the one that was there (2007) is a "mash-up" juxtaposition of 4 separate elements: a personal account from the first police officer on the scene at the recent Salt Lake City mall shooting, video images of flowing enamel, audio from a Cold War instructional film about "mind control", and a suspenseful piece of music by contemporary composer Lee Hyla. I want each audio or visual layer to retain its individuality, while experienced together they create a rich sensory driven narrative. It's like coming into someone's living room where the voice on the radio mixes with the war image on TV, just as an ambulance siren is heard going by the apartment building. That's the kind of sensory juxtaposition I'm interested in pursuing."
Marcelino Stummer, Come Close, 2007. Oil enamel on panel, 24" x 24".
Alberto Aguilar Hardly Works
January 22 – March 2, 2007
Alberto Aguilar explores the ways in which daily occurrences influence, reference, and contribute to ideas about art (painting and art history) and process through photography, video, sound, and installation. Everyday life becomes studio practice in the sense that every decision is an aesthetic choice, including absorbing particular influences from the people around him, as well as intentionally collaborating with other artists, as evident with Aguilar’s sound works with his children and the video and photography works with the Tumultuous Beloveds. Using everyday objects and activities as his media, images are composed, songs are invented, and objects are formally arranged. The works become a reflection of the many “truths about life and human experience, but also remain absurd and humorous.” According to Aguilar, the “main premise for the exhibition is my desire not to make works, but to have life experiences, daily routine, life residue and collaborative exchange sit in as my artistic output, hence Alberto Aguilar Hardly Works.”
Alberto Aguilar, And It Was Good, 2006. Injet on paper.
City Streets / Country Roads
Ruth Moscovitch
November 20, 2006 – January 19, 2007
This exhibition presents whimsical renderings of the street corners, alleys, and hotdog stands that are uniquely part of Chicago, contrasted by serene yet gently humorous farm scenes from northern Illinois. Unusual architectural detail, textures of buildings, contrast of shadow and light, and the inevitable intersection of power lines through our sights are motifs that Moscovitch utilizes to emphasize the often overlooked details in her compositions.
Ruth Moscovitch, Budacki's Hot Dogs, 2005. Etching on Fabriano Rosapina White.
Kit Rosenberg
October 5 - November 17, 2006
Material is essential to the conceptual nature of these recent portraits by Kit Rosenberg. Utilizing detritus collected as drawing material physically embeds the essence of the subject in the portrait, through remnants of skin and hair, which are prominent contributors to household dust. These portraits evoke ephemeral notions that are both sublime and poetic, conjuring associations with constant personal changes over time, as well as the continual rejuvenation of the self through shedding and growth.
Kit Rosenberg, Eddy, 2006. Dust, shoe polish, and beeswax on glass
Displaced Occupation
Anne Heironymous, Aay Preston-Myint, Paul Lloyd Sargent,
and Marjorie Woodruff
August 28 – September 29, 2006
Displaced Occupation examines ideas about preparing for, observing, and adapting to conditions of war, including the slippery slope between defensive and offensive preparations for such conditions. Our nation’s soldiers are constantly sent overseas for the purposes of defending democracy, preserving peace, and maintaining economic interests. Recently, contractors have replaced military units in war-stricken countries, performing maintenance and reconstruction efforts in the name of peace, democracy, and economy. Free from military conflict on our nation’s mainland, diverse perceptions have come into being about what it means to live in the midst of bomb blasts, missiles, and gunfire. Most Americans have not personally experienced living in a war-torn state. This privilege limits our understanding of military occupation, and is both filtered and fed through various news reporting, movies, cartoons, histories, memoirs, blogs, cartoons, toys, and games. While these sources have the ability to romanticize, glorify, and horrify audiences, the audience also has the freedom to accept, ignore, or criticize the information presented.
Anne Heironymous, Untitled (detail), 2006. Graphite and press type on paper.
Rob Bain: New Works
April 17 - June 2, 2006
Rob Bain’s latest series is a continuation of his interest in the limits painting has met throughout the history of art. In these works, “the monochrome is emblematic of both the highest achievement of painting, and also the failure of painting as an expressive medium. (He is) using the monochromatic scheme to both complete the paintings and simultaneously utilizing enamel to eliminate or erase/deface the same paintings.” Reminiscent of the ideas that drove both Malevich’s "Black Square" and Rauschenberg’s "Erased deKooning Drawing", Rob Bain’s paintings twist the identity that conceptual painters have been pitched against since the advent of the monochrome.
Rob Bain, Monochrome, 2006. Sand oil and enamel on canvas, 50" x 52".
Relative
Jennifer Greenburg, Lisa Hecht, John Henley, and Robbin O’Harrow
March 10 – April 7, 2006
Material, subject matter, and history are related facets of the art-making process used to articulate ideas through visual cues. The conflation of material as subject, figure merging with ground, repetitive motifs, narrative, and historical reference all illustrate the range of conceptual relativity. Within this set of criteria, we become aware of the constant fluctuation between the exceptional and the mundane assigned to people, objects, and moments in time.
Robbin O'Harrow, installation view of monoprints, 2006.