All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher.
Catalog Design: Brad Peatross, School of the Arts, California State University, Stanislaus
Catalog Printing: Claremont Print & Copy
ISBN: 978-1-940753-30-9
DIRECTOR’S FOREWORD
Stanislaus State Art Faculty 2017 represents an opportunity to view the astounding artworks of the talented Department of Art Faculty of California State University, Stanislaus. This exhibition bids farewell to longtime faculty members Gordon Senior and Richard Savini who served the University and our students as excellent teachers and mentors for many years. We wish them a fond farewell and wish them good luck in their future endeavors. As we say goodbye to Richard and Gordon, we also welcome our newest faculty members, Susan Stephenson and Jake Weigel, to the Department of Art.
The faculty is very excited to present this exhibition and hope it leads to interesting and important dialogues about their work with our students and gallery patrons.
The Art Department Faculty would like to thank the many colleagues and community partners that have been instrumental in presenting this exhibition. We would also like to thank the participating artists for the opportunity to exhibit their wonderful work; Dr. Staci Scheiwiller for the astute essay; the School of the Arts, California State University, Stanislaus for the catalog design and Claremont Print & Copy for the printing of this catalog.
We are also grateful and extend our warmest appreciation to the Instructionally Related Activities Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue.
Dean De Cocker Gallery Director
California State University, Stanislaus
INTRODUCTION
It is a great pleasure to celebrate the new academic year with a faculty exhibition. This exhibition highlights the work of all the studio members of the Art Department and speaks to the depth and breadth of their collective expertise and interests.
The Art Department would like to thank President Junn, Provost Greer and Dean Tuedio for their unwavering commitment to the art program in providing tenure-track replacements for retiring faculty, thereby ensuring another generation of student’s access to a high quality art and art history program. The Art Department would also like to thank them for making possible the Art Department’s residency in downtown Turlock and the opportunities it has provided for community engagement. I would like to personally acknowledge Professor Scheiwiller for her generosity in sensitively crafting the exhibition catalog essay, Stanislaus State Art Gallery Director Dean DeCocker and Gallery Assistant Nikki Boudreau for their dedication and professionalism in running the gallery, and the many staff members that made this exhibition possible.
Dr. Carmen Robbin
Chair, Art Department California State University, Stanislaus
GETTING TO KNOW YOU: THE ART FACULTY OF STANISLAUS STATE
By Dr. Staci Gem Scheiwiller
With eagerness, the Art Department at CSU Stanislaus is excited to present some works by its faculty, especially its new faculty, painter Susan Stephenson and sculptor Jake Weigel. The department has had a long tradition of giving its faculty the opportunity to exhibit their artwork for the university and community to view. Tirelessly, the University Art Gallery on campus and other former venues associated with the university have given many glimpses of the creative vision of the faculty who serve and mentor the students here. On one hand, there are practicalities associated with these art shows: a pedagogical tool, a line on a curriculum vitae, and exposure and publicity for professional reputations. On the other hand, there is something here more profound and intimate like a psychological glimpse into the psyches of the persons we work with, the persons we study with, and the persons we live with in our communities. Whether it is welcoming and introducing new faculty to the university or getting to know our seasoned faculty on a deeper level, it is only fitting that we are greeted by their artwork as extensions of their imaginative selves, alluding to the academic journeys that the students have embarked on or will do so in the near future.
In viewing these objects, I am not suggesting entirely a biographical or Freudian approach, however valid they are. I am also not dismissing technique, process, and material, yet the modernist credo of art for art’s sake is not wholly convincing, even to modernists themselves. However solid an artwork is on its own terms, a person still produced it—a person with her/his own complexities, experiences, and social contexts translated that object from mind to material reality, much like sculptor Ellen Roehne suggests in her alchemic sculptures. What comes to mind in relation to this show is Marina Abramovic’s relational aesthetic performance for her retrospective at MoMA, The Artist is Present (2010), in which she stared intensely at museum visitors from across a table, moving people to tears. Museumgoers had to stare back at the artist like she were a mirror in order to see reflections of themselves. In this way, the gallery or museum space becomes a site where people can come closer together or closer to the artist through her/his objects. Truly, the artist is ever present in the work s/he produces, eliciting infinitely a conversation or interaction with those who view the artwork.
Beginning in alphabetical order is the work of graphic artist Martin Azevedo whose approach and pedagogy have been through narrative. In Begin to End (2017), very reminiscent of the earlier surrealist work of Jackson Pollock (1912-56), the viewer notes seemingly random signs that connote certain frustrations and aggressions, such as three blind mice, raised fists,
guns, and a spewing man’s head. In his artist statement, he writes, “My imagery makes use of symbolism and ideas of archetypes as a means to explore ideas of masculinity, power, narrative, and allegory.” Moreover, Azevedo’s work provides a platform for a discussion of signs and how they tell stories through multiple meanings, thus reinforcing for the students the importance of each form
in an artwork and its intrinsic value in interpretation.
Alumni printmaker and painter Jacob Been offers new energy, excitement, and empathy to our students, freshly out of graduate school from the prestigious Penn State. In his Matisse-like painting Diversity (2017), diverse colors and forms come together to balance one another and create harmony in a vertical, paradisiac landscape. It is a utopian vision of both calm and tension, melded into one: “In our society we are taught that different is bad, chaotic, unorganized, and should be feared. This could not be further from the truth, about diversity and how it truly enriches the world. It is a painting that is meant to show the value of diversity and how even when it is edited to a minimum with the hope of extinguishing it all together, it really becomes more vivid, and more valuable to the survival of the image itself.” Truly, the act of painting is a complex one, as well as the teaching of the arts, to a diverse student body. Just like Matisse’s struggles to become one with the great masters, the creation of art is a multilayered process—one that spans the past, present, future through multiple voices and influences.
during the war. What seems bound for the beach are the remnants of a shot-down warplane or torpedoed ship, metaphorically transformed and recycled into the found objects and materials that De Cocker incorporates into his artwork.
Modernist painter James Deitz’s eye for sensual detail in everyday objects—a talent he passes onto his students every semester—unfolds in the intimate details of his painting Goodnight Moon (2017). With a mix of New Vision examination, such as that by Georgia O’Keeffe (1887–1986), and atmospheric sensibility, mastered by Richard Diebenkorn (1922–93), the illuminated room highlights the elegant but simplistic curves of the chairs while a lonely crucifix hovers over. It is reminiscent of a monk’s room that is shrouded in the moonlight, haunted by the solitude of the night and by the chairs of contemplation.
Sculptor Dean De Cocker in his modernist, postminimalist style, which has inspired many successful students, confronts the viewer through the materiality of the object with his sculpture Bound for the Beaches (2016). The title begs the question of what is bound for the beach? In addition to the modernist vein of analyzing the relationship of materials to one another, De Cocker references the Pacific Theater of World War II (1939–45) and latently his own father’s service
Possibly more than any faculty member, filmmaker Jessica Gomula-Kruzic encourages collaboration and teamwork among her students and their projects. On one hand, it is the nature of film work as a process to involve many people, but on the other hand, community and cooperation are the bases of Gomula-Kruzic’s productions: “My visual arts research creates collaborative intermedia artwork in diverse public spaces, which addresses socially conscious subject matter….” Indeed, in Disordered Passages (2017), she represents dancers of a heroine’s journey, choreographed by Nicole Zvarik, in a deconstruction of feminine nature imagery. The mélange of dancers against brightly-colored projections like flashes of light confuse and disorient the viewer as if there were
many more bodies present, twisting and turning in space. The viewer moves between the physicality of the dance and their ever-present awareness of the video medium it is viewed through. In this vein, the viewer’s journey through the piece echoes that of the dancer, enticing the viewer into becoming a participant in the journey itself.
Sculptor Daniel Edwards creates figural work that appropriates from popular, mainstream culture, and as of recent, the greatest hits of Art History, such as Verrocchio’s David (1473–5). Like most postmodern work, his art demonstrates the tensions between high and low art, as those cultural boundaries have eroded during the twentieth century, leaving the residue of anxiety of what is still meaningful in American society. This tension is further intensified as Edwards experiments with technology in creating his figures, rebirthing their forms through various computer programs. Much like a technological Sherrie Levine (b. 1947), Edwards’ work raises questions of authorship, ownership, heritage, homage, and genius. His approach and technique have expanded the notions of sculpture for many of his students.
the moment through the translation of the brush. The rawness of the watercolor and the ontological presence of the artist’s touch live ad infinitum through the canvas in true modernist fashion.
Painter and sculptor David Olivant demonstrates his surrealist tendencies in both assemblages, Hunter Gatherer (2017) and Okapi (2017). Professor Olivant is renowned among the students for his Painting from the Unconscious classes, which are extremely popular and fill up quickly almost every semester. His work explores tension and collision, resulting in the reconfiguration of fragments after destruction in random Hans Arpian fashion. Okapi is particularly interesting as the okapi witnesses from afar a sort of primeval human history, from hunting and gathering to private property. There is also something violent about the okapi as a potential hunted animal analogous to the brutal fragmentation of the woman’s body in a discourse of human history that continues to destroy one life to rebirth another in perpetual consumption.
What distinguishes Chad Hunter’s work from many graphic designers is his colorful, painterly style. His digital work immaculately incorporates the color and texture of painting with the electronic, illustrating beautifully the artistic heritage of digital design and offering his students more than just technical skill but also creative impulse. In this show specifically, Hunter presents watercolor paintings—a difficult medium to control and to manipulate—but he also composed them en plein air, attempting to capture
Ellen Roehne’s artwork also speaks of surrealist tensions and oppositions, similar to Azevedo’s and Olivant’s fragmented body parts and signs. Whereas Azevedo challenges the boundaries of narrative to communicate angst and contention, and Olivant looks for phoenixlike renewal through violence and disruption, Roehne’s aim is alchemic in intention: “These pieces are … loosely based on alchemy, which is defined as a philosophical and protoscientific tradition which aimed to purify, mature and perfect certain objects….The ultimate goal of the alchemist is to transform the chaotic primordial first
matter into perfection, accomplished through spiritual enlightenment.” All Roehne’s works in this show focus on the fragment of the human head. In her artist statement, she mentions that these works also incorporate the writings of psychoanalyst Carl Jung (1875–1961); hence, when purifying and transforming the human body in metaphorically alchemic terms, Roehne starts with the head/brain as the most magical, mysterious site of infinite possibilities—the human mind is the birth of knowledge, myth, archetypes, and the basis of everything we understand about the world.
Hoops (2015) with her/his shadow in the foreground, gazing out onto its concave, deserted, lush greenery.
Last but never least, we welcome the post-minimalist tendencies of Jake Weigel, which invoke physical interactions reminiscent of the epistemological philosophy of Merleau-Ponty (1908–61) who inspired the original American minimalists of the 1960s. Weigel writes:
Susan Stephenson shows us several modern, industrial landscapes, indicative of a growing contemporary landscape movement, which include the work of painters, such as Josef Kote (b. 1964) and Pauline van Buringen. Her figural sensibility is Abstract Realist with skewed Bauhasian angles, which are hinted at in her artist statement: “My easy relationship with curvilinear perspective is partly due to growing up in a geodesic dome. After twenty years of using the wraparound view, it now permeates my work automatically.” Certainly in her figural work, the viewer is drawn into the beauty of the rounded forms of the Westerly Airport or the Ashaway Hoops that twist and warp. In particular, the viewer completes the Ashaway
“[E]verything is a synthesis of relationships, of one entity being defined not by itself alone, but by another entity and the space in between. To define one thing is to define another and that is a challenge of reality and the human condition…. The scarcity of meaning or information allows the viewer to directly confront this condition through the actual absence of material or meaning. It is objective knowledge and personal narrative formed to create visual poetry, where matter and the ineffable meet.” The installation Under the Mountain (2016) evokes these human relationships in the gallery, which metaphorically recall the great outdoors under the stars. The high frequency accompaniment creates a mysterious, 4-D ambiance that encourages internal and spiritual reflection as these materials enter our physical spaces. As we confront the gallery space, this site becomes one, in which to contemplate the onologtical world with philosophical concern.
So within the context of looking at the work of Stan State’s Art faculty, the viewer must ask not only aesthetic questions of the objects and their processes and materials, but also as members of the university and community, what else do these artists share with us? What do we learn from them, and how do they make us grow into better, wiser citizens, which is the goal of a liberal arts education? Moreover, engagement with these objects is a way for the viewers to become more acquainted with the faculty, to share in their visions, to know their pasts, and to see what manifold artistic possibilities lie in the future.
Essay author Dr. Staci Gem Scheiwiller is Associate Professor of Modern Art History
MARTIN AZEVEDO
My imagery makes use of symbolism and ideas of archetypes as a means to explore ideas of masculinity, power, narrative, and allegory. I am interested in the simplicity of an image and its ability to convey the same, or different idea or meaning to a group or individual. I am interested in what happens when these symbols interact on the same plane and the conversation that occurs between many or few pieces layered together in one visual plane.
Begin to End, relief/silkscreen/mixed media, 66” x 90”, 2017
Ecce Homo VI, digital archival print, 33” x 22”, 2017
MARTIN AZEVEDO
EDUCATION
2012 MFA in Printmaking, The Ohio State University, Columbus, OH
2009 B.A. Art/ Minor Art History, California State University, Chico, CA
2006 General Education course work, College Of The Sequoias, Visalia, CA
2004 Associates of Arts, Cuesta College, San Luis Obispo, CA
SOLO EXHIBITIONS
2016 If Destruction be Our Lot, Art Space on Main, Turlock, CA
2015 We Will Live Forever, C.O.S. Art Gallery, Visalia, CA
2014 Our Lot, Spire, Mobile, AL
2014 Building Steam, Merced Art Gallery, Merced, CA
2013 100 Dialects, Roy G Biv Gallery, Columbus, OH
GROUP EXHIBITIONS
2016 Pacific States Biennial National Exhibition, University of Hawaii, Hilo, HI
2016 Stand Out Print, Highpoint Center for Printmaking, Minneapolis, MN
2016 Secrets, The Ohio State University Faculty Club, Columbus, OH
2016 Invitational Printmaking Exhibition, Sagebrush Art Gallery, Sheridan, WY
2016 Night Moves, The Cleaners at the Ace Hotel, Portland, OR
2015 Atlanta Print Biennia, Kai Lin Art, Atlanta, GA
2015 Press & Pull, The Center for Visual Arts, Greensboro, NC
2015 Printmaking Now, IMAGO Gallery, Warren, RI
2015 4 x 6 24 Chambers: Contextual Language, Corridor 2122, Fresno, CA
2015 La Arrache 4, Les Abattoirs, Riom, France
2014 Impressed, Tacocat, Columbus, OH
2014 Conduit, Lake Region Arts Council, Fergus Falls, MN
2014 Mash Up: Collages in Mixed Media, Islip Art Museum, Islip, NY
2014 Pressure, LeSo Gallery, Toledo, OH
2014 Impact-Influence, Carnegie Gallery at Columbus Metropolitan Library, Columbus, OH
2013 La Calaca Press 2013, Museo De la Ciudad, Cuernavaca, Mexico
2013 Big Ten Prints, Lawrence Art Center, Lawrence, KS
2013 Printmakers International, Art Center of Corpus Christi, Corpus Christi, TX
2012 Department of Art: Visiting Artists and Lecturers, Swing Space Gallery, Columbus, OH
2012 Calacas, II La Calca Press International Print Exchange, Expression Graphics, Oak Park, IL, Corpus Christi TX, Ft. Lauderdale, FL, Michoacán, Mexico, Puerto Vallarta, Mexico
2012 20/20 Vision 5th Edition, The Art of Contemporary University, The Fire House Gallery, Louisville, GA (Catalogue)
2012 Next Wave Part II Masters of Fine Arts Thesis Show, OSU Urban Arts Space, Columbus, OH (Catalogue)
2012 Southern Graphics Conference Professional Portfolio Exhibition, The Big Ten Print Exchange, New Orleans, LA
2011 Kingsville Inksville, The University Of Texas Kingsville, Kingsville, TX
2011 American Youth Printmaking, Liu Haisu Art Museum, Shanghai, China (Catalogue)
2011 Impossible Things, The Ohio Art League, Columbus, OH
2011 New Prints 2011/ Summer, The International Print Center, New York, NY Juror: Trenton Doyle Hancock
2011 Recent Arrivals, The Ohio State University, Columbus, OH 2010 Last Gasp In Hasket Hall, The Ohio State University, Columbus, Oh
2008 Chico State Annual Juried Student Print Exhibition, Chico, CA Juror: Yuji Hiratsuka
2008 Eibon II Print Exchange, Exhibition Kansas City Art Institute, Kansas City, MI
2007 Chico State Annual Juried Student Print Exhibition, Chico, CA Juror: Kurt Kemp
PROFESSIONAL PORTFOLIOS
2014 Law and Order, Participant, curated by Richard Peterson
2013 Frogman’s Print and Paper Workshop Portfolio, Participant, curated by Jeremy Manard
2013 Secrets, Participant, curated by Sophie Knee
2013 Lithoholics-Non Anonymous, Participant, curated by Richard Peterson
2013 Transmogrify, Participant, curated by Jack Arthur Wood Jr
2012 La Calacas Print Exchange II, Participant, curated by Carlos Barberena
2012 Part and Departure, Organizer/Participant
2011 Mini Print Portfolio and Exchange, Participant, curated by Chico State Print Club
BIBLIOGRAPHY
2011 Best In Show ‘The Atomic Explosion’ at Peter Blum, Plus “New Prints 2011/ Summer” at the International Print Center. The Village Voice, June 2011
AWARDS
2013 Greater Columbus Arts Council Professional Development Grant
2012 Fergus Family Scholarship for Thesis Research
2011 Charles Massey Jr Printmaking Scholarship
2008 Janet Turner Printmaking Scholarship
PERMANENT COLLECTIONS
Southern Graphics Council Print Archives Collection
Janet Turner Print Museum, Chico CA
Meriam Library Special Collections, Chico CA
JACOB BEEN
My work is meant to show the value of action. The function of a work is not found in its finalized form, but the process enacted in its production. What is seen in the gallery is the representation of time. This is represented in the physical application of layers. The subject matter is often subtle, and not meant to be remembered, however the way in which the subject matter is presented visu-
ally is often abstract to represent the allegorical meaning found within the specific process.
For instance the image Diversity is a representation of the role that diversity is given in our current culture.. In our society we are taught that different is bad, chaotic, unorganized, and should be feared. This could not be further from the truth; inherently diversity enriches all aspects of the world. It is a painting that is meant to show the value of diversity. Even through the process of editing different traits to a minimum, with the hope of extinguishing it all together, it becomes more vivid, and more valuable to the survival of the image itself.
Importance of Diversity, acrylic on canvas, 30” x 42” , 2017
Sunrise (C, CM, CMY, CMYK, MYK, YK, K), silkscreen on paper, 12” x 20”, 2016
Eastgate, silkscreen on paper, 7” x 12 1/2”, 2016
JACOB BEEN
EDUCATION
2012 BFA, California State University Stanislaus
2013 Post Baccalaureate Certificate Fine Arts, Maryland Institute College of Art
2015 MFA, University of Pennsylvania
GROUP EXHIBITIONS
2010 California Printmaking Exhibition, Merced County Art Council, Merced, CA
2011 Juried Show, 909 Gallery, Modesto, CA
2012 Over, Main Gallery, CSU Stanislaus, Turlock, CA
2013 En Masse, Leidy Gallery, Baltimore MD
2015 Down to Earth/ Terre a Terre/ Van Nature, Hanger H18 Gallery, Brussels, Belgium
SOLO EXHIBITIONS
2011 Escaping Image, CSU Stanislaus Library, Turlock, CA
2012 You Are Here, 909 Gallery, Modesto, CA
TEACHING & OTHER EXPERIENCE
2017 Volunteer Teen Docent, Palm Springs Art Museum, Palm Springs, CA spent two days a week giving guided museum tours to elementary school students.
2012 CSU Stanislaus Art Club Secretary, CSU Stanislaus, Turlock, CA
2012–13 Graduate Teaching Intern, Maryland Institute College of Art, Baltimore, MD
Assisted in teaching curriculum, setting up the classroom daily, and evaluating students for grading, under the instruction of Lauren Adams: Drawing I/Drawing II
Assisted in teaching curriculum, setting up the classroom daily, and evaluating students for grading, under the instruction of Timothy Horjus: Drawing II
2013 Studio Assistant , Timothy Horjus, Baltimore, MD
Helped in the production and installation of multiple large scale paintings for Timothy Horjus’ solo exhibition at the Creative Alliance http://www.creativealliance.org/events/2013/timothyhorjussoloexhibition
2014 Teaching Assistant, University of Pennsylvania, Philadelphia PA
Assisted in designing and teaching curriculum, setting up the classroom daily, and evaluating students for grading, under the instruction of Deirdre Murphy: Foundation Drawing Spring Semester 14 / Fall14
2014–15 Printshop Technician / Production Assistant, The Common PressUPenn, Philadelphia, PA
DEAN DE COCKER
My work is part of a continuing series, “Blue Jackets Return.” From the first winged-shaped structures to the current work, I have been exploring my interest in formal elements by transforming flat, two-dimensional surfaces into three-dimensional objects. I derive much of my inspiration from everyday objects such as mailboxes, aircraft structures, wings, propellers, heavy machinery
and architectural works. These objects become conceptual elements, which I transform into drawings. Then, via different techniques of construction, I fabricate many objects of inner structures and outer coverings that create volumetric enclosures. In recent years, my interest in racecar fabrication and collecting vintage BMX bicycles from the 1970’s has led to subtle changes to my work’s structure and color. My work of drawings, prints and photographs come from objects that inspire me and places that I have visited that make me think about time and space. Some of my newest print/painting work involves my interest in World War I and II military ship camouflage.
The titles of my works are a result of my interest in the construction techniques of World War II aircraft and the battles fought in the South Pacific.
Dean DeCocker is a Professor of Art at California State University, Stanislaus; he is also the Director of the University Art Gallery and the Art Space on Main Gallery.
As an artist he has had 50 solo exhibitions and over 150 group exhibitions with mention of his work in over 90 articles and reviews. More of his work can be seen at deandecocker.com.
At Mindano, acrylic paint, metal, powder coat, 22”x12”x12”, 2015
Welcome to the Pacific, 2016, Art Space on Main, Turlock, CA installation
Deep Water, mixed media, 22” x 26”, 2017
DEAN DE COCKER
BORN Montebello, CA
RESIDES Turlock, CA
STUDIOS Rosemead, CA (Los Angeles Area) and Turlock, CA
EDUCATION
1989 Claremont Graduate University, Claremont, CA, M.F.A.
1987 California State Polytechnic University, Pomona, CA, B.A.
1980 Don Bosco Technical Institute, Rosemead, CA, A.S. in Offset Lithography Color Separation
TEACHING
2003– Professor, Department of Art
Present California State University, Stanislaus, Turlock, CA
2002 Adjunct Professor, Sculpture, Department of Art, California State University, San Bernardino, San Bernardino, CA
1997–2003 Adjunct Professor in Studio Practices/Theory in Sculpture, Painting and Drawing, Department of Art, Claremont Graduate University, Claremont, CA
1990–2003 Shop Practices and Gallery Methods, Department of Art, Claremont Graduate University, Claremont, CA
PROFESSIONAL
2003 - University Art Gallery, Director
Present California State University, Stanislaus, Turlock, CA
1993–2003 Gallery Director, Department of Art, Claremont Graduate University, Claremont, CA
SOLO EXHIBITIONS
2018 “Catalina,” JAYJAY, Sacramento, CA
2017
2016
2015
2014
2013
“Return to the Big Pacific,” Merced Multicultural Center, Merced, CA
“A Return to the Speed Flags,” John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA
“Time and Tides,” Part of the Carnegie Art Center’s Centennial Celebrations, Carnegie Art Center, Turlock, CA
“The Shore Patrol,” The Art Institute of California, Sacramento
“Welcome to the Pacific,” Art Space on Main, California State University, Stanislaus, Turlock, CA
“Tropical Boom Towns,” Merced College, Merced, CA
“When Flat Tops Ruled the Waves,” John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA
“Specific to the Pacific,” JAYJAY, Sacramento, CA
“Lightning Strikes,” Chartreuse Muse, Modesto, CA
2012 “Running at Full Tilt,” JAYJAY, Sacramento, CA
2011 “On the Way to Sulfer Island,” Beaver Street Gallery, Flagstaff, AZ
2010
2009
2008
2007
”Made in the Pacific,” Center for Contemporary Art, Sacramento, CA
“Pacific Winds,” Skinner Howard Art, Sacramento, CA
“Oahu before Dawn,” Frumkin Gallery, Santa Monica, CA
“Dean De Cocker, Works for the President,” The President’s Gallery
California State University, Stanislaus, Turlock, CA
“High Tide” Limn Gallery, San Francisco, CA
“3rd Annual California Centered: printmaking, Featured Annual Honorees Solo Print Show” Merced Multicultural Center, Merced, CA
“Return to Pearl” 643 A Project Space, Ventura, CA
“Battle of a Shallow Sea,” John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA
“Sources of Victory,” Limn Gallery, San Francisco, CA
“Return of the Black Cat,” Beaver Street Gallery, Flagstaff, AZ
“Like the Yorktown,” Ventura College Gallery, Ventura, CA
Taken from over 55 Solo exhibitions starting in 1989
GROUP EXHIBITION
2017
2016
2015
“a la mode,” Davis Art Center, Davis CA
“Summer Group Show,” JayJay, Sacramento, CA
“Sculpture in the Garden,” Sam and Alfreda Maloof Foundation for Arts and Crafts, Alta Loma, CA
“California State University Stanislaus, Recent Work- Department of Art Faculty
Merced College, Merced, CA
2014 “Art Faculty on Main, “ Art Space on Main, Turlock, CA
“Art Auction 2014,” Crocker Art Museum, Sacramento, CA
2012 “In Praise of Collecting,” Carnegie Art Center, Turlock, CA
“Art Auction 2012,” Crocker Art Museum, Sacramento, CA
2011 “Art Auction 2011,” Crocker Art Museum, Sacramento, CA
2010 “For Roland,” BunnyGunner, Pomona, CA
“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA
“Art Auction 2010,” Crocker Art Museum, Sacramento, CA
“Faculty Exchange,” First Street Gallery, Humboldt State University, Humboldt, CA
2009 “Lust for Machines, Dean De Cocker and Matt Furmanski,” Santa Ana College Main Art Gallery, Santa Ana, CA
“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA
“Art Auction 2009,” Crocker Art Museum, Sacramento, CA
2008
2007
“2332” Huntington Beach Art Center, Huntington Beach, CA
“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA
“Research from the Department of Art @ John Stuart Rodgers Faculty Development Center,” CSU Stanislaus, Turlock, CA
“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA
Taken from over 100 group exhibitions starting in 1985
BIBLIOGRAPHY
2014
“Dean De Cocker and Peter Wayne Lewis @ JayJay,” Janurary 22, 2015
“Peter Wayne Lewis ‘Temporal Paintings’ & Dean De Cocker ‘Specific to the Pacific’.” November 7, 2014
“Critics picks for Sacramento’s Second Saturday.” , November 6, 2014
2012 “Running at Full Tilt,” Catalog, JAYJAY, Sacramento, CA
Olivant, David, “In Praise of Collecting,” Catalog Carnegie Art Center, Turlock, CA
2011 Ren, Clark, “On the Wall.” Flagstaff Live, October 6 – 12, 2011 Vol. 17 issue 40
“First Friday Art Walk, Highlighted Galleries.” the Noise arts and news, October 2011 #125
“Art Galleries and Openings.” Sactown, August/September 2011
“Art Picks.” Midtown Monthly August 2011
d’ART.“ Sacramento News and Review August 11, 2011
2010 De Angelo, Darlene. “Dean De Cocker Point Luck.” Catalog, Andi Campognone Projects
Dalkey, Victoria. “Dean De Cocker’s ‘icily elegant’ sculptures on display at Skinner/Howard Gallery.” Sacramento Bee April 18, 2010
“Art Review: Rogelio Manzio, Dean DeCocker at Skonner Howard.”, May 7, 2010
“Current Los Angeles Contemporary Exhibitions: Doug Simay’s Best Picks,”,February 2, 2010
2007 “Pulse.” Flagstaff Live May 3 – 9, 2007
Jerome. “Art Beat.” The Noise, arts and news May 7, Number 72
Taken from over 55 articals starting in 1989
SELECTED COLLECTIONS
The Crocker Museum, Sacramento, CA
Robert V Fullerton Art Museum, San Bernardino, CA
Laguna Beach Museum, Laguna, CA
Orange County Museum of Art, Newport Beach, CA
Riverside Art Museum, Riverside, CA
Natomas Charter School, Sacramento, CA
Bank of Sacramento, Meridian Plaza, Sacramento, CA
Merrill Lynch, Sacramento, CA
Sprint, Santa Clara, CA
JAMES DEITZ
My work is my statement
Jacob’s Ladder, oil on canvas, 15 3/4” x 31 1/4”, 2017
Goodniight Moon, oil on canvas, 12” x 36”, 2017
El Baile, oil on canvas, 23 3/8” x 56 1/2”, 2017
JAMES DEITZ
jamesdeitz.crevado.com jdeitz@csustan.edu
EDUCATION
1986 M.F.A. Drawing and Painting, University of Washington, Seattle, WA
1984, B.F.A. Drawing and Painting, University of North Dakota, Grand Forks, ND
VISITING ARTIST
2006–2017 California State University, Stanislaus, Turlock, CA
2004 University of Arizona, Tucson, AZ
2003 Pierce College, Lakewood, WA
1992 University of North Dakota, Grand Forks, ND
TEACHING EXPERIENCE
Foundations Drawing Color, Color Theory Drawing II: Composition Foundations Printmaking
Intermediate Drawing Intaglio Advanced Drawing Monoprint, Monotype Figure Drawing Relief Printmaking Foundations Painting Advanced Printmaking Painting From Observation Text and Image Intermediate Painting Mixed, Media, Collage Advanced Painting Art In Action Painting from Unconscious Independent Study Foundations 2-D Design BFA Candidate Review
SOLO EXHIBITIONS
2013 James Deitz, Chartreuse Muse Gallery, Modesto, CA
2011 James Deitz Paintings, Vermillion Gallery, Seattle WA
2010 James Deitz, California State University, Stanislaus Art Gallery, CA
2010 James Deitz, Paintings and Print Collages, Francine Seders Gallery, Seattle, WA
2006 Paintings, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
2004 James Deitz Drawings, The Cedar, New York, NY
2003 James Deitz, Fine Arts Gallery, Pierce College, Lakewood, WA
2002 New Work, Art Center Gallery, Seattle Pacific University, Seattle, WA
2000 Dialogue, Francine Seders Gallery, Seattle, WA
1999 Interiors, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1998 Toys, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1997 James Deitz Paintings, Fine Arts Gallery, Pierce College, Tacoma, WA
1996 Mexico, Francine Seders Gallery, Seattle, WA
1994 Drawings, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1993 New Work, Francine Seders Gallery, Seattle, WA
1991 An Introduction, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1990 Paintings, King County Arts Commission Gallery, Seattle, WA
1990 Recent Work, Blake Gallery, Seattle, WA
1989 Drawings, Robert Allman Gallery, Seattle, WA
1987 Ink Drawings, Browning Arts, Grand Forks, ND
SELECTED GROUP EXHIBITIONS
2015 Text and Image, Chartreuse Muse Gallery, Modesto, CA
2014 CSU Art Department Faculty, Merced College Art Gallery, Merced CA
2014 Art Faculty on Main, Art Space on Main, Turlock, CA
2012 Art of Justice, Stanislaus Family Justice Center, Chartreuse Muse, Modesto, CA
2012 In Praise of Collecting, Carnegie Arts Center, Turlock, CA
2010 Art Faculty Exhibit, University Art Gallery, CSU Gallery, Turlock, CA
2008 Art Faculty Exhibit, John Stuart Rogers Building, CSU, Stanislaus, Turlock, CA
2008 On the Wall, Steele Gallery, Gage Academy of Art, Seattle, WA
2005 Drawings: James Deitz, Gail Grinnell, Caryn Friedlander, Francine Seders Gallery, Seattle, WA
2002 North Dakota Museum of Art Annual, North Dakota Museum of Art, Grand Forks, ND
2000 4 x 4: Four Decades of School of Art Alumni, Jacob Lawrence Gallery, Seattle, WA
1995 The Painted Table, Seattle, WA
1994 Retrospective, AG47 Gallery, Seattle, WA
1993 Hands Off Washington, Crocodile Cafe, Seattle, WA
1993 The New England Fine Art Institute, State of the Art ‘93, New England Art Expo
1993 Art Works for Aids, Seattle Center Pavilion, Seattle, WA
1992 12th Northwest International, Whatcom Museum, Bellingham, WA
1992 New Artists to the Gallery, Summer Show, Francine Seders Gallery, Seattle, WA
1992 34th North Dakota Print and Drawing Annual, North Dakota Museum of Art
1991 The Artist in the Art: Self Portraits, BumbershootFestival, SeattleCenter, Seattle,WA
1991 25th Anniversary Exhibitions: The Later Years 1986-1990, Francine Seders Gallery, Seattle, WA
1990 Seven Seattle Artists, AG47 Studio Gallery, Seattle, WA
1990 Never Before Funded Show, Seattle Arts Commission, Seattle Center, Seattle, WA
1990 WPA (Workers Produce Art), Galleria Potatohead, Seattle, WA
1988 30th North Dakota Print and Drawing Annual, North Dakota Museum of Art
1986 Masters of Fine Arts Exhibition, Henry Art Gallery, University of Washington, Seattle
1985 Works in Progress, Department of Fine Arts, University of Washington, Seattle, WA
1985 University Bookstore Invitational Juried Show, Seattle, WA
1984 Bachelor of Fine Arts Exhibition, Hughes Fine Arts Gallery, University of North Dakota, Grand Forks, ND
1983 North Dakota Governor’s Show, One-Year Tour, Selected Cities
SELECTED PERMANENT PUBLIC COLLECTIONS
4Culture, King County Arts Commission, Seattle, WA
Seattle Arts Commission
Zevenbergen Capital, Seattle, WA
State of Washington: Washington State’s Art in Public Places Program, Mattawa, WA, Auburn, WA
REVIEWS
2000 Still lifes with twists, Matthew Kangas, Art in America, (Special to the Seattle Times)
1994 Lawrence exhibit is this month’s star at galleries, Robin Updike, The Seattle Times
1992 Two artists turn fragments into wholes, Regina Hackett, The Seattle Post-Intelligencer
1990 Gallery Review, 911 COCA, (Center on Contemporary Art), Seattle, WA
DANIEL EDWARDS
These works originated as digital assemblages of objects found on the Internet. I began collecting 3D models digitally scanned and made available through various websites, like Sketchfab. The models on Sketchfab are produced and submitted by artists and museum enthusiasts who have advanced technical skills for digitally scanning sculpture.
Thematically, I drew inspiration from Euro Disney (now called Disneyland Park) and decided to compose American cartoon characters with European masterpieces to create assemblages with which to emulate the
cultural assault the theme park must have been to the senses of Europeans back in the 90s. The combinations, or meshups, as I call them, may result in socio-political narratives, mostly religious narratives, it seems. To be more universal and evenhanded, I included working with 3D scans of sculpture from places outside of Europe. I did not want to appear to be singling out particular religions or cultures in regard to producing images that could very well be considered sacrilegious.
I moved from Disney to Hanna-Barbera to Harvey Comics characters, and chose the characters whose designs possessed potential for dynamic sculptural form. Adam Harvey, a son of the founder of Harvey Comics, supplied me with some original art for my studies. Also, I received invaluable suggestions from Tomas Pettersson, the inventor of Sculptris, the digital sculpture program I used exclusively to create this series. Students may remember Tomas from his visits to CSU Stan last year. The work generally appears in digital print form and 3D print form, as well.
Louis XIV and the Bahamuts, Material Capture: Yellow Nerf, 2017
Verrocchio’s David with Beheadings, Material capture: Yellow Nerf, 2017
DANIEL EDWARDS
EDUCATION
2001 MFA, Drawing and Sculpture, New York Academy of Art, New York, NY.
1994 BFA Sculpture, Herron School of Art, Indiana University, Indianapolis, IN.
1988–90 MFA Program, New York Academy of Art, Warhol Scholarship from Estate of Andy Warhol.
PUBLIC SCULPTURE AND COMMISSIONS
2004 Olympians of the New York Athletic Club, bronze, New York Athletic Club, New York, NY.
1996 Governor Matthew E. Welsh of Indiana, bronze life-size, Indiana Statehouse, Indianapolis, IN.
1995 Landmark for Peace: The MLK Jr. and RFK Memorial (Groundbreaking ceremony performed by President Clinton, Martin Luther King III and Senator Ted Kennedy), sponsored by the Indiana Pacers, Indianapolis, IN.
1995 Jimmy Doolittle Award, Hudson Institute (Recipient: Barry Goldwater; Guest speakers: Dan Quayle, William F. Buckley, and Sen. Sam Nunn), National Press Club, Washington, DC.
1995 Workers’ Memorial, Indiana Government Center, sponsored by AFL-CIO, Indianapolis, IN.
1994 Mother Seton with Child, bronze life-size, St. Vincent Hospital, Indianapolis, IN.
1994 Josef Gingold Memorial Gold Medal for the International Violin Competition, Indianapolis, IN.
SELECTED BOOKS WHICH REFERENCE WORKS
Jennifer Tyburczy (Jan 11, 2016). Sex Museums: The Politics and Performance of Display. University Of Chicago Press. ISBN-13: 978-0226315249.
Renée Cramer (Oct 21, 2015). Pregnant with the Stars: Watching and Wanting the Celebrity Baby Bump. Stanford University Press. ISBN-13:9780804796743.
Ana Rita Ferreira, Ana Nolasco (2014). Creative Processes in Art: Proceedings of the International Colloquium. FBAUL. 9789898771063.
Christopher Schaberg, Robert Bennett (2014). Deconstructing Brad Pitt. Bloomsbury Publishing USA. ISBN-13:9781623561932.
McCallum, Jack and Wertheim, Jon (2012). Sports Illustrated Book of the Apocalypse: Two Decades of Sports Absurdity. Diversion Books. ISBN 1938120159, 9781938120152.
Abe, Donyale (2012). Called to the Childbirth Profession: Opportunities for Doulas, Birth Educators, and You. Dreams2Life Publishing. ISBN-10: 0615578128. ISBN-13: 978-0615578125.
Lintott, Sheila and Sander-Staudt, Maureen, Editors (2011). Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge Studies in Contemporary Philosophy. [Hardcover] ISBN-10: 0415891876. ISBN-13: 978-0415891875. Edition: 1
Urban, Otto M. Curator (2011). Decadence Now: Visions of Excess. Artefakt/Arbor Vitae. ISBN 978-8087164600.
Smit, Christopher R. (2011). The Exile of Britney Spears: A Tale of 21st Century Consumption. Intellect, Limited. ISBN 9781841504100.
Garson, Helen S. (2011). Oprah Winfrey: A Biography (Greenwood Biographies). ABC-CLIO, Incorporated. ISBN 9780313358326.
Reese, Jenny (2011). Off the Record Guide to the Life and Political Career of Hillary Rodham Clinton. Webster’s Digital Services. ISBN-10: 1241129444 ISBN-13: 978-1241129446.
Kelley, Kitty (2010). Oprah: A Biography. Crown. ISBN 073937785X
Sturken, Marita and Cartwright, Lisa (2009). Practices of Looking: An Introduction to Visual Culture 2nd edition. Oxford University Press, USA. ISBN 978-0195314403.
Mancoff, Debra (2009). Icons of Beauty: Art, Culture, and the Image of Women. Greenwood. ISBN 978-0313338236.
Schechter, Harold (2009). The Whole Death Catalog: A Lively Guide to the Bitter End. Random House Publishing Group. ISBN 9780345499646.
Reiter, Mark (2009). The Final Four of Everything. Simon & Schuster Adult Publishing Group. ISBN 9781439126080.
Benjamin, Louis (2009). The Naked and the Lens: A Guide to Nude Photography. Focal Press. ISBN 9780240811598.
Wilks, Timothy (2008). Prince Henry Revived: Image and Exemplarity in Early Modern England. Paul Holberton Publishing. ISBN 9781903470572.
Jobson, Robert (2008). Harry’s War: The True Story of the Soldier Prince. John Blake Publishing Ltd. ISBN 9781844546725.
Kokoli, Alexandra M. (2008). Feminism Reframed: Reflections on Art and Difference. Cambridge Scholars Publishing. ISBN 978-1847184054.
Newkey-Burden, Chas (2007). Paris Hilton: Life on the Edge. Gardners Books. ISBN 9781844544578.
SELECTED DUBIOUS DISTINCTIONS
In Touch Magazine (2015), “Bizarre Exhibit of the Week” for Shroud of Scientology. Star Magazine’s Star Weekly Awards (2013), “Most Disturbing Art” for the fetal portraits of Kim Kardashian’s and Kate Middleton’s unborn babies. Maxim Magazine’s Sexiest Things in America (2012), for “Sexiest Sculpture of Teen Idols: Justin and Selena as One”. Most Annoying People 2009. Produced by Shine for BBC TV4. BBC London’s list of the “100 most annoying people of 2009”. Listed at number 63, between Bernard Madoff and Charlie Sheen.
The Art Newspaper’s “Bartlebooth Award” (2005), London. Tongue-in-cheek award given to ten artists from around the world, who made art that pushed the boundries.
Sports Illustrated’s “This Week’s Sign of the Apocolypse” (2005). Dubious distinction given by Sports Illustrated for The Ted Williams Memorial Display.
JESSICA GOMULA-KRUZIC
My visual arts research creates collaborative intermedia artwork in diverse public spaces, which addresses socially conscious subject matter. Through video and animation projects, live performances, and responsive systems, my projects creatively respond to the physical and social character of an environment in an effort to bring diverse people together to inspire, and be inspired.
My work revolves around the Central Valley, with recent work focusing upon Modesto, California. While not a native to Modesto, it is where I have been the longest. Growing roots in this community has had a profound impact on my artwork, and my sense of personal expression and art activism.
“If you can imagine it, you can achieve it. If you can dream it, you can become it.”
- William Arthur Ward.
Disordered Passages, stills from the video. dimensions variable. 6 minutes. 2017
Disordered Passages, stills from the video. dimensions variable. 6 minutes. 2017
Disordered Passages, stills from the video. dimensions variable. 6 minutes. 2017
JESSICA GOMULA-KRUZIC
JGomula.com
EDUCATION
Master of Fine Arts, Printmaking, Illinois State University, Normal, IL
Bachelor of Fine Arts, Printmaking, Atlanta College of Art, Atlanta, GA
SOLO EXHIBITIONS
2017 Complicit Participants. Art Space on Main. Turlock, CA.
2016 Gemperle Gallery Centennial Exhibition. Carnegie Art Center, Turlock, CA.
2016 ACTION: Jessica Gomula. Faculty Development Center. California State University, Stanislaus, Turlock, CA.
2014 Art Faculty on Main. Building Imagination Center, Turlock, CA.
2012 Ssshhhh! Alameda Public Library. Alameda, CA.
2011 Meet Your Neighbor public art installation. Modesto Art Museum. Over 35 downtown storefronts. Modesto, CA.
2009 Semantic Frottage, solo video installation. Modesto Art Museum / Mistlin Gallery, Modesto, CA.
2008 Life’s Tantric Love Triangles. 21 Grand Gallery, Oakland, CA.
2015 Filling Her Shoes. Experimental short. 10 min. Director and Producer.
2017 Complicit Participants. Turlock, CA.
2015 Resident Artists’ Workshop. Safehouse for the Performing Arts. San Francisco, CA
2015 Chadu 2. Comedy Short. Assistant Camera Operator. Directed by Nitin Kant.
2015 27th Scary Cow Film Festival. San Francisco, CA.
2015 E.Z.P.Z. Science Fiction Short. 10 min. Best Boy Grip. Directed by Jason Bryan.
2016 Dead Walk Fast. Madison, WI.
2016 Best Shorts. Castro Theatre. San Francisco, CA.
2015 27th Scary Cow Film Festival. San Francisco, CA.
2015 Modesto 2034: Glimpses of the Future. Documentary Short. 4 min. Executive Producer. Directed by Michael George
2015 Gen Con Film Festival. Indianapolis, IN.
2015 Intendence Film Festival. Denver, CO.
2015 Columbia Gorge International Film Festival. Washougal, WA
2015 New Work from the Bii. Turlock, CA.
CHAD HUNTER
To me, plein air painting must be more than a simple copy of a scene. Yes, it should capture the light and shadow, texture, color but in the end it must be an emotional response by the artist. I try to communicate the feeling of a scene through my paintings.
I strive to paint what cannot be painted: the energy, the poetry, or the interpretation rather than a literal representation.
Seating for Seven, Watercolor, 22” x 14”, 2017
Monterey Marina, Watercolor, 15” x 11”, 2016
Yosemite High Country, Watercolor, 15” x 11”, 2016
CHAD HUNTER
EDUCATION
2012
M.F.A. Visual Arts with emphasis in Graphic Design, Marywood University, Scranton, PA
1995 B.F.A. Illustration, Minor: Studio Art, Brigham Young University, Provo, UT
AWARDS
2017 2nd Place, California State Fair, Plein Air
2016 1st Place, Capitola Plein Air competition, Capitola CA
2016 Honorable Mention, Society of Children’s Book Writers and Illustrators (SCBWI) Northern California Conference logo
2016 1st Place Portfolio, SCBWI Northern California Conference
2015 1st Place, SCBWI Northern California Conference logo
2006–08 Gold Medal for Annual Report, MAC
2006 Best of Show for Coordinated Campaigns, CUES
2006 Gold Medal for Direct Mail, CUES
2006 1st Place, Plein Aire Competition, Turlock, CA
1999, 06, 07 Gold Medal for Coordinated Campaigns, CUES
1999 2nd Place Gallo Art Show, Modesto, CA
1999 Private Funding Award, Stockton Art League Juried Exhibition
1998 Best of Show, Stockton Art League Juried Exhibition
1998 Gold Medal for Logo, MAC
SHOWS
2017 Frank Bette Plein Air Paintout, Alameda, CA
2017 California State Fair Plein Air, Sacramento, CA
2016 Benicia Plein Air Paintout, Benicia, CA
2016 Capitola Plein Air Paintout, Capitola, CA
2016 Carmel Art Festival Plein Air, Carmel, CA
2015 Chad Hunter: 20 Year Retrospect, CSU Stanislaus, Turlock, CA
2015 Department of Art Faculty, Merced College Art Gallery, Merced, CA
2014 Faculty Show, Art of Main, CSU Stanislaus, Turlock, CA,
PARTIAL CLIENT LIST
Washington Post
WordPerfect Magazine
Access Magazine
Utility Telecom
University of the Pacific
PacWest Telecom
Delicato Winery
Brubeck Institute
Salt Lake City Art Director’s Club
Networking Magazine
Manteca Convention and Visitor’s Bureau
Graphic Artist Guild, national
Sactown Magazine
Mary Graham Children’s Foundation
Power Contents, Korea
Montag Press
Shakefest
SCBWI Nor Cal
COURSES TAUGHT
Foundation Drawing
Foundation Digital Media
Lettering and Typography
Graphic Design
Illustration
Visual Identity and Branding
Intermediate Graphic Design
Digital Photography
Web Design
Type and Image
Publication Design
Fundamentals/Observational Drawing
Image Manipulation
Digital Illustration
Intermediate Ad Campaign
Advanced Ad Campaign
Project Study
Digital Illustration
Illustrative Concept Design
DAVID OLIVANT
A Brief Pre and Post History of Dismemberment.
For several years a full size ceramic woman built in 2001 and originally intended for display on the floor, found herself hanging from my office wall. This was almost entirely due to economies of space and the incremental filling up of those parts of space to which I could claim at least tenancy if not ownership. It made her less liable to being stepped on, but had partially reduced an already narrow entryway. I had only timidly begun a haphazard assessment of the possible aesthetic merits of this novel placement when it dawned on me that the new positioning rendered parts of her anatomy, normally almost concealed when this lady sprawled on the floors for which she had been intended, now appallingly prominent to those seeking entrance to my office.The situation received a temporary redress in the form of items like dessert spoons, masking tape, whatever came to hand, used as surrogate fig leaves.
Clearly the situation needed more permanent solutions and the one that most recommended itself some time in April of 2017 was dismemberment, always a sketchy proposal in the case of large fired ceramics. I will spare readers the mechanics of such an act, except to say that despite the application of chisels and hammers and a certain amount of brute force the entire operation was undertaken in a spirit of modest regret and humility not in the least seasoned by misogyny or rejection at an impressionable age by girls whose divine beauty and grace placed them clearly ‘out of my league’!
It might scarcely be possible, even in the presence of the five images which comprise the current Dismemberment series and in which have been utilized all but the
least prominent fragments, to mentally re-assemble the ‘source’ woman or even to know that there was such a common source, so let’s just give up on that—not the point anyway. The thrust of this series for me has been the attempt to accommodate such large fragments onto a relatively small surface. Almost inevitably it has entailed suggesting that the large fragments displayed are continued in the form of something more complete beyond the material confines of the format, almost as if what is displayed could be a fragment of a much larger story or as if the work of art is a glimpse, or a residue of something else and it is this “something else” more than the prior existence of a complete ceramic woman that I hope the viewer might begin to extrapolate from the glimpse. At the very least the possibility of entering my office and making it all the way to the back room with a clean conscience is now restored.
Return of the Hunter Gatherer, mixed media, 2017
Demise of the scopophiliac, mixed media, 2017
DAVID OLIVANT
Professor of Art at California State University, Stanislaus since 1995
Born in Watford, England
Liiving and working in Turlock, California
EDUCATION
09/81-07/84 M.A. Painting. Royal College of Art, London/UK
09/76-07/77 B.A. Art. Falmouth School of Art, England/UK
AWARDS
09/89-04/90 British Council travel award, Stockholm/Sweden
11/86-06/88 Commonwealth Scholarship, Lalit Kala Akademi, New Delhi/India
09/02-10/02 Art Department Faculty: Valley View, University Art Gallery, California State University Stanislaus/USA
11/97-02/99 Last Dreams of the Millennium, Art Museum, University of Hawaii, Honolulu; Tyler Museum of Art, Tyler/USA; California State University, Fullerton/USA; California State University, Stanislaus/USA
02/97-03/97 Two From Britain, California State Polytechnic, Pomona Art Gallery/USA
01/95-04/95 Archer M. Huntington Art Gallery, University of Texas, Austin/USA
11/92-02/93 Haggerty Art Museum, Marquette University, Milwaukee/USA
04/90-06/90 French Institute, Stockholm/Sweden
WORK IN PUBLIC COLLECTIONS
Robert V Fullerton Museum, California State University, San Bernardino/USA
Archer M. Huntington Art Gallery, University of Texas, Austin/USA
Art Institute of Chicago/USA
British Council, London/GB
Haggerty Museum of Art, Marquette University, Milwaukee/USA
BIBLIOGRAPHY (Reviews)
Alan Artner, “Two Sets of Drawings from Olivant, Both of them Strong and Ambitious,” Chicago Tribune, April 5, 1991
Krishna Chaitanya, “Olivant’s Images of Chaos,” The Hindustan Times, Feb 2, 1987
Cathy Curtis, “Valentine from England,” The Los Angeles Times, Feb 10, 1998
Shanto Datta, “From Existence to Entropy,” The Pioneer, Jan 18, 1996
Ken Johnson, “David Olivant at CICA,” Art in America, Oct 1990
Kay Larson, “True Brit,” New York, March 12, 1990
P. Mago, “David’s Chaotic Sea of Marks,” The Patriot, Feb 7, 1987
Nava Semel, “The Voyage from the Figure to Abstract,” Studio Art Magazine, May 1990
Leo Stutzin, “A Seeker’s Art at Stan State,” Modesto Bee, Dec 8, 1996
Leo Stutzin, “British Artists Find Appreciation,” Modesto Bee, Nov 20, 1997
Mark Van Proyen, “Olivant@CSU Stanislaus” Square Cylinder, February 2015
Daniella Walsh, “Romantic Visions for Modern Times,” Orange County Register, March 1, 1998
CATALOG ESSAYS ABOUT DAVID OLIVANT
David Cohen, Cadenza Catalog, September 2007.
ELLEN ROEHNE
These pieces are part of a recent series loosely based on alchemy, which is defined as a philosophical and protoscientific tradition which aimed to purify, mature and perfect certain objects.Through a series of processes or stages, the alchemist attempts the transmutation of base metals into precious metals (lead into gold). The ultimate goal of the alchemist is to transform the chaotic primordial first matter into perfection; accomplished through spiritual enlightenment. My interest in alchemy began almost 20 years ago and I have used many of the processes such as burning, submerging, deconstructing, burying, disintegrating and reconstructing in much of my work since.
At the beginning of 2016, I began reinvestigating alchemy and Carl Jung’s writings about its correlation to psychotherapy, as well as the many parallels with the cre-
ative process, fairytales and mythology, and many religious texts. Although some of the imagery references alchemy directly, most of the work comes spontaneously, without concern for specific conventions of the pseudoscience. It is the process of discovery through trial and error, chance and accident that most intrigues me. Because ceramics involves several steps that include building, glazing and multiple firings, the outcome of the finished product is difficult to foresee. Working with fire, earth, water and other elements also leads to this unpredictability. My work is continuously transformed through these various procedures. By working in this way, I find that synchronicities occur within my daily life, dreams, memories and art. It is these connections that guide me in my creative pursuits.
Sublimatio mixed media, 30” x 42” x 6”, 2016
Coagulatio, mixed media, 54” x 36” x 9”, 2016
ELLEN ROEHNE
Lecturer of Art at California State University Stanislaus since 2003
BORN 1968, Caldwell, Idaho
RESIDES Modesto, California
STUDIO Modesto, California
EDUCATION
1998 M.F.A. Sculpture, John F. Kennedy University, Berkeley, CA
1993 B.F.A. Ceramics, California State University, Chico, CA
1987 Mixed Media Studio Art, Romerike Folkehoyskole, Jessheim, Norway
SOLO EXHIBITIONS
2016 “Transformations” FD C, California State University, Stanislaus, Turlock, CA
2015 “Labels Installation”, The Chartreuse Muse, Modesto, CA
2011 “Recent Work” Teagues, Longview, WA
2007 “Lost and Found” University Gallery, California State University, Stanislaus, Turlock, CA
2005 “The Muse” The Chartreuse Muse Gallery, Modesto, CA
1999 “Animal Tales”- performance and installation, Oakland Museum, Oakland, CA
1999 “New Work” CCAL Gallery, Modesto, CA
1998 “Girls, Boys and Toys” Art Annex Gallery, Berkeley, CA
1998 “Labels” John F. Kennedy University Gallery, Berkeley, CA
1997 “Tea Dreams” The Art Explosion Gallery, San Francisco, CA
1993 “Figures on the Wall” Lew Oliver Gallery, Chico, CA
1993 “Dreams” University Gallery, California State University, Chico, Chico, CA
1992 “Elements” Phoenix Gallery, Chico, CA
1991 “The Figure” Sienna Gallery, Chico, CA
SELECTED GROUP EXHIBITIONS
2015 “Speech Patterns” The Chartreuse Muse, Modesto, CA
2014 “Faculty Show” ASOM Gallery, California State University, Stanislaus, Turlock, CA
2013–2017 “The Art of Justice”, Stanislaus Family Justice Center, Modesto, CA
2012 “The Many Faces of Clay” Mistlin Gallery, Modesto, CA
2012 “Figures of Speech” The Chartreuse Muse, Modesto, CA
2011 “Found Again” The Chartreuse Muse Gallery, Modesto, CA 2009 “2 Muse” The Chartreuse Muse Gallery, Modesto, CA 2007 “Opening” The Chartreuse Muse Gallery, Modesto, CA
2004 “Hildegaard Festival” California State University, Stanislaus, Turlock, CA
2004 “Alumni Exhibition” John F. Kennedy University Gallery, Berkeley, CA
2004 “Faculty Show” University Gallery, California State University, Stanislaus, Turlock, CA
2004 “Women’s Work” The Chartreuse Muse Gallery, Modesto, CA
2001 “Outside the Box” Modesto Art Center Gallery, Modesto, CA
2001 “Three Women Sculptors” Carnegie Art Gallery, Turlock, CA
2000 “The Art of Recycling” Stanislaus County Fairgrounds, Turlock, CA
1999 “Opening Tricks” Festival of the Arts, Berkeley, CA
1999 “What is Art For?” Oakland Museum, Oakland, CA
1998 “Human Habit” William King Regional Arts Center, Abingdon, VA
1998 “Lead Into Gold” Gallery Route One, Point Reyes, CA
1998 “Animals and Their People” Sebastopol Center for the Arts, Sebastopol, CA
1998 “An Homage to Inspiration” Danville Fine Arts Gallery, Danville, CA
1998 “Re-Membering” Arts Annex Gallery, Berkeley, CA
1998 “Women Artists- New Work” Central California Art League Gallery, Modesto, CA
1998 “Trash Into Treasures” YWCA Gallery, Oakland, CA
1997 “Calcinatio” The Art Explosion Gallery, San Francisco, CA
1997 “Journey Into Wholeness” Center for the Visual Arts, Oakland, CA
1997 “Collage and Assemblage” Arts Benicia, Benicia, CA
1997 “Spring Show” The Art Explosion Gallery, San Francisco, CA
1997 “Between Dreams” Arts Annex Gallery, Berkeley, CA
1996 “A Woman’s Worth” Wednesday’s Gallery, Santa Cruz, CA
1996 “Bay Area Artists” The Art Explosion Gallery, San Francisco, CA
1996 “13th Annual Dream Art Exhibit” Claremont Resort, Berkeley, CA
1995 “Summer Art Show” The Art Explosion Gallery, San Francisco, CA
1993 “California Clay Competition” The Artery, Davis, CA
1993 “37th Annual Student Exhibition” California State University, Chico, Chico, CA
1992 “Feats of Clay” Lincoln Arts Center, Lincoln, CA
1992 “California Works” California State Fair, Sacramento, CA
1992 “National Women’s Month Show” Planned Parenthood, Chico, CA
1992 “Figurative Sculpture” California State University, Humboldt, Arcata, CA
1991 “It Figures” Ayres Gallery, Chico, CA
1987 “Romerike Art Show” Radhus Gallery, Jessheim, Norway
1986 “International Art Exhibit” Romerike Gallery, Jessheim, Norway
SELECTED AWARDS, GRANTS & RESIDENCIES
2000–2003 Arts Enrichment Grant, Central California Art League, Modesto, CA
1999–2002 California Arts Council Grant, Artist in Residence, Stanislaus County, CA
1999-2000 Project Alive Grant, Stanislaus County Arts Council, Modesto, CA
1998 Susan Seddon Boulet Award, Berkeley, CA
1998 Award of Merit, The Flame, Berkeley, CA
1992 Summer Arts Scholarship, California State University, Humboldt, Arcata, CA
SELECTED REVIEWS, PUBLICATIONS, & ARTICLES
“Their Own Muse” The Modesto Bee, September 11, 2009
“Beauty for Ashes” Lifewind Publications, October 2008
David Hill. “A Work of Art for Trio” The Modesto Bee, February 2, 2003
Leo Stutzin. “Outside the Box” The Modesto Bee, October 5, 2001
“Artist’s Reception” Turlock Journal, July 27, 2001 Karen Hunt. “The Jury’s In” San Francisco Chronicle, February 12, 1999
“Re-Membering” Video Interview, September 8, 1998
April Street. “The Human Habit” William King Regional Arts Center Catalog, July 1998
“Current Work” Television Interview, Sputnik’s Rocket to Stardom, May 1998
Holly Metz. “Woman on the Verge” Chico News and Review, December 9, 1993
Laura Weir. “Ceramics of the First Order on Display” Davis Enterprise, April 1, 1993
Bjorg Ytterhus. “Elevutstilling I Radhuset” Jessheim Dagblad, February 3, 1987
Tom Haehre. “Folkehoyskole med Fagerik” Jessheim Dagblad, December 10, 1986
SUSAN STEPHENSON
At a time of unprecedented visual abundance— when artists sift through hundreds of photos before layering them into a single image—I remain a steadfast oil painter, determined to continue my slow-cooked practice of working from direct observation as much as possible. Rather than turning my back on the contemporary world, I am responding to it in the most primal means I know.
Everyday scenery is fodder for my paintings. Navigating a line between attraction and unease, I am torn between the lovely places that appeal to collectors and locations that some might find un-paintable. Traffic lights and stop signs inspire me, as does the way sunlight hits
the “do not pass” lines in the road. Instead of pretending that electric lines are nonexistent, I use them to break the sky into visual patterns, letting them catch the light and become orange against the blue dome of the atmosphere. Every day, people are bombarded with chances to see beauty in the mundane and yet sleepwalk past them. Rather than wait a hundred years for our culture to look back wistfully at some of the things we currently overlook, I prefer to show their beauty right now—why wait?
My easy relationship with curvilinear perspective is partly due to growing up in a geodesic dome. After twenty years of using the wraparound view, it now permeates my work automatically, and the spatial relationships of landscape define all of my work regardless of genre. I find it meditative to look for equilibrium among a work’s formal relationships and the visual cues from a particular location. As a result, balancing abstraction and reality has become one of my primary reasons for creating. Ultimately, I look for combinations of modern life and contemporary scenery that spark that peculiar blend of kooky and beautiful I find so compelling.
Big Sky at the Airport, oil on panel, 12” x 12”, 2016
1992 MFA in Painting, Boston University, Boston, MA. Studied with John Moore.
1990 BFA in Studio Art - Painting, Louisiana Tech University, Ruston, LA. Graduated summa cum laude, Phi Kappa Phi.
TEACHING HISTORY
1995–2017 LYME ACADEMY COLLEGE OF FINE ARTS - Full-time Associate Professor
1995–96 SALVE REGINA UNIVERSITY - Sabbatical Replacement
1993–94 UNIVERSITY of LOUISIANA at MONROE - Adjunct Instructor
1990–92 BOSTON UNIVERSITY SCHOOL for the ARTS - Teaching Assistant
SELECTED EXHIBITIONS:
2017 CONVERSATIONS: STUDIO & TABLE: Works by guest artists at the July-August,
2016 Joseph A. Fiore Art Center Artist Residency Program, Studio & Dinner discussions, The Gallery at Rolling Acres, The Joseph A. Fiore Art Center at Rolling Acres Farm, Jefferson, ME.
54th Annual Juried Competition, Masur Museum of Art, Monroe, Louisiana.
Gia Hamilton and Daniel Stetson, jurors.
2016 ENDLESS SUMMER, Cate Charles Gallery, Westerly Land Trust, Westerly, RI.
2015 SUSAN STEPHENSON, Cate Charles Gallery, Providence, RI.
SUSAN STEPHENSON: An Informal Exhibition of a Visiting Artist, Loomis Chaffee School, Avon, CT.
2014 DOORS OF PERCEPTION: HOLLIS DUNLAP, NATHAN LEWIS, AND SUSAN STEPHENSON, Six Summit Gallery, Ivoryton, CT.
2011 A UNIQUE PERSPECTIVE: SUSAN STEPHENSON AND DEBORAH RANDALL, Cate Charles Gallery, Stonington, CT.
SUSAN STEPHENSON: GUEST ARTIST, Imago Gallery, Warren, RI.
2010 CONTEMPORARY REALISM BIENNIAL, Fort Wayne Museum of Art, Fort Wayne, Indiana.
2007 SUSAN STEPHENSON: INSIDE - OUT: Selections from the Past Eight Years, Stonington Vineyards Gallery, Stonington, CT.
2006 THE LANDSCAPE OF GOLF, Newport Art Museum, Newport, RI.
2005 LACFA AT THE THE ARNOT ART MUSEUM, Arnot Art Museum, Elmira, NY.
URBAN ESCAPE, City Lights Gallery, Bridgeport, CT.
2004 SUSAN STEPHENSON: COLOR AND LIGHT, Masur Museum of Art, Monroe, LA.
REALISM NOW: TRADITIONS AND DEPARTURES, Vose Gallery, Boston, MA.
MIAMI UNIVERSITY YOUNG PAINTERS COMPETITION, Hiestand Galleries, Oxford, OH.
2003 SUSAN STEPHENSON: RECENT PAINTINGS, South College, University of Massachusetts, Amherst, MA. Invitational.
2001 SUSAN STEPHENSON: RECENT WORKS, Stonington Vineyards Gallery, Stonington, CT.
AMERICAN LANDSCAPES, MFA Circle Gallery, Maryland Federation of Art, Annapolis, MD. Gary Vikan, Juror.
2000 PAINTINGS OF THE GRIFFIS ART CENTER, Pfizer Central Research Division, Groton, CT.
1999 SUSAN STEPHENSON: RECENT PAINTINGS, Stonington Vineyards Gallery, Stonington, CT.
1998 FIGURE DRAWING IN THE ACADEMY TRADITION: 1890 – 1998, Lyme Academy College of Fine Arts, Old Lyme, CT.
1997 VISIONS OF THE SEA, Gregory Gallery, Darien, CT.
1996 LANDSCAPES: A NEW ENGLAND VIEW, Gregory Gallery, Darien, CT.
1995 REFIGURING THE FIGURE, Creative Arts Workshop, New Haven, CT. Helen Cooper, Juror.
SELECTED AWARDS AND HONORS
Corporate Collections: Masur Museum, Pfizer Central Research, The Griffis Art Center.
Lecture: Up Close & Personal, Ocean House, Watch Hill, RI, May 2017.
Lecture: Center for Creative Arts, Lyme Academy College of Fine Arts, February 2016.
Creative Capital Professional Development Workshop, Providence, RI, 2011.
Painting Fellowship: Rhode Island State Council on the Arts, 2004.
Fellowship: Lyme Academy College of Fine Arts Faculty Travel Grant, 2002.
Artist in Residence: Ocean House Hotel, Watch Hill, RI, July, 2017.
Artist in Residence: Loomis Chaffee School, Avon, CT, January, 2014.
Artist in Residence: The Griffis Art Center, New London, Connecticut, 1994 – 95.
Artist in Residence: Association for Visual Artists, Chattanooga, Tennessee, 1993.
1992 NAN Award. Chosen by painting faculty, Boston University College for the Arts.
SELECTED BIBLIOGRAPHY
THE DAY, “Endless Summer” Kicks Off in Westerly. Amy Barry, July 24, 2016.
ARTIST ON ARTIST INTERVIEW, Polly Seip Blogspot: Interview with Susan Stephenson, by Polly Seip. October 1, 2014
STONINGTON-MYSTIC PATCH, “Susan Stephenson Paints Barefoot in the Borough,” by C.M. Glover. June 29, 2011.
THE DAY, “Capturing Color and Local Views,” by Amy Barry. November 3, 2011.
AMERICAN ART COLLECTOR, “Museum Curator: Old Lyme, Miss Griswold, and the Yale Art Gallery,” by John O’Hern. March, 2007. Pp. 56 - 61.
THE BOSTON GLOBE, “Exhibit is a Learning Experience,” by Christine Temin. December 10, 2003.
INTERNATIONAL ARTIST, “Notable Exhibitions: Mentors and Protégés,” October/November, 2003. Pp. 18- 31.
REALISM NOW: TRADITIONS AND DEPARTURES, MENTORS AND PROTÉGÉS, Part 1, Published in 2003 by Vose Galleries, Boston, Inc.
THE WESTERLY SUN, “Seaport Gallery to Offer Prints by Ashaway Artist,” by Sara Ross Clark. June 25, 2002.
THE NEW YORK TIMES, “Wit in Force, Figures Talking to Each Other,” by William Zimmer. April 30, 1995.
JAKE WEIGEL
As far as I can tell everything is a synthesis of relationships, of one entity being defined not by itself alone, but by another entity and the space in between.To define one thing is to define another and that is a challenge of reality and the human condition. This exploration of the human condition and the multiple dimensions involved is paramount to my art making process. Although infinite in possibilities I begin with interests in art theory, literature, philosophy, historical events, political systems, ecology, mysticism, and theoretical physics. From observation and
a focus on materiality, I attempt to simultaneously define the variables and create a new synthesis, discovering connections between these seemingly disparate areas of study. This synthesis, or new spatial awareness, is the practice of creation itself, the resulting art as a physical manifestation, both successes and failures.
The focus of this spatial concept in my work is to proffer information not easily grasped, instilling a longing for more information or answers while giving none in particular. This can further be achieved by a continuous play between the revelation and concealment of object and illusion, existence and essence. Ultimately, the negative space and lack of information is intended to relate directly to being and questions the profound human condition of unknowingness. The scarcity of meaning or information allows the viewer to directly confront this condition through the actual absence of material or meaning. It is objective knowledge and personal narrative formed to create visual poetry, where matter and the ineffable meet.
Under the Mountains, mixed media, dimensions variable, 2016-2017
Void, 8” x 12”, 2015
JAKE WEIGEL
jakeweigel@gmail.com | jakeweigel.net
EDUCATION
2013 University of Mississippi, Oxford, MS
Master of Fine Arts in Studio Art, Emphasis in Sculpture
2008 University of Minnesota, Minneapolis, MN
Bachelor of Fine Arts in Studio Art, Emphasis in Sculpture
2006 University of Wisconsin - Fox Valley, Menasha, WI
Associate of Arts and Science, Emphasis in Ethnic Studies
SELECT JURIED, GROUP & INVITATIONAL EXHIBITIONS
2017 Profusion in the Void, Space 111, Fort Worth, TX
The Nth Degree, Foundry Art Centre, St. Charles, MO
Patent Pending #2, Dennis Gallery, Austin College, Sherman, TX
Steering Committee Exhibition, Trim Tab, Birmingham, AL
2016 Texas 12*, Texas Sculpture Group, College Station Arts Center, College Station, TX (Catalogue)
Texas National 2016, Stephen F. Austin University, Nacogdoches, TX (Catalogue)
Texas Artists Today, Museum of the Southwest, Midland, TX
the beginning of everything, Visual Arts Exchange, Raleigh, NC
Dada Lives!, University of Cincinnati Blue Ash College, Cincinnati, OH (Catalogue)
Off the Wall, New Mexico State University, Las Cruces, NM
Midland Arts Association Juried Exhibition, McCormick Gallery, Midland College, Midland, TX
Oxford Film Festival Art Exhibition, Powerhouse Community Arts Center, Oxford, MS
2015 Patent Pending, Charles Adams Studios, Lubbock, TX
Steering Committee Exhibition, Trim Tab, Birmingham, AL
