CLC Building, 2nd Floor
Restrike, front image of the announcement postcard
Karin Bos, Wanda Ewing, Jon Lee, Beauvais Lyons, and Alysia Kaplan
September 16 – December 19, 2010
This exhibition looks at printmaking artists who draw their imagery or ideas from other communication media. Some are making direct commentary on the media and how our lives are influenced by it, while others are simply appropriating and repurposing imagery from the mass media. Curated by Jeff Wetzig, Associate Professor of Art at Bethel University.
Included in the exhibition, the 3 "Spy Girls" by Karin Bos are screen prints on silk, framed in embroidery rings. The imagery evoked by her work of is that of a nice world at first sight. However, slightly absurd dissonants and frictions result in unanswered questions. Wanda Ewing's "Bougie" prints explore the subjects of race, beauty standards, sexuality and identity. Inspired by images found in popular culture, she often uses humorous narratives as a device for engaging the viewer. The "Million$House" series by Alysia Kaplan, explores the various themes of home and place: home as commodity, graphic versus physical space, and the multi-layered consciousness that comes with owning and inhabiting a home. Jon Lee's three prints from The Simpsons series only appear simple at first glance, but soon reveal themselves to be more complex. The image is reduced to its essence, the colors monotone. Through self-discipline, he achieves work that is simple, monotone yet rich and alluring. Beauvais Lyons work for this exhibition was created for the Association for Creative Zoology for which he is fake curator through the Hokes Archives. His work explores the case for divine creation through the process of "zoomorphic juncture."
CC Building, 2nd Floor
Movement - Process - Reflection, front image of the announcement postcard
Movement - Process - Reflection
Paintings by Jil Evans and Magaret Wall-Romana
September 30 – November 21, 2010
Large-scale paintings by two local artists exploring natural forms though a common interest in dialog with painting past and present. Jil Evans artwork is informed by a diverse range of interests and experiences, ranging from an on-going study of Italian and Dutch Baroque painting, to a recent trip to the Galapagos Islands to investigate the vegetation and the geological forms of volcanic activity. Evans says of her work,"I am interested in what is called the "emergence" of aesthetic experience and creativity. There is a lot of work being done right now by philosophers and evolutionary biologists in the attempt to account for our experience of beauty and ugliness, values, ethics, and even consciousness itself. (As seen in the popular publications by Daniel Dennett and Richard Dawkins, and a very different view in the philosophical work of Douglas Hedley in "Living Forms of the Imagination".) As a visual artist who has long been interested in how meaning is made and derived from the process of visual abstraction, I am very excited about the possibility for artists to contribute substantially to this on-going debate."
In works deploying her signature visual syntax of flora and fauna in various states of growth and decomposition, Margaret Wall-Romana exercises a wide-ranging interest in the history of painting, from Mannerism and The Dutch Golden Age to Abstract Expressionism. While referencing traditions of still life and landscape, her paintings resist the closure that this might imply, and instead hover on the brink of a complex spatiality where the picture plane is neither window nor surface but both. Viewing her paintings is an experience meant to unfold gradually, revealing improbable juxtapositions and scale shifts, and cycling back and forth from gestalt to detail, from flatness to illusion, figurative description to open-ended evocation.
This collaborative gallery crawl is made possible with the support of the Associated Colleges of the Twin Cities (ACTC) Academic Deans,
the Twin Cities Fine Arts Organization (TCFAO).