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: Nic Webber, School of the Arts, California State University, Stanislaus
Catalog Printing: Claremont Print, Claremont, CA
ISBN: 978-1-940753-04-1
DIRECTOR’S FOREWORD
Art Faculty on Main represents an opportunity to view the amazing artworks of the talented Department of Art Faculty of California State University, Stanislaus. This is the first exhibition in our new facility “Art Space on Main“ located in downtown Turlock.
For the last few years, the faculty in the Department of Art have been working on the idea of an Art Center located in our downtown area. With a wonderful collaboration of our community partners the Art Center is finally here. We are extremely excited to have this new space, as it will allow us to expand our exhibition program and allow our dedicated patrons to enjoy the works of talented artists for many years to come.
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, David Olivant for the astute essay, the College of the Arts, Humanities and Social Sciences, California State University, Stanislaus for the catalog design and Claremont Print and Copy for the printing of this catalog.
We are also grateful and extend our 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, Director
University Art Gallery
Art Space on Main
California State University, Stanislaus
INTRODUCTION: ABOUT THE ARTISTS
In the essay that follows, an attempt has been made to discern common links among the great variety of styles, concepts and media on display in this exhibit and to demonstrate how these intersect with or transgress broader contemporary cultural norms, most notably postmodernism. In its orthodox manifestations postmodernism is seen as an involvement with multi-culturalism, a tendency to conflate high and low culture, a cavalier attitude to tradition, stylistic heterogeneity, the undermining of a stable ego or artistic personality, relativism rather than absolutism, subversion of traditional modes of display or presentation, and locating the source of meaning(s) in the viewer more than the artist or the art object.
Gordon Senior was chairman of the Art Department at CSU Stanislaus for six years. A Yorkshireman in central California, he is a culturally displaced artist. For thirty years, he responded to issues in the history of English landscape and agriculture, and utilized in his art the very materials of the landscape. It comes as no surprise that such an artist, in being transplanted to a foreign soil, would grasp the opportunity to use the one environment to comment on the other, or to employ the tools and materials of the new environment for satiric effect.
For Gordon, the westward transatlantic move eleven years ago fermented a crisis, albeit a fertile one, in which the meditations on land-use and the sense of placement and connection with the earth were supplanted by a vision of disruption and fragmentation and a poignant sense of loss and even betrayal.
We notice a substantial reframing of the significant experiences that inform Senior’s practice. New memories have taken precedence, like the crowded cattle-market, in “Cows and Heads” and in the process the past has been reinterpreted through the lens of the present colored by mass-consumerism and environmental devastation. Land use history has expanded to include a wider human history, a history steeped in greed, squandering and alienation from nature. The work is rescued from propaganda by the deep immersion of these postulations in its very materials and forms. Where symbols are present they emerge directly from the daily encounter with diverse materials salvaged from the earth, not from some dictionary of pre-established meanings. The moral dignity and force of this work is embedded and embodied in this insistent materiality.
Equally imbued with material specificity are the wall-sculptures of Dean De Cocker, an artist whose background, education and exhibition activity are strongly rooted in the west coast of California, particularly the LA area. In this work the relationship between production processes and finished article is largely transparent but denuded of any traces of the artist’s activity in a homage to industrial manufacturing techniques. This might place such sculpture squarely within a Formalist aesthetic were it not for the veiled personal associations that come through. Dean’s work operates on two distinct levels. On the one hand it takes quasi-geometrical structures from the immediate environment of factory-built objects and conceptualizes them into purely formal solids, thus purging them of any sense of utility and identity the originals might possess. On the other hand, these forms evoke a subtle range of associations (often nostalgic) connected with meanings present in the objects or production methods that serve as their inspiration. (The fact that the associations are often embedded in nostalgia for World War II military scenarios creates a type of poignancy based on a discord between the essentially comforting nature of rumination on a distant past and its disruption by the distressing content of that past.) In this way Dean’s sculptures read as a sort of confession, where the art reveals something beyond its formalist posture, where irony is at least approached, largely through the tension between the severely impersonal methods of manufacture and the personal associations that seep out despite them.
The sculptures of freshly appointed Dan Edwards seem postmodernist to an almost doctrinaire degree and straddle a perilous but exhilarating divide between French Salon art of the mid 19th Century (which most living artists are willing to consign to the also-rans of art history) and the more recent but now flagging resources of Pop Art, supported by the fetishisation of Andy Warhol. A more abrupt collision of high and low culture is hard to imagine and the apparently effortless transference of Dan’s intimidating repertoire of technical resources (skill) from clay and bronze to virtual tools and media has intensified the impact. It is no exaggeration to say that his sculpture fuses the neoclassical composure of someone like Canova with the attention grabbing visual and conceptual gymnastics of Jeff Koons. This impact is clearly visible in his recent for-
ays into relief sculpture, which conflate representations of Disney icons with graffiti, other types of signage and all the ancient cultural baggage that goes with low relief slabs. In most of his oeuvre Edwards has sought to systematically deconstruct not just the high-low dialectic and the museum-street dialectic but also the entire edifice of art commerce and publicity. He exploits Sculptris and its software cousins to undermine our confidence in sculptural materials. His image in this publication is deliberately labeled without a reference to its medium and, if questioned on this, he would probably side-step our curiosity and suggest with some diffidence that the medium is currently ink on paper! He has been similarly heterodox about self-promotion to such a degree that his preference for the Associated Press and other national media outlets over any given gallery space as the primary forum for his sculpture reminds us of Murakami whose entire process seems an assault on the norms of promoting art.
While David Olivant, currently the longest serving full time studio faculty member in the art department, has spent much of his career acting out the methodology and pictorial dynamics of an Expressionist, always seeking a hidden content, in the last decade or so the emotional urgency of his earlier efforts has been supplemented by an ironic distance and sense of satire.
There is almost nothing in his working process that allows for any kind of prediction of the end result and he has indulged corrupted versions of automatism for longer than he cares to remember. Somewhere along the way it seems that the characters, thus extracted from what he hypothesized to be a collective unconscious, have begun to act to all intents and purposes as if they occupied a life outside of the particular picture in which they appeared. In addition they rapidly became aware of the symbolic, archetypal burdens of meanings Olivant was inflicting upon them and either cooperated or rebelled, as their mood suited. His embarrassment at such a usurpation of his role as creator has recently been furthered by the characters’ insistence on pre-empting his symbolic interpretations before they have been fully extracted from the chaos of marks that precedes their inception. This has tended to play havoc with his creative process causing him to all but tear up the Freudian/Jungian script that he has worked with for so long.
Works completed in the last five years have wedded sculptures to painted images in a marriage of inconvenience that acts as a metaphor for the ontological questioning and uncertainty of the characters that evolve from this synthesis. We are never quite sure if the characters painted in the illusory pictorial space can escape into the space of the viewer or if others, attempting to exit the viewer’s space, can make contact with those trapped in the picture’s surface.
In the art of Jessica Gomula the post-modern hybridization of genre and style is second nature, virtually a reflex, and irony is such a staple item of the artistic diet that it passes through the digestive tract without so much as a hiccup. The computer screen is the melting pot for this cocktail, which I feel perfectly justified in using mixed metaphors to describe!
Jessica’s website, until recently, was the most obvious portal through which the neophyte viewer might approach her intermedia projects, Many of these intermedia installations explore the socio-political issues that chaperone sexual intimacy.The layering and stylistic heterogeneity are reminiscent of Polke and Salle, though the mood is sweeter. Significant is the sheer quantity of different media layered into a seamless whole, which underplays, if not suppresses, the irony, as if there could be nothing more natural than the overlay of painted images, video montage, photographic stills, text, and sound. The superabundance of it all seems a spoof on sexual innocence. The sense of nostalgia only sweetens this further and we are cajoled into tacit acceptance of the dichotomy between the pictorial flatness of the animations, the floating montaged sexual nicknames and the modified projection of live video footage of the bemused viewer lost in the installation space.
This dichotomy seems symbolic of the central contradiction in Jessica’s work between the casual, gentle humor of the presentation with its ap-
parent good-natured innocence and the taboos surrounding the erotic subject matter. It is this dynamic that activates our reactions to works like Sigmund’s Laundry which profiles a lingerie clad performer ironing, silhouetted from one side of a bed sheet. Around her, against a blue background, are floating images of embryos at an early stage of development and lady’s underpants, intermingling in the space of the performer. In the centre of this blue area is a large three-bladed washing machine agitator seen from above.
With the recalibration of this artist’s recent focus to a re-imagining of Modesto as something of a cultural Mecca and the inevitable jump in scale and abandonment of a more intimate format, one wonders whether Jessica’s earlier preoccupation with diverse aspects of human sexuality can crawl beneath the radar of local outlook that tends to be conservative, whether indeed it can re-tune this mindset to a more curious and responsive frequency.
Subtler allusions to femininity, expanded to include maternity pervade the delicate, understated assemblages of Ellen Roehne. These are invariably made from tiny found objects and illustrations and often named after popular sayings, “don’t count your chickens…”, “be careful what you wish for”.The worlds of childhood and motherhood are somehow conflated as if the innocent vision of the former state is somehow transmitted from child to mother in a reversal of the normal flow of genetic inheritance. This juxtaposition of childhood symbols with loosely anthropomorphic forms that evoke animistic rituals manages to avoid the clichéd collision of cuteness and disgust beloved by adolescents and the much over-hyped Yoshitomo Nara and instead evokes a seemingly endless but fertile chain of associations.
Many works, like Head over Heels, feature a peduncular head mounted precariously above an ossuary-like box. Sometimes this contains intestinal mainsprings and has suspended from it a pendulum of sorts in the form of silk-worm, butterfly or child, suggesting novel parallels between the female body and antique clocks. The pendant child hangs from the fallopian tubes that hatch their lifetime ration of eggs with lunar precision and in this sense at least you really could count your chickens before they have actually hatched, as the picture of the girl implies. All of the pieces are legless, if we discount those of the depicted child, but what they lack in ambulatory capacity they make up for in the engine room, prioritizing the complex sequence of transactions: peristaltic, systaltic, osmotic and synaptic that animate the organism over those that merely translate it from point A to point B.
The recent work of James Deitz occupies an arresting, though constantly shifting, territory, in which he succeeds in synthesizing memory and observed images in a style that is able at once to preserve the particularities of any experience while also transforming it into an icon stripped to its essentials, often to the point of almost complete abstraction. As a latter-day Saint Anthony, a would-be iconoclast, James has often successfully evicted images from his cave and has watched them slink off with their tails between their legs into the Albertian vanishing point on the distant horizon. It is a Pyrrhic victory however, as the battleground has shifted to the paint itself. The enemy is now incapable of being exorcized, as it is the very stuff from which the painting is made, and by extension physicality, substance itself, the stuff of life. Ultimately the artist must wrestle with the angel of his own materiality through which he is embodied but through which he also perishes. This, I feel, is the ultimate source of Deitz’s ambivalence, of his importance as a painter, of his iconography of doubt.
He has embraced influences as diverse as Morandi, Tamayo, Hopper, Guston and Rothenberg along the way. I am sure that it is in some part his ability to straddle the apparent divide between the empirical and the structural or the phenomenological and the archetypal that lends such range and depth to his teaching
Tinna Harter Savini shares Deitz’s confidence in the ability of paint to give continued expression to our existential plight and in a manner that accepts the primary resources of modernism as a base camp from which an ascent might be attempted. These two painters seem undaunted
by the presence of pioneers like Motherwell and De Kooning who occupy a lofty summit from which the continued assaults of first pop art and now post modernism seem unable to completely topple them. I am in total admiration of their bravery and their self-belief because I have myself retreated from such a difficult path. Tinna, while retaining a sophisticated and nuanced awareness of her connections with other art, has never allowed this to drift towards an ironic or allusion-congested response in the manner of Kitaj or Larry Rivers.
Her work constantly risks elegance and in this she is extravagant, continuing to compose in a major key at least with regard to color harmonies, surface texture and a languid, assured linearity consistently eschewing the flamboyant, decorative effects of someone like Sam Francis. For me, Harter Savini continually but unwittingly courts decadence, a fin de siècle over-ripeness, the twilight of abstract expressionism. Her painted, chalked diaphanous veils approximate those of Strauss’s Salome. The work’s tempo is ultra-largo; the interest in Tachisme and oriental calligraphy is exotic in the same way as Salome’s dance music. If Klimt, Rossetti or Knopff had gone abstract they might have done so in a manner that resembles Torchlight Red on Sweaty Faces, not a bad alternative title for Salome’s dance!
Tinna’s work is paralleled in some ways by that of Craig Iwo whose accomplishments in diverse media represent the flip side of Orientalist decadence. His complex multi-cultural, multi-media extravaganza is also over-ripe, mixing the languor of Whistler with the histrionics of Boris Vallejo. Superficially considered his productions merge high and low in a manner that has affinities with his colleague Dan Edwards, but the effect is not, in my view, remotely postmodern. Like much recent Chinese painting, by which he has been strongly influenced, the melding of an ancient Asiatic and, largely calligraphic tradition with western modernism has yielded, beneath the assured handling, the complex layered surfaces, the enhanced optical fidelity, an unexpected naïveté. Thus he rightly describes his work as “fantastical” and I am reminded of “Crouching Tiger, Hidden Dragon”. It is as if the Orientalist is forced to take a long, hard look into the mirror and in doing so enters a topsy-turvy world where now the erstwhile mute exotic returns his questioning gaze, converts him from subject to object, from conqueror to conquered and his art from the symbolist reverie of “In Xanadu…” to its glossy re-branding as part of the latest cultural revolution.
This is not to say that Craig would endorse this polemic, his own position is uniquely nuanced. His ability to move through the gears of representation, to negotiate nearly the entire repertoire of western and eastern genres, to fuse unlikely episodes in the cultural narrative of each is to be marveled at, but at the same time the flower of my admiration, surely a chrysanthemum, is so perfect that I wonder if it might be made of silk…
At first glance the work of a graphic designer/illustrator might be thought to stand apart from many of the issues explored in this essay but, upon closer examination, the work of Chad Hunter responds to the same range of cultural trends that are reflected in the work of his colleagues.
In Chad’s illustrations there is a subtle awareness of the contrast between the digital and the manual, most obvious in his use of hand-lettering but also in the informality of his drawing style. Chad adeptly inflects this slight dissonance according to his target audience. In this way a single illustration works on different levels for different members of its audience. For instance in Spring, the lambs and ducks will be read ‘straight’ by children as the cute, cuddly creatures they really are, but an older audience will notice the robotic qualities of the ducks whose emphatic “quack” seems more a deliberate attempt to prove their duckhood than the natural language of a living, breathing waterfowl. These automata don’t really “sing” nor are they particularly “sweet” as the title caption suggests.The disruption is never disturbing, the dominant tone is still playful, but the conflation of childhood innocence with adult circumspection offers an armchair version of the more in-your-face postmodern posturing of contemporary artists like Yoshitomo Nara, Hikari Shimoda, Tang Zhigang or Mike Kelly, all of whom generate dissonance by subverting our notions of childhood and adolescence. Illustration as manipulated by Hunter is a perfect genre for these explorations as compared with most genres, its audience is uniquely likely to consist simultaneously of adults and children, with often the one group reading aloud to the other.
This short essay has tentatively navigated a path through a terrain of differently inflected attitudes to postmodernism: the superimposition of disparate cultures (Senior, Iwo); the contradiction between a factory-formalist aesthetic and the personal associations it evokes (De Cocker); the blatant conflation of high and low and materiality with virtuality (Edwards); the attempt to express the unconscious personality and the sabotaging of that attempt by the supposed inhabitants of the unconscious (Olivant); the absorption of contradiction into the fabric of the artistic statement as a rhetorical norm (Gomula); a re-thinking of our attitudes to childhood (Hunter) and femininity (Roehne); the conjunction of the archetypal and the empirical (Deitz); and of the decadent with Abstract Expressionism (Harter Savini).The severest differences among this group of artists result from whether they choose to suppress or exploit irony and contradiction. All of them share a heightened awareness of the possible range of interplay between process, procedure and product, and it is this more than the historical accident of their resemblance to a given artistic trend that marks their work as contemporary.
David Olivant, Professor
Department of Art
CSU Stanislaus
FACULTY IMAGES AND STATEMENTS
Dean DeCocker
My work is part of a continuing series, “Blue Jackets Return.” From the first wingedshaped 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 and propellers, heavy machinery and architectural works. These objects become conceptual elements, which I transform first into drawings. Then, via techniques of aircraft construction, I have fabricated objects of inner structures and outer coverings that created volumetric enclosures. Recently, my interest in racecar fabrication and finishing and collecting vintage BMX bicycles from the 1970’s has led to subtle changes in structure and color. 2009 has lead me to a return to painting. These paintings reflect my preoccupation with stripes.
The titles of my works have no real meaning, but due to my interest in the construction techniques of World War II aircraft, I take my titles from the World War II battles in the South Pacific.
Fear or Fury, 2012, acrylic paint, carboard, metal and powder coat, 41” x 38” x 14”
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 - Present Professor, Department of Art
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
SELECTED SOLO EXHIBITIONS
2013
2012
2011
“Lightning Strikes,” Chartreuse Muse, Modesto, CA
“Running at Full Tilt,” JAYJAY, Sacramento, CA
“On the Way to Sulfer Island,” Beaver Street Gallery, Flagstaff, AZ
”Made in the Pacific,” Center for Contemporary Art, Sacramento, CA
2010 “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
2009 “High Tide” Limn Gallery, San Francisco, CA
“3rd Annual California Centered: printmaking, Featured Annual Honorees Solo Print Show” Merced Multicultural Center, Merced, CA
2008 “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
2007
2006
“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
“Extended Orders,” University Art Gallery California State University, Stanislaus, Turlock, CA
SELECTED GROUP EXHIBITIONs
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 “2332” Huntington Beach Art Center, Huntington Beach, CA
2007
2006
“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA
“Research from the Department of Art @ John Stuart Rodgers Faculty Development Center,” California State University, Stanislaus, Turlock, CA
“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA
“Eight Hours Difference,” Peter Scott Gallery, Lancaster University, UK
SELECTED LECTURES
2013 “Lightning Strikes,” Chartreuse Muse, Modesto, CA
2012 “In Praise of Collecting,” Carnegie Art Center, Turlock, CA
2011 “On the Way to Sulfer Island,” Beaver Street Gallery, Flagstaff, AZ
”Made in the Pacific,” Center for Contemporary Art, Sacramento, CA
2010 “Sonoma State University, Be My Guest, Visiting Artist Lecture Series,” Sonoma State University, Rohnert Park, CA
2009 “From Pearl to the Sea” RSCA Week, California State University, Stanislaus, Turlock, CA
2008 “Return to Pearl” 643 A Project Space, Ventura, CA
2007 “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
SELECTED AWARDS
2012 Research, Scholarship and Creativity Activity Grant, California State University, Stanislaus, Turlock, CA
2011 Research, Scholarship and Creativity Activity Grant, California State University, Stanislaus, Turlock, CA
2009 Finalist for City of Reno Public Art Commission, Reno, Nevada Research, Scholarship and Creativity Activity Grant, California State University, Stanislaus, Turlock, CA
2008 Research Sabbatical, California State University, Stanislaus, Turlock, CA
2007 Research, Scholarship and Creativity Activity Grant, California State University, Stanislaus, Turlock, CA
2005 Solo Exhibit, Main Gallery, Truckee Meadows Community College, Reno, NV Research, Scholarship and Creativity Activity Grant, California State University, Stanislaus, Turlock, CA
Solo Exhibit, Carnegie Art Center, Turlock, CA
Solo Exhibit, Ridley Gallery, Sierra College, Rocklin, CA
SELECTED BIBLIOGRAPHY
2010 Dalkey, Victoria. “Dean De Cocker’s ‘icily elegant’ sculptures on display at Skinner/Howard Gallery.” Sacramento Bee April 18, 2010
2007 “Pulse.” Flagstaff Live May 3 – 9, 2007
Jerome. “Art Beat.” The Noise, arts and news May 7, Number 72
2006 Olivant, David. “Made in China.” “Eight Hours Difference,” Peter Scott Gallery Lancaster University, U.K.
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:
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
Though life-session portraiture remains the most pure form of sculptural expression for me, I am really enjoying other methods for exploring portraiture.
A child of the civil rights era, I came of age as a sculptor in the era of political correctness. At a time when I was creating public sculpture commissions, I felt that it was my calling to act as an artist who truly represents political correctness. As an avid visitor to the National Portrait Gallery at the Smithsonian, I noticed the collection wanting of African-American depiction. I decided that I would create sculpted portraits of historical African-Americans that would meet the criteria for the National Portrait Gallery’s potential acquisition. The only real requirement is that the portraits should be done from life. Over a ten-year period, I have sculpted approximately 50 such portraits.
Yearning to speak about socio-political topics through my work, I decided to turn my process on its head and began doing more provocative work. The work has been considered controversial, less politically correct (but with social conscience), and the depictions are never done from life of people and subjects accessed from the Internet and media. I often think of my current work as politically incorrect monuments and public sculpture with the Internet as my gallery.
Untitled, 2010, relief, 22”x20”
EDUCATION
MFA, Drawing and Sculpture, New York Academy of Art, New York, NY. (2001)
BFA Sculpture, Herron School of Art, Indiana University, Indianapolis, IN. (1994)
MFA Program, New York Academy of Art, Warhol Scholarship from Estate of Andy Warhol. (1988-90)
TEACHING EXPERIENCE
California State University, Stanislaus 2012-present.
Visiting Lecturer/Assistant Professor of Sculpture
New York Academy of Art, New York, NY 2008-2012
Adjunct Faculty/sculpture
Lyme Academy College of Fine Art, Old Lyme, CT 1999–2005 Assistant Professor of Sculpture, Anatomy, and Senior Projects (full time)
Herron School of Art and Design, Indiana University Purdue University Indianapolis 1994–1997
Adjunct Faculty/sculpture
SELECTED EXHIBITIONS (*Solo Exhibit)
2012 ScarJo with Zombies (ScarZo): The Zombie Rights Memorial, Norman Music Festival, Norman, OK.
2012 The Wicked Twins: Fame & Notoriety, The Paul Robeson Galleries, Rutgers University, Newark, NJ.
2011 * Mogul (Jay-Z Occupies Occupy Wall Street), aka The Scrooge Totem Pole, Cory Allen Contemporary Art.
2011 * Memorial Portrait for Amy Winehouse, Cory Allen Contemporary Art.
2011 * Allegory of a Teen Sex Symbol (Justin Bieber), Cory Allen Contemporary Art, New Fine Arts, Dallas, TX.
2011 * Justin and Selena as One, Cory Allen Contemporary Art, New Fine Arts, Dallas, TX.
2011 * Knut Watches Over Germany, Cory Allen Contemporary Art.
2011 * Rehab or Rest in Peace: A Tombstone for Charlie, Cory Allen Contemporary Art.
2010 * Patron Saint of the Gulf, IAO Gallery, Oklahoma City, OK.
2009 Brangelina Forever, Phantom Financial, Oklahoma City, OK.
2009 DE$IRE, Holster Projects, London, England.
2009 * Landmark for Breastfeeding, Mainsite Contemporary Art, Norman, OK and Holster Projects, London.
2009 What So Proudly We Hail, Holster Projects, London, England.
2009 * Octomom: String of Babies, Guy Hepner Contemporary, Los Angeles, CA.
SELECTED PUBLIC SCULPTURE
2009 Wildcat, over life-size bronze, Lexington, KY.
2007 Mother and Child, life-size bronze, Carmel, IN.
2001 Mr. and Mrs. Cox Memorial, life-size bronze, Hamilton County Parks and Recreation Dept, Carmel, IN.
2000 Senator Wendell Ford, bronze, twice life-size, Wendell Ford Museum, Owensboro, KY.
SELECTED COMMISSIONS
2004 The Blaising family children and pets, bronze life-size, Blaising family, Indianapolis, IN.
2004 Olympians of the New York Athletic Club, bronze, New York Athletic Club, New York, NY.
2000 Young Thoroughbred with Child, bronze life-size, Buckingham Companies, Indianapolis, IN.
COLLECTIONS
Marc Ecko
Golden Palace Casino
New York Athletic Club, New York, NY
National Art Museum of Sport, Indianapolis, IN.
City of Harrisburg, Harrisburg, PA.
Las Vegas Art Museum, Las Vegas, NV.
Indiana Statehouse, Indianapolis, IN.
Georgia Institute of Technology, Atlanta, GA.
Mr. and Mrs. Steve Hilbert, Carmel, IN.
Mr. and Mrs. Sen. Barry Goldwater, Phoenix, AZ.
Mr. Dick Cheney
Dr. Henry Kissinger
Mr. Donald Rumsfeld
Mr. George Schultz
Robin Greenspun, Las Vegas, NV.
Mr. and Mrs. Brad Chambers, Indianapolis, IN.
SELECTED BOOKS which reference Daniel Edwards’s work
McCallum, Jack and Wertheim, Jon (2012). Sports Illustrated Book of the Apocalypse: Two Decades of Sports Absurdity. Diversion Books, 2012. 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.
AUTHORED WORK
Edwards, Daniel (2010). BLUES HEADS: Portraits of American Roots Music. AppleParrot. 9781452891989.
FILMS and FILM FESTIVALS
DOMESTIC BLISS (2012). Vacant Era Films, directed by Dave Smith. CASTRO IN CENTRAL PARK (2006). Miami International Film Festival Official Selection 2007. Goodnight Films, directed by A.D. Calvo.
HILLARY’S BUST (2006). Queens International Film Festival Official Selection 2006. Goodnight Films, directed by A.D. Calvo. THE SEVERAL SEVERED HEADS OF DANIEL EDWARDS (2005). Jacksonville Film Festival Official Selection 2007, Connecticut Film Festival Official Selection 2006, New Haven Underground Film Festival Official Selection 2006. Goodnight Films, directed by A.D. Calvo.
SELECTED DUBIOUS DISTINCTIONS
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
My visual arts research explores the relationship between the immediate environment, the audience and the artist, as interactive media and DIY culture continues to blur those relationships. My goal is to create collaborative intermedia artwork in diverse public spaces, which addresses socially conscious subject matter.
Through large scale video and animation projections, live performances, and responsive systems, my projects creatively respond to the physical and social character of an environment, working to animate public and private spaces, in an effort to bring diverse people together to inspire, and be inspired.
11 Dimensions, 2014, multimedia
EDUCATION
2000 Master of Fine Arts, Illinois State University, Normal, IL
1996 Bachelor of Fine Arts, Atlanta College of Art, Atlanta, GA
SOLO EXHIBITIONS
2014 Modesto 2034. Transmedia and site specific installation. Modesto Art Museum and Modesto International Architecture Festival. Throughout downtown Modesto, CA. Invitational installation
2011 Meet Your Neighbor public art installation. Modesto Art Museum. Throughout downtown Modesto, including over 35 storefronts. Modesto, CA
2009 Semantic Frottage, solo video installation. Modesto Art Museum / Mistlin Gallery, Modesto, California
2008 Life’s Tantric Love Triangles. 21 Grand Gallery, Oakland, California
2011 Ionion Center for the Arts and Culture, Kefalonia Greece
POP Revolution Festival, Lecce, Italy
ProARTS Festival 2011 & International Choreographic Platform, Brno and Prague, Czech Republic
Moving House Foundation / Florian Workshop in Budapest, Hungary
OZU, Monteleone Sabino, outside Rome, Italy.
Recursive Things. Julian Scott Memorial Gallery. Montpelier, Vermont
2010 May Day. CounterPulse. San Francisco, CA.
2009 CST Institute for Computer Music and Sound Technology, Zurich MuseumsQuartier Wien, Vienna, Austria
Institut Intermédií, Prague, Czech republic
Hypnagogia. Climate Theatre. San Francisco, CA
Innovative Performances for Traditional Needs. Mr. Smith’s, San Francisco, CA
Invitational Group Exhibitions, Performances, Screenings
2014 Modesto Modernism. Delta Kappa Gamma Society International. Modesto, CA.
Invitational film screening
2013 Eames: The Architect and the Painter + Modesto Modernism.
Carnegie Arts Center. Turlock, CA. Invitational film screening
Modesto Modernism. Modesto International Architecture Film Festival, State Theatre. Modesto, CA. Invitational film screening.
Chalk Walk of Art. Public Art Project. LOVE Modesto. Modesto, CA
2012 Zero1 Art and Technology Biennial, Emerging Artist Network, San Jose, CA. Invitational performance. 2012.
In Praise of Collecting. Carnegie Art Center, Turlock, CA. Invitational exhibition. RAW 2012. Deep Root Dance Collective. Garage. San Francisco, CA.
Invitational performance
Dream Garden. Public Art Project. LOVE Modesto. Modesto, CA.
SELECTED CURATION AND ORGANIZATION OF EXHIBITIONS
2013 Imagination Film Festival. Co-Curator. State Theatre. Modesto, CA
Action: The Central Valley Film Community. Curator. Building Imagination Center, Modesto, CA.
Art and the Automobile. Curator. Building Imagination Center, Modesto, CA.
Aiming for Change. Curator. Building Imagination Center, Modesto, CA
Samsara. Curator. Building Imagination Center, Modesto, CA
Manifest.AR. Curator. Building Imagination Center, Modesto, CA
An Obsolete Dialog. Curator. Building Imagination Center, Modesto, CA
Prescott Jr. High Roadrunners. Curator. Building Imagination Center, Modesto, CA
2012 Mecca. Curator. Building Imagination Center, Modesto, CA
Uncle Hartwick. Curator. Building Imagination Center, Modesto, CA
Prolong Expression. Curator. Building Imagination Center, Modesto, CA
Outside the Picket Fence. Curator. Building Imagination Center, Modesto, CA.
2011 CSU Media Arts Festival. Juror. Fullerton, CA
Chad Hunter
One of my goals is to make my visual communication richer and more enjoyable as well as to continue to develop and explore “illustration-design” by incorporating my graphic design and illustration skills.
My more current work has taken an unanticipated turn: images with hand lettering. I was taught in school that if an illustration needs to have type to communicate it isn’t strong enough on its own. I’ve learned type (or hand lettering) can be a fascinating way of adding additional information, texture and a side note or description. Many have incorporated this before, but I believe my direction is unique and has its own voice. My intent is to continue to push incorporating design and illustration in this direction.
Spring, 2014, mixed media, 10.625” x 15.375”
EDUCATION
2012 M.F.A. Visual Arts with emphasis in Graphic Design Marywood University, Scranton, PA
2002 Illustration/Fine Art Coursework, Academy of Art University, San Francisco, CA
1996 - 1997 Illustration Coursework, Syracuse University, Syracuse, NY
1995 B.F.A. Illustration, Minor: Studio Art, Brigham Young University, Provo, UT
EMPLOYMENT HISTORY
2013 - present FT Temporary Lecturer, California State University, Stanislaus, Turlock, CA
2013 - present Online Adjunct Instructor, Brigham Young University Idaho, Rexburg, ID
2013 - 2013 Adjunct Instructor, California State University, Stanislaus, Turlock, CA
2012 - 2013 Adjunct Instructor, Art Institute, San Francisco, CA
2011 - present Adjunct Instructor, Art Institute, Sacramento, CA
2005 - present Freelance Graphic Designer/Illustrator, Chad Hunter Studio, Manteca, CA
2005 - 2011 VP of Marketing/Advertising Manager, Financial Center Credit Union, Stockton, CA
2001 - 2004 Creative Director/Sole Proprietor, Chad Hunter Studio, Manteca, CA
1995 - 1997 Graphic Production Specialist, Corporation of the President, Salt Lake City, UT
1993 - 1995 Graphic/Senior Designer, Brigham Young University Student Life Creative, Provo, UT
GUEST LECTURES
2014 Invited Speaker, “The Mash Up,” Art Department, CSU Stanislaus, Turlock, CA,
2013 Invited Speaker, “Designing with Illustration,” Visual Arts Department, Anne Arundel Community College, Arnold, MD,
Invited Speaker, “Artist Talk,” Department of Art, Austin Peay State University, Clarksville, TN,
Invited Speaker, “Designing with Illustration,” School of Visual Communication Design, Kent State University, Kent, OH, Invited Speaker, “Artist Talk,” Art Department, Chemeketa Community College, Salem, OR,
2012 MFA Thesis exhibit and lecture, “Designing with Illustration,” Mahady Gallery, Marywood University, Scranton, PA,
Invited Speaker, “Typography: the Romantic and the Technical,” Department of Visual Communications, Sinclair Community College, Dayton, OH, Invited Speaker, “Following Visual Lines,” Department of Visual Communications, Lone Star College- Kingwood, Kingwood, TX,
Invited Speaker, “The Mash Up,” Department of Communication Design, University of Houston-Victoria, Victoria, TX,
Invited Speaker, “Artist Talk,” Department of Art & Design, Mississippi University for Women, Columbus, MS, April
Invited Speaker, “Digital Arts,” Division of Fine Arts, Young Harris College, Young Harris, GA
Invited Speaker, “Typography: the Romantic and the Technical,” Art & Design
Program, Culver-Stockton, Canton, MO,
2011 Invited Speaker, Department of Graphic Design, Art Institute, Sacramento, CA, 2008 Bookmaking Workshop, LDS Youth Organization, Manteca, CA
COMMUNITY SERVICE EXPERIENCE
2014 Shakespeare Festival designer-illustrator, CSU Stanislaus Regional Judge, California Art Project
2012 - 2013 Student Portfolio Reviews, Art Institute of California - San Francisco, 2011 - present Volunteer, Manteca Stake Young Men’s Presidency, The Church of Jesus Christ of Latter-day Saints Instructor, Center for Professional and Continuing Education, University of the Pacific,
2006 - 2010 Volunteer Cub Master/Den Leader, Boy Scouts of America, 2004 - 2005 Volunteer High School Instructor, The Church of Jesus Christ of Latter-day Saints
2003 Visiting Artist Lecturer, Manteca High School,
1989 - 1991 Volunteer Representative, Teacher/Trainer/Leader, The Church of Jesus Christ of Latter-day Saints, Central & Southern Ohio,
SELECT AWARDS, HONORS, EXHIBITIONS & PUBLICATIONS
2012 Designing with Illustration, MFA Thesis, self-published, 176 pages MFA Thesis Exhibition, Mahady Gallery, Marywood University, Scranton, PA
2011 Jury for Golden Mirror Awards, Credit Union Executive Society (CUES)
2010 Invitational Alumni Illustration Exhibition, Brigham Young University, Provo, UT
2008 Gold Medal for Annual Report, Marketing Association of Credit Unions (MAC)
2007 Gold Medal for Coordinated Campaigns, CUES
Gold Medal for Annual Report, Marketing Association of Credit Unions (MAC)
2006 Best of Show for Coordinated Campaigns, CUES
Gold Medal for Coordinated Campaigns, CUES
Gold Medal for Direct Mail, CUES
Gold Medal for Annual Report, Marketing Association of Credit Unions (MAC)
1st Place, Plein Aire Competition, Turlock CVB
2000 Delicato Art Show, 2000 Juried, Manteca, CA
1999 Gold Medal for Coordinated Campaigns, CUES
Gallo Art Show, Juried, Modesto, CA
Mayor Art Show, Juried, Lathrop, CA
1st Place Oils & Acrylics, People Choice Award, City of Lathrop Art Show
Private Funding Award, Haggin Museum Regional Art Show
1998 Gold Medal for Logo, MAC
Best of Show, Haggin Museum Regional Art Show
1994 Best of Show, Theater Poster Design, Brigham Young University
1985 Eagle Scout, Boy Scouts of America
Craig Iwo
I create mixed media artworks through painting, drawing and conceptual created artworks. In the world of mixed media art: these meticulously planned works resound and resonate with images culled from the fantastical realm of imagination. By investigating language on a meta-level, I create work in which a fascination with the clarity of content and an uncompromising attitude towards conceptual art can be found. The work is aloof and systematic and a cool and neutral imagery is used.
And She Dreams of Things to Be, 2014, mixed media, 40” x 56”
EDUCATION
1998 Rhode Island School of Design / Providence RI
1994-96 Tamarind School of Lithography / Albuquerque NM
1980-83 California State University, Stanislaus / Turlock CA
1980 Fresno City College / Fresno CA
PROFESSIONAL EXPERIENCE
2012-Present Lecturer AY/ Art Faculty / Art Department / CSU Stanislaus Turlock CA
2002-12 Master Printer / Papermaker / Atelier East Moon / US / Nanning CHN
1984-97 Instructional Support Tech II / Art Department CSU Stanislaus / Turlock CA
1975-82 Master Printer / Prairie Anchor Press / Carmel CA / Santa Fe NM
RELATED TEACHING EXPERIENCES AND WORKSHOPS
2010 The Art of Ukiyoe / Print Series / Beijing CHN
2008 The Art of Stone Lithography and Serigraphy / Nanning CHN
2007-11 Resident Artist / Nanning CHN
2002-10 The Art of Papermaking / Atelier Eastmoon / CA / CHN
2002-10 The Art of Stone Lithography / Atelier Eastmoon / CA / CHN
1998-02 Teach and train graduate students / Production printing / SoHo NYC
1997-98 Teach interns as apprentices / Lithography shop process / SoHo NYC
1990 The art of “Terra Sig” firing / UC Santa Cruz / Santa Cruz CA
1989 The fine art of Papermaking / CSU Stanislaus / Turlock CA
1984 Guest printer / Ink on Paper / Pacfic Prints Exhibition / Berkeley CA
1976 Assistant to / Stephen De Stabler / Paul Soldner / CSUF/ FCC / Fresno CA
1974 Assistant to / Kosei Matsui, Toshiko Takaesu / Living Legend Series / SF CA
1972 Assistant to / Toshu Yamamoto, Koichi Tamura / Living Treasure Series / SJ CA
1971 Assistant to / Stephen de Staebler / Clay As Form / Santa Clara CA
SELECTED EXHIBITIONS
2010 Mother of all Asia / Traveling Exhibition / Shenzhen CHN
2009 Print Biennale / Beijing 15th International / Beijing CHN
2009 Behind the Red Door / Solo Exhibition / Beijing CHN
2009 2nd Guanlan International Print Biennial / Shenzhen CHN
2006 Master Printer Craig Jun Iwo / Solo Show / Shanghai CHN
2006 Behind the Red Door / Solo Exhibition / Hong Kong / SAR CHN
2005 Spiritual Journey / Shanghai CHN
2005 Artists of the Pacific Rim / Group Show / Shenzen CHN
2004 The artists of Red Hook / Group show / Brooklyn, NY
2004 Between the Pages, Book as Art / Center of the Arts / New York, NY
2003 17th Plein Air International Exhibition / Roanoke VA
2001 West Coast Sculpture / Togonon gallery / San Francisco CA
2000 Arte Con Huevos / Dia De Los Muertos Exhibition / Sacramento CA
2000 From Inside Out / The Art Group / Bergamot Station / Santa Monica CA
2000 What Really Remains / Solo Show / Togonon Gallery / San Francisco CA
2000 Truth or Lies / Triton Museum / Santa Clara CA
2000 New Works / Togonon Gallery / San Francisco CA
2000 Drawing on Diversity / Attorney General Office / CA Arts Council / Sacramento CA
2000 12 Artists / Barton Gallery / Sacramento CA
1999 Of the Heart / East Sac Art Garage / Sacramento CA
1999 Group Show / East Sac Art Garage / Sacramento CA
1997 New Studios Exhibition / Brooklyn NY
1997 Finalists Exhibition / Little Big Horn National Monument / LBHNM MO
1997 Taste of Asia / Cast Iron Gallery / New York NY
1997 New Acquisitions / Center of The Arts / NYC
1996 Material-Immaterial / CSU Stanislaus Art Gallery / Turlock CA
1996 Wakayama Print Biennale / Museum of Contemporary Art / Wakayama JPN
1994 2nd Kochi International Exhibition of Paintings Univ of Tokyo / Tokyo JPN
1993 Art in a Vacumn / Modesto CA
1992 The Print Club 67th International Annual Exhibition / Philadelphia PA
1991 Parkside 6th National Small Print Exhibition/ Univ. Wisconsin / Kenosha WS
1991 Eye on Society Print Symposium / San Francisco CA
1989 BaCa 4th Annual National Exhibition / Berkeley Art Center / Berkeley CA
1988 Stockton National 88 / Haggin Museum / Stockton, CA
1986 Pacific Prints Biennale / Stanford University / Palo Alto CA
1985 16th National Works on Paper / Minot State University / Minot ND
1985 LAP Society Invitational / UCLA / Los Angeles CA
1982 Peninsula Art Association “Works on Paper” / SCAC / San Carlos CA
1980 2nd Annual Works on Social Imagery / UC San Francisco / San Francisco CA
SELECTED AWARDS
1996 Purchase Award / Museum of Contemporary Arts / Wakayama JPN
1994 Purchase Award / 2nd Kochi International Exhibit of Paintings / Tokyo JPN
1992 Purchase Award / The Print Club 67th Intern/ Annual Exhibit / Philadelphia PA
1989 Purchase Award / BaCa 4th Annual National Exhibition 89/ BaCa / Berkeley CA
1986 Purchase Award / Pacific Prints Biennale/ Stanford University / Palo Alto CA
1985 J. Burstein Memorial Award / LAP Society / Los Angeles CA
1982 Purchase Award / Art Association/ Works on Paper / SC Art Center / San Carlos CA
1980 Purchase Award / International Print Symposium / CSUF / Fresno CA
SELECTED REVIEWS AND PUBLICATIONS
2001 Art in America Artists to be seen / Berin Golonu /Art in America / NYC
2000 What Really Remains /Berin Golonu / Art Week / San Francisco CA
1998 Lasting Sands / American Asian Poets / Harcourt and Baines / NYC
1997 The Epiphany / NYU Publication /NYC
1996-92 Penumbra / CSU Stanislaus Publication / Turlock CA
1991-88 Amapola / CSU Stanislaus Publication / Turlock, CA
1986 California Printmaking Society / San Francisco CA
David Olivant
The exchange between the sculptural and the pictorial elements in my art might be a metaphor for contact between seemingly alien worlds. This contact can be casual, causal, formal, conversational, oppositional, sexual, hyper-sexual, coital, post-coital, sensational, inquisitorial, suppositional, eschatological, critical, hypocritical, lyrical, tragical, comical, pastoral, comicalpastoral, comical-pastoral-historical …
This quasi-meteoric impact has caused significant sedimentary slippage and upheaval, the rupturing of the picture surface and its representational scaffolding and the fracturing of sculptural volumes. In some works the sculptural fragmentation is pre-empted and the figures are hatched already buckled or dismembered, as if salvaged from some previous collision to be spliced into new sequences.
This fragmentation has yielded additional layers of metaphor that improvise on the dominant theme of collision and contact. The discrete pieces of which the protagonists are constructed are often themselves ripped untimely from a more functional context, whether as part of a hair dryer, Nerf gun, model railway, venetian blind, easel, cell phone, tree, piano keyboard, manual typewriter, pruning saw, spade, kettle, potato masher, Lego set, ceiling fan, curtain rod, sugar bowl, electrical conduit, bath mat, bicycle, candlestick, rotary saw, air-conditioning unit, slide carousel, chair leg, mixing bowl, irrigation system, picture frame, light fitting, head phones, river bed, rock face, own artwork, other’s artwork, wheeled cart, or dartboard. Thus any given part might function simultaneously as penis and venetian blind cord restrainer, human elbow and plastic plumbing pipe elbow, hairdryer fan and rotary paddle mechanism of steamboat, human torso and decorated glass light cover, copper piano wires and epaulette fringe, typewriter ribbon spool and human calf muscle.
This dense layering of metaphor has come to replace the eroded temporal narrative with a more spatial narrative and this is reflected in the fact that the main protagonists of any given piece tend to face outward at the spectator, tend to be less directly histrionic and less interactive with their co-conspirators. The mode of address is thus relocated directly towards the spectator’s world so that he or she becomes one more element or another series of fragments in this insane mosaic. The temporal narrative, the events narrative, the bed-time story is now usurped by the interplay of metaphors, the way in which components whether solid or flat which function as fragments of a figure or a building also tend to retain their own identity as shell, wheel, sugar bowl lid, dartboard or cell phone circuit board while also suggesting a range of secondary identities, shell-ear-vagina, wheel-planet-calf muscle, sugar bowl lid-bra cups, cell phone circuit board, high-rise building etc.
The primary discursive thrust is now emphatically in and out, forward and back (not top to bottom or left to right). It unfolds between the pictorial surface and its implied penetration “back” into illusory space and its actual penetration “out” into real space. These dimensions are fused because the pictorial fragments engage with the sculptural fragments which engage with the implicitly fragmented audience, who themselves engage with these elements in an endless but fragmented loop. Lots of engagement here…
Black as the Ace of Spades, 2013, mixed media on wood, 36.5” x 22”
EDUCATION
1984 M.A. Painting. Royal College of Art, London/UK
1977 B.A. Art. Falmouth School of Art, England/UK
AWARDS
1989-90 British Council travel award, Stockholm/Sweden
1986-88 Commonwealth Scholarship, Lalit Kala Akademi, New Delhi/India
1984-85 Cheltenham Fellowship, England/GB
SOLO EXHIBITIONS
2011 Narrative Drift. First Street Gallery, Humboldt State University, CA/USA
2010 Studio Leitmotifs. Robert V Fullerton Museum, California State University, San Bernardino/USA
2008 Cadenza. University Art Gallery California State University Stanislaus/USA
2007 Cadenza. Janzen Galerie, Wuppertal, Germany.
Ceramic Sculptures. Vergas Gallery, Mission College, Santa Clara /USA
Those Images That Yet…, Truckee Meadows Junior College, Reno/USA
2001 Towards the Door We Never Opened, University Art Gallery, California State University Stanislaus/USA
1999 World Not World, Fresno Art Museum, California/USA
1996 University Art Gallery, California State University Stanislaus/USA Art Heritage Gallery, New Delhi/India
1994 Watercolors from the Aspen Series, Stephen Solovy Fine Art, Chicago/USA
1992 Stephen Solovy Fine Art, Chicago/USA
1991 Stephen Solovy Fine Art, Chicago/USA
1990 Center for International Contemporary Art, New York/USA
1987 Art Heritage Gallery, New Delhi/India
SELECTED GROUP EXHIBITIONS
2012 CSU Stanislaus Art Department faculty exhibition, Carnegie Art Center, Turlock CA
2010 California State University Stanislaus Faculty Exchange Exhibition, First Street Gallery, Humboldt State University/USA
2008 International art fair, art Karlsruhe, Karlsruhe/Germany (represented by Janzen Galerie,Wuppertal)
2002 Art Department Faculty: Valley View, University Art Gallery, California State University Stanislaus/USA
1999 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
1997 Two From Britain, California State Polytechnic, Pomona Art Gallery/USA
1995 Archer M. Huntington Art Gallery, University of Texas, Austin/USA
1993 Haggerty Art Museum, Marquette University, Milwaukee/USA
1990 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
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
Daniella Walsh, “Romantic Visions for Modern Times,” Orange County Register, March 1, 1998
CURATORIAL EXPERIENCE
1999-2000 “Last Dreams of the Millennium” Group exhibition of contemporary British art in the collection of the Stephen Solovy Foundation. CSU Stanislaus, CSU Fullerton, Tyler Museum of Art, Texas, Art Museum of Hawaii, Honolulu
CATALOG ESSAYS
“Ambadas” Published by CSU Stanislaus 1998
“Last Dreams of the Millennium” Published by Stephen Solovy Art Foundation 1999
“Ranbir Kaleka: Ironist of the Imagination.” Published by Bose Pacia Gallery, New York, 2005
“Sophie Chardonnet” Published by Art Vietnam Gallery 2006
“Life Games” Published by CSU Stanislaus 2008
“Gordon Senior: Tools of Unknown Use and Other Works” Published by Humboldt State University 2008
REVIEWS OF OTHER ARTISTS
“Multiplying the Variations: David Olivant on Robin Hill,” artcritical.com 2006
“Standing On Earth: David Olivant on Gordon Senior”, artcritical.com 2006
“Eleanor Wood- mixed Media on Paper: David Olivant on Eleanor Wood” artcritical.com 2007
“David Olivant on Takashi Murakami at the Geffen” artcritical.com 2008
“Joan Moment @ Limn and JayJay” squarecylinder.com 2009
“Picking up the Pieces” David Olivant on Julie Heffernan, artcritical.com 2010
Ellen Roehne
Although much of my work is comprised of a variety of media there is a common thread of the narrative throughout. For me, the act of creating art is a connection- to the past, to nature, to others, to beauty and to spirit. The art work is the story, however obscure, that ties these elements together, weaving pieces of my life in a collection of visual stories. Finding beauty in the small insignificant things, living with a sense of awe and gratitude at the infinite potential of nature- in essence to see the world with the eyes of a child, that is my goal as an artist. These common human experiences inform the content of each piece of artwork. I strive to make work that resonates with viewers, giving each piece a presence beyond the physical limitations of the materials.
Head Over Heel, 2012, mixed media, 2” x 5.5” x 1”
EDUCATION
1998 John F. Kennedy University, Berkeley, CA, M.F.A.
1993 California State University, Chico, Chico, CA, B.F.A
1987 Romerike Folkehoyskole, Jessheim, Norway, Mixed Media Studio Art
TEACHING
2003-present California State University, Stanislaus, Turlock, CA- Adjunct Professor in Studio Art
2002-present The Chartreuse Muse Art School, Modesto, CA- Art Director/Instructor
2000-present Lakewood Elementary School, Modesto, CA- Art Director/Instructor
2000-2003 Central California Art League, Modesto, CA- Art Director/Instructor
2000-2003 California Arts Council, Stanislaus County, CA- Artist in Residence
1999-2000 Modesto High School, Modesto, CA- Visiting Artist
1999-2000 La Loma Junior High School, Modesto, CA- Visiting Artist
1998-2003 STARS, Stanislaus County, CA- Artist in Residence
1998-2000 Modesto Junior College, Modesto, CA- Community Education Art Instructor in Ceramics, Painting, Drawing, Mixed Media Sculpture, Bookmaking
1998-2000 Guardian Rehabilitation Center, Modesto, CA- Art Instructor
1998 Harvey Milk Center, San Francisco, CA- Art Director/Instructor
1996-1998 LEAP, San Francisco, CA- Artist in Residence
1994-1998 Katherine Michael’s School, San Francisco, CA- Art Director/Instructor
SOLO EXHIBITIONS
2007 “Lost and Found” University Art 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 COLLABORATIVE EXHIBITIONS
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 “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
SELECTED GROUP EXHIBITIONS
2012 “The Many Faces of Clay” Mistlin Gallery, Modesto, CA
2010 “Pets and Their People” The Chartreuse Muse Gallery, Modesto, CA
2009 “Games People Play” The Chartreuse Muse Gallery, Modesto, CA
2008 “Beauty for Ashes” The Chartreuse Muse Gallery, Modesto, CA
2006 “Spring” 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
2003 “Beginnings” The Chartreuse Muse Gallery, Modesto, CA
2002 “Grand Opening” The Chartreuse Muse Gallery, Modesto, CA
SELECTED PUBLIC ART WORKS
2000 “Wood Sculpture Garden” Stanislaus County Fairgrounds, Turlock, CA
2000 “Dutcher Dophins” Stanislaus County Arts Council Mural, Dutcher Elementary School, Turlock, CA
2000 “Y 2 Kick the Habit” Project Alive Mural, Modesto High School, Modesto, CA
1999 “Don’t Let Your Life Go Up in Smoke” Project Alive Sculpture, Modesto High School, Modesto, CA
1999 “Don’t Smoke” Project Alive Mosaic, La Loma Junior High School, Modesto, CA
1999 “Summer” Central California Art League Mural, Modesto, CA
1999 “Through the Eyes of a Child” STARS Mural, Julien Elementary School, Modesto, CA
1998 “Our School” LEAP Mural, John Yehall Chin Elementary School, San Francisco, CA
GRANTS/AWARDS/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
1986 First Place Drawing, Tehama County Art Competition, Red Bluff, CA
1977 First Place Easter Design, Hallmark, Red Bluff, CA
SELECTED BIBLIOGRAPHY
2009 “Their Own Muse: Gallery Owners Show Their Works” The Modesto Bee, September 11, 2009
2008 “Beauty for Ashes” Lifewind Publications, October 2008
2007 “Lost and Found” Exhibition Catalog, California State University, Stanislaus, Turlock, CA
2005 Pethoud, Kathi. “Gallery Has Had a Hand” The Modesto Bee, October 2, 2005
2005 Millegan, Lisa. “The Chartreuse Muse” The Modesto Bee, September 16, 2005
2003 Hill, David. “A Work of Art for Trio” The Modesto Bee, February 2, 2003
2002 Millegan, Lisa. “Downtown Modesto” The Modesto Bee, December 22, 2002
2001 Stutzin, Leo. “Outside the Box” The Modesto Bee, October 5, 2001
2001 “Three Women Sculptors” TalkArts, Summer 2001
2001 “Artist’s Reception” Turlock Journal, July 27, 2001
2000 Holmes, Mark. “The Arts in Education” TalkArts, Winter 2000
2000 Flanders, Juline. “Artist in Residence” TalkArts, Winter 2000
2000 “Recycled Art Treasures Abound” TalkArts, Summer 2000
2000 “Art Show” Turlock Journal, April 19, 2000
Tinna Harter-Savini
The works offered here demonstrate my continued interest in trying to make visible the ethereal topics that present themselves just beyond the ‘seen’ world. These explorations are enabled by the use of a consistent format which relies on the well-established art historical tradition of the horizontal orientation of an image as being used to represent landscape, while the use of the vertical orientation would be indicative of portraiture, or a human presence. While the format provides a consistent orientation for the work, the images are begun in various ways. I use still life objects, or natural landscapes as the concrete forms from which I deviate and develop an image through an organic process of evolution and abstraction. At other times, the images begin as marks, colors and shapes that have no external source of direct observation. Relying on the formal orientation of an image allows a certain aspect of the content to be found in the format itself, easing the way for making the pictures from less concrete source material, while still making them legible with one’s modest understanding of visual traditions and precedents.
With this notion of the format and process in mind, previous works have been made of a diptych, ‘combination format’, meaning that I use two images, side-by-side, adjoining them to create a single finished work. By juxtaposing images in this way, the content of an individual image is expanded to culminate in a more complex relationship between the parts and the whole, including a metaphorical meaning of the ineffable in the human spirit and form, so often portrayed in religious iconography of earlier centuries. The metaphorical allusion to the iconography that had been influencing my work became more obvious when the pictorial field (literally) rotated, and the previously either horizontal or vertical formats became both, forming equilateral cross shapes.
Torchlight Red on Sweaty Faces is a recent work whose title attempts to suggest the mysterial place from whence the image came. The words of the title are taken from a T.S. Eliot poem which in the appropriation of it, as well as the creation of my other titles, I hope to orient the viewer to the visual, and hidden connections between the colors (and their associations), the format (and its implications) and the imagery (so surreal and abstract) so that the image feels experiential and not literal, akin to the way that poetry speaks of real things that are not the literal words written. “Torchlight….” began as a single picture that was divided, rotated and reunited to form the equilateral cross whose limbs reach side to side (or east to west) and whose ‘trunk’ reaches heaven to earth (or north to south). Despite the emphatic nature of the cross shape these works are not meant as literally religious images except in the broadest sense of the mystics or pilgrim’s path; a path of hide and seek that moves in and out, up and down as it records the journey of trying to unite the human soul and body, as well as the alchemy between such disparate things. Though the images use the visual vernacular of ‘abstraction’, I do not consider them solely ‘abstract’ because they are not derived from a specific form or idea that progressively transforms to something other than its source. The images are ‘real’ as emergent evidence of journeys taken.
In the newest work, the format has become less emphatic than the equilateral cross, but there is still intention in my associating the three-paneled-pieces with the visual and contextual tradition of Christian iconography. The triptych panel structure is a traditional form that supports a way of reading an image that includes a central focus and supplemental content that is general, yet particular when in the context of its parts. I am using this traditional format as one to orient and reference meaning in how parts relate to the whole, and how ‘between’ those things our experience of them is known. For example, Kronos Corona is an image of three parts, whose two word title is meant to suggest a context for seeing that is simultaneously concrete (the Titan time) and fugitive (an aura of plasma), as we experience it visually.
Torchlight Red on Sweaty Faces, 2012, graphite and pastel on paper, 12.5” x 12.75”
SELECTED EXHIBITIONS and REVIEWS
2012-14 Faculty shows at CSU Stanislaus, Modesto Junior College
2013 Group Show Carnegie Center for the Arts
2010-11 University Advancement Office, CSU, Stanislaus, Turlock, CA
2010 Group show, Modesto Junior College, Media & Performing Arts building, Modesto, CA
2010 Faculty Show, Modesto Junior College, Modesto, CA
2010 Biennial Alumni Exhibition, CSUS, Turlock, CA
2010 Spring Juried Turlock City Arts Commission, Jury Awarded prize for drawing
2010 Two Person Show, MJC ART Gallery, Modesto, CA, Drawings shown
2009 Group Show, Annual Miniatures, First Street Gallery, Turlock, CA
2009 Faculty Exhibition, Modesto Junior College, paintings and drawings shown
2009 Artist’s Retreat /Conference, S.N.A.R.L., Mammoth Lakes, California
2009 Group show, Gallo Center for the Art, Modesto, California
2009 Spring Juried Turlock City Arts Commission, Jury Awarded prize for drawing
2008 One person Show Mariposa Wine Company, Madera, California, Paintings shown
2008 Group show, Turlock City Arts Commission, Jury Awarded prize for pastel drawing
2007 First Street Gallery, group show, drawings shown
2007 Group show/Drawing donation to city of Turlock Arts Commission
2006 Faculty Exhibition, Modesto Junior College, paintings and drawings shown
2005 ‘Artist Savini Creates Definition in Abstract’, Feature Article by Lisa Millegan, Modesto Bee
2005 Solo Exhibition, Mistlin Gallery, Modesto, California
2004 Faculty Exhibition, ‘Valley Views’, University Art Gallery, Turlock, CA
2004 Group Exhibition, California State Fair, ‘Award of Merit’, Sacramento, California
2004 Invitational Group Exhibition: ‘WORKS’ Gallery, San Jose, CA,
2004 Juried Group Exhibition: Carnegie Center for the Arts
2003 Artists’ High Sierra Pack Trip, Yosemite National Park, California
2003 Group Exhibition, California State Fair, Sacramento, California
2003 Group show, Hildegard Festival of Women in the Arts, California State University
EDUCATIONAL PROFILE
College Degrees, Scholarships, & Awards
1996 Masters of Fine Arts, Pictorial Arts, San Jose State University
1996 Randall Sadler Scholarship, awarded by the San Jose State University
1996 Kathryn Carr Scholarship for Outstanding University Women, awarded by the Trustees of the California State University system, state-wide pool of applicants
1990-91 California State University, Stanislaus, Post-Graduate study in painting
1989-90 The University of Chicago, M.F.A. program, attended on tuition scholarship
1989 Bachelor of Arts, Fine Art / Philosophy, Summa Cum Laude, California State University, Stanislaus, minor in Philosophy
1988-89 Leopold Schepp Foundation, National Scholarship Competition, awarded by essay & interview
1988 National Collegiate Art Merit Award, University faculty recommendation
1987 California State University, Stanislaus, scholarship award for academic excellence
1987 & 86 California State University, Stanislaus, Art Department Scholarship, awarded for outstanding artistic achievement
TEACHING and PRESENTATION
2014 Lecturer CSU Stanislaus; Art Appreciation, Modern Art
Adjunct Faculty Modesto Junior College, Drawing, Art Appreciation.
2013 Lecturer CSU Stanislaus; Art Appreciation
Adjunct Faculty Modesto Junior College, Drawing
2011 Mystical Roots of an Abstract Tree, Lecture Presentation
International Pen Women
2006-2011 Adjunct Faculty: Modesto Junior College, courses in Beginning Drawing
2009-2011 Adjunct Faculty: Modesto Junior College, taught courses in Art Appreciation
2006 “Visual Intelligence and the Sense of Art”, Delivered paper/lecture Symposium Art & Philosophy
2004-2005 Lecturer in Studio & Art History: Drawing – Composition, Introduction to Studio, Art Appreciation, Fine Arts (Interdisciplinary Lecture: Art, Music, & Theatre)
2003-2005 Adjunct Faculty: Modesto Junior College, courses in Beginning Drawing
2002 Guest Lecturer, College of the Sequoias
2001 International Society of Pen Women, Featured Speaker
1999 Lecturer: Art History, California State University, Stanislaus
1996 Lecturer Position, School of Art & Design, California State University, San Jose, Studio courses on Color- practical and theoretical aspects (Spring and Fall)
PROFESSIONAL/ PERSONAL DEVELOPMENT ACTIVITIES
2013 Silent Retreat; Entering the Mind of Christ, with James Finley, PhD, Los Angeles, CA
2012 CMED, Studies in Human consciousness and Archetypes with Caroline Myss
2011 CMED, Studies in Human consciousness and Archetypes with Caroline Myss
2011 Silent Retreat, Contemplative Healing, with James Finley
2010 Silent Retreat, Following the Mystics Through the Narrow Gate, with James Finley, PhD, San Damiano, Auburn, California
2010 Silent Retreat, Following the Mystics Through the Narrow Gate, with James Finley, PhD, San Damiano, Danville, California
2009 Conference on Spanish Mystics in Avila, Spain. Visit the Prado Museum, Thyssen-Bornemisza Collection, Museo Reina-Sophia.
2007 Research, travel in Rome and Sicily, Italy. Visited Greek temple sites, archeological sites, Byzantine churches, catacombs, Vatican Museums etc.
2006 Research & Drawing in Italy
Gordon Senior
Much of my work has been stimulated by my relocation from England to California. Recently pieces have evolved from installations of multiple units, to a series of smaller more unified sculptures. Though I am still preoccupied with journeys, voyages, and migration, now maps, animals, birds, butterflies and snails appear frequently, and titles such as Journey into Landscape and Migration, give insight into the central themes.
There is a sense of autobiography with evocations of the brown hare, along with other indigenous British fauna, standing for self. New explorations of migration in more general terms, as a biological and sociological phenomenon, are also suggested,
A series of new sculptures explores contrasting materials: Redwood is placed next to sandstone and alabaster, cast plaster, and layers of plywood. These “journey” sculptures identify frozen moments in time and significant pauses in the migratory passage.
In other sculptures land is discovered, and here laminated plywood is laid down as strata representing cross sections of the earth itself. Promontories of Redwood and alabaster become mountains in one’s mind. It is as if the voyages have taken on a vertical as well as horizontal dimension, and as if the earlier concerns with just ‘getting there’ have given way to the geological issues of rumination on actually ‘being’ in a place.
Journey into Landscape 4, 2012, wood, alabaster and sky chart, 44” x 11” x 6”
SELECTED SOLO EXHIBITIONS
2009 Residency Exhibition, Cortijada Los Gazquez, Velez Blanco, Almeria, Spain. Butterfly World, MJC Gallery, Modesto, CA.
2008 Tools of Unknown Use and Other Works, First Street Gallery, Eureka, Humboldt State University, CA.
2007 Touching Earth, Rasmussen Art Gallery, Pacific College, Angwin, CA.
Standing on Earth, Truckee Meadows Community College, Reno, Nevada.
2006 Groundwork, Greenleaf Gallery, Whittier College, Whittier, CA.
2005 About this Earth, University Art Gallery, California State University, Stanislaus, CA.
Gordon Senior, Parks Exhibition Center, Idyllwild Arts, CA.
SELECTED GROUP EXHIBITIONS
2014 Inspired by Birds, Norwich Castle, Nowich, UK.
2013 Installations, Don Soker Contemporary Art, San Francisco, CA
Flight of the Spoonbill, Cley 13 Contemporary Art, North Norfolk Project, UK.
Art Auction 2013, Crocker Art Museum, Sacramento, CA.
New Acquisitions, Don Soker Contemporary Art, San Francisco, CA Origins, Elemental Forms in Contemporary Sculpture, Berkeley Art Center, CA.
PaperTtrail, JayJay Gallery, Sacramento, CA.
2012 In Praise of Collecting, Carmegie Arts Center, Turlock, CA.
A Celebration of the Myles Meehan Gallery, Darlington Arts Center, UK
Many Faces of Clay, CCAA Mistlin Gallery, Modesto, CA.
Gallery Artists, Don Soker Contemporary Art, San Francisco.
Art Auction 2012, Crocker Art Museum, Sacramento, CA.
SHINE, Berkeley Art Center.
2011 Connect and Collect, San Jose Institute of Contemporary Art.
40th Anniversary Exhibition, Don Soker Contemporary Art, San Francisco.
Art Auction 2011, Crocker Art Museum, Sacramento.
Faculty Exhibition , Faculty Development Center, CSU, Stanislaus.
Group Exhibition, Don Soker Contemporary Art, San Francisco.
2010 The Seventh Annual Miniature Show, First Street Gallery, Turlock, CA.
Faculty Exhibition , Faculty Development Center, CSU, Stanislaus.
Art Auction 2010, Crocker Art Museum, Sacramento, CA.
Salthouse 10, Landmark, Salthouse, Norfolk, UK.
Faculty Exchange Exhibition, First Street Gallery, Humboldt State University.
2009 Faculty Exhibition, Faculty Development Center, CSU, Stanislaus.
The Sixth Annual Miniature Show, First Street Gallery, Turlock, CA.
Art Auction 2009, Crocker Art Museum, Sacramento.
Newcastle Group, Northumbria University Gallery, Newcastle Upon Tyne, UK.
Faculty Exchange Exhibition Catalog, First Street Gallery, Humboldt State University, Arcata.
2009 Energy in the Air the Newcastle Group 1984-2009.
2008 Gordon Senior : Tools of Unknown Use, Humboldt State University, ISBN: 0-9802410-0-6
2007 Department of Art @ John Stewart Rogers Faculty Development Center, ISBN: 0-9773967-9-7
2006 Groundwork, Greenleaf Gallery, Whittier College, Whittier, California, ISBN 0-9773967-1-1
2005 About this Earth, University Art Gallery, Stanislaus State University, ISBN 0-9676803-7-9
SELECTED BIBLIOGRAPHY
2007 Review by David Olivant in art critical.com of Standing on Earth at Truckee Meadows Community College, Reno, Nevada.
2007 Review by David Olivant in Reviews Unlimited, Artists Newsletter, UK, of Standing on Earth at Truckee Meadows Community College, Reno, Nevada.
2001 Video interview The Hare, 2001, Directed by Mike Toll, Gysing Arts, Sufolk, UK.
2001 Video Down to Earth, 2001, Directed by Mike Toll, Salthouse Church, North Norfolk, UK.
2000 Drawing Connections, Kansas State University
SELECTED COMMISSIONS, RESEARCH AWARDS AND RESIDENCIES.
2009 Joya Residency, Cortijade Los Gazquez, Spain.
2008 Commisioned Sculpture of Eyemann Sculpture Garden, Idyllwild Arts, CA
2007 Research award CSU Stanislaus. Commision for NESsT.
2006 Commisioned Drawing for the Kaiser Permanente Medical Center, Modesto, CA Commision for NESsT Research award for collaborative international conference “Inspiration to Order”.
2005 Commision for NESsT.
ACKNOWLEDGEMENTS
California State University Stanislaus
Dr. Joseph F. Sheley, President
Dr. James T. Strong, Provost/Vice President of Academic Affairs
Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences
Department of Art
Dr. Roxanne Robbin, Chair, Professor
Dean De Cocker, Professor
Daniel Edwards, Assistant Professor
Jessica Gomula, Associate Professor
David Olivant, Professor
Gordon Senior, Professor
Richard Savini, Professor
Dr. Staci Scheiwiller, Assistant Professor
Meg Broderick, Administrative Support Assistant II
