Eight emerging artists present their work as part of their 2019 MFA Thesis exhibition. This exhibition demonstrates a diversity of views on subjects that range from identity to geometric abstraction to activism. What unites the work, is each artist’s challenge to expectation and perspective. Featuring J’han Brady, Amanda Muhlena Hays, Sarah Jarrett, Arnaud Leclere, Sonimar Maldonado, Bryan McGinnis, Guy Miller, and Veronica Salas.
Peripheral Visions focuses on the community as well as individuality formed in the first year of the Studio Art MFA Program, showing a group of very different artists working and learning how to grow together. The word peripheral becomes the crux in understanding the show as a collective vision, while also highlighting the distance and boundaries that exist between each individual’s studio practice. Featuring the work of Lizzi Alarcon, Basmah Alhumaid, Chelsey Anderson, Amber Cruz, Jennifer Frank, Nieko McDaniel, Matthew Russo, and Cindy Warshaw.
A selection of Broel’s life-sized to monumentally-sized totemic bronze sculptures creates space for reflection and contemplation about what it means to be human, be engaged as an individual within community and interact intentionally with the natural world. In his series of vertically oriented structures, Broel references tangible and intangible notions that resonate universally: botanical and architectural structures, environmental rhythms, physical and emotional solitude. Intentional abstraction creates a generous context for engaging with the sculptures. Allusions to historical references create a sense of timelessness and familiarity, yet the pieces exist outside the rapidly shifting visual language of stylized contemporary aesthetics. This unique sculptural installation exposes viewers to aspects of the American rural West’s untamed spirit, vast rugged landscapes, and traditions of mysticism. Broel’s intentional decision to live and work in a small agrarian community in the Pacific Northwest provides viewers with a raw vision of inward examinations that relate more to the health of the psyche than to the pop-culture echo chamber. The work is a complex fusion of expressions: longing, melancholy, hope and contentment.
Eduardo Carrillo’s artwork has been described as mystical, realistic, surreal, and visionary. His imagery, whether grounded in the everyday world or infused with magical realism, reflects his relationship to his native California and to his Mexican heritage, as well as to his early religious upbringing and respect for European traditions in art. An inspirational leader who actively challenged racism and injustice, Carrillo created programs and platforms that promoted greater awareness of Latin American culture, aesthetics, and social concerns, significantly advancing the recognition and appreciation of Chicano art and culture in California. Testament of the Spirit: Paintings by Eduardo Carrillo highlights the creative efforts and social importance of Carrillo as artist, teacher, scholar, and social activist. It showcases work created for three distinct realms: the public, the private, and the museum. The artist’s murals are featured in the full-color, bilingual exhibition catalogue. Intimate watercolors and paintings describe the artist’s everyday life in self-portraits, still lifes, and images of people and places he held dear. Large-scale visionary paintings—Carrillo’s masterpieces—reveal his complex and creative mind. The exhibition also includes the bilingual video Eduardo Carrillo: A Life of Engagement, by Pedro Pablo Celedón. Testament of the Spirit: Paintings by Eduardo Carrillo was organized by the Crocker Art Museum, […]
Born in Louisville, Kentucky, Kenneth Victor Young (1933-2017) moved to Washington, DC in 1964 where he began to paint abstract forms with washed acrylics on unprimed canvas. Young’s artistic philosophy was to bring order out of chaos. His studies in physics and the natural sciences at Indiana University informed a different imagery—a fusion of brilliant colors. Young’s knowledge of form and matter gave his paintings a spatial intensity, and he infused this space with multiple orbs of color held together in molecular suspension. Kenneth Victor Young had an illustrious 35-year career as an exhibition designer for the Smithsonian Institution, and his extensive travels during this time helped inform his cosmic abstract style of painting. His love for jazz influenced the movement and vitality of his work. He is known for his floating colored orbs—imagery that attempts to bring order to chaos and that comments on the pandemonium of life.The selection is representative of the main aspects of his oeuvre as it evolved over several decades. It includes a wide variety of collages in diverse techniques: both early works and those of his mature period; on very small scale and large ones; two-dimensional and sculptural.
Printmaking Legacy Project’s® first national print exhibition, Forward Press: 21st Century Printmaking features ten innovative print artists from across the country who employ the finest examples of hand printed and digital techniques. They explore themes of culture, identity, religion, environment, memory, and art history. Some work in traditional forms, like lithography, intaglio, relief, and screen printing, while others explore these methods as the basis for large-scale sculpture, collage, and integrating technology into printmaking. These ten artists are changing the way American printmaking is seen and understood.
The anniversary program 25 Years Kunstmuseum Wolfsburg will present the most comprehensive overview of the collection to date. Founded in 1994, the collection now unites more than 600 installations, work groups, and individual works by 100 artists.
Talk of living out in the countryside inevitably conjures up all sorts of images before our mind’s eye. Descriptions range from the romanticism of farming life to the dreariness of life in the provinces, shaped as much by personal experiences as by anecdotes and depictions consumed via the media – the image of village life and the reality of it at times worlds apart. In a photographic and artistic analysis of what life in the countryside is like today, the exhibition Über Leben am Land at the KUNST HAUS WIEN focuses on Europe and the US.
To redefine border regions as an integrated whole is a critical challenge for architectural, political, and cultural institutions today. The exhibition brings together research and design results of an academic initiative, launched by Mexican architect Tatiana Bilbao in 2018. Interdisciplinary architectural and urban concepts of 13 participating architecture studios from universities across Mexico and the United States are presented on the basis of drawings, pictures and models. The approaches explore numerous topics such as migration, housing or natural resources—with a focus on one common region rather than two nations.