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Joe Segura

Introspective Landscapes/Paisajes Introspectivos

 

September 29 – December 30, 2018
Art League Gallery
Reception: Friday, November 16, 2018  |  5:00 – 9:00 p.m.
Gallery talk about his work beginning at 6:15 p.m.

Joseph Segura is a dedicated independent and collaborative artist. A painter and printmaker, Segura sees his independent work as a visual contemplation of transitional moments in one’s life; as introspective landscapes exploring the power of form and color.

Artist Statement Excerpt:

Although I dislike labels, my work is informed in large part by being Latino-American. All of my grandparents came to the US from Mexico as migrant workers. Being a third generation Latino-American, I believe my art reflects a broad spectrum of diverse aesthetic possibilities. In an abstract way, my work exhibits my understanding of my position within the construct of the dominant culture. In my art, as in my life, there is tension between my Mexicanism and my Americanism.

Segura’s collaborative work has been exhibited widely, including The Tokyo Metropolitan Museum of Art, Tokyo; International Print Center New York, NY; Jane Voorhees Zimmerli Art Museum, Rutgers, The State University of New Jersey, NJ; Scottsdale Museum of Contemporary Art, Scottsdale, AZ; and The Des Moines Art Center, Des Moines, IA. His collaborative work is also included in the collections of numerous prestigious collections, including the Cincinnati Art Museum, Fine Arts Museum of San Francisco, Fogg Art Museum, Instituto des Artes Graphicas de Oaxaca, Metropolitan Museum of Art, National Museum of American Art, and the Walker Art Museum, among many others.

Segura was hired as the Master Printer for Arizona State University’s Print Research Facility in 1979. This extraordinary unit brought contemporary artists to the University to create works in a collaborative environment with the PRF staff, students, and faculty. Segura has always been drawn to the work of marginalized artists. Recognizing a void in the market, he created Segura Publishing Company in 1981, a place that would provide creative opportunities for underrepresented and minority artists. For over thirty years Joe Segura has collaborated with dozens of artists including: Luis Jimenez, Claudia Bernardi, Enrique Chagoya, Faith Ringgold, James Turrell, William Wegman, Luis Cruz Azaceta, Vik Muniz, and Luis Gonzalez Palma. These collaborative projects range from traditional stone lithography, to photogravure, collotype, wet-plate collodion, and documentary films.

He has dedicated his life to collaborative learning, art making, and teaching and in the process established access points into the traditionally homogeneous art world for artists and students to build diverse dialogues. As of 2016, The Smithsonian Institution for the Archives of American Art have contracted with Segura to collect his historical papers.

The web site for his work can be visited at joesegura.com.

The web site for Segura Arts Studio can be visited at segura.com.

Images: (Above) Joe Segura, Narcissa, 2018, Acrylic on canvas, 48 x 60 inches. (Below) Joe Segura, Hover, 2017, Relief print, 3 runs; 18 x 14.75 inches (paper), 13.5 x 12 inches (image).

 

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Sentient

Diane Christiansen Animations

Diane Christensen still image

July 14 – September 16, 2018
Project Room

Reception: Friday, September 7, 5:00 – 9:00 p.m.

Sentient highlights a small sampling of the animation work of artist Diane Christiansen. Animation is but one facet of her practice, at once responding to and informing her drawings, paintings, collaborations and music.

Artist Statement
With one eye on demonic spirits in Tibetan tantric painting and the other on Tex Avery’s Screwball Squirrel banging a perceived foe with a mallet, I have stumbled on a practice which allows me to mine humor and absurdity while honoring the themes of divinity in the ordinary and impermanence and the interconnectedness of all life. Drawing and painting are my primary navigational tools. From that ground animations and collaborative large-scale projects are developed. Increasingly collaboration and relationship are themes as well as methods of creation. The goal is to illuminate and celebrate the ridiculous impermanent and interdependent state in which we find ourselves.

Diane Christiansen is a visual artist and musician. Her art practice includes painting, drawing, animation and large-scale collaborative installations. Her work has been exhibited in her hometown of Chicago and in many cities all over the U.S. and abroad including New York; Los Angeles; Denver; Portland; New Orleans; Edinburgh, Scotland; and Ljubljana, Slovenia. Her animations have been screened worldwide. Most recently Christiansen collaborated with Jeanne Dunning to create BirthDeathBreath, an inflatable opera which premiered at the Elmhurst Art Museum followed by an exhibition at the Armory in Pasadena.

Christiansen received a B.A. from Grinnell College, an M.F.A. from the School of the Art Institute of Chicago, and an M.S.W. from Loyola University. In her spare time she is a psychotherapist in private practice focusing on individuals and couples.

Find out more about Christiansen and her work at christiansenstudio.com.

Image: Diane Christiansen, still image from Notes to Nonself, 2010, 3 minutes 35 seconds

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Voyage:The Art of Alan Larkin

April 21 – July 1, 2018
Art League Gallery

Reception: May 4, 2018 | 5:00 – 9:00 p.m.

Artist Talk: May 17, 2018 | 6:30 – 8:00 p.m.

About the Exhibition:

Alan Larkin conceives and constructs magical worlds. Not quite in the Academic tradition, nor fitting neatly into Realist, Magic Realist, Romantic or Pre-Raphaelite conventions, Larkin’s work blends qualities from all these genres. His paintings, drawings and prints embrace the dramatic spotlighting techniques of Dutch 17th Century painters; capture the mystery of the Magic Realists; and evoke the romance of the Pre-Raphaelites.

In Larkin’s still life work, a menagerie of characters, large and small, converge to tell a story, incite emotion, and bewitch the viewer. Walk into Alan’s studio and meet the extensive cast of small beings he has amassed to work with him, drawing forth the feelings, telling the tales, and setting the stages he envisions. Like the director of a movie, Larkin weaves an intricate plot: a head turn here, a shadow there, figures receding and advancing – playing their parts amidst a glory of color and light.

Larkin begins his still life paintings by first setting up the objects in a neutral staging area. Elaborate lighting, using color filters and multi-directional lamps, establishes the intended mood and becomes integral to the design. The tableau is then photographed by the artist, adjusted, and expanded with chosen backgrounds, patterns and details. This becomes the blueprint for the final painting, which is roughed onto the canvas and meticulously completed over a number of days or weeks. During this phase, the textures and surfaces emerge; a unique palette is developed; the composition takes shape; and the final splendor of the work unfolds.

An artist with highly developed draftsmanship skills, Alan Larkin’s ability to interpret and depict reality in any way he chooses is uncanny. Familiar objects take on new personas, becoming endearing or ominous when viewed in an altered scale and combined strategically with other out-of-context players in the drama. Surfaces become true to life: brass is brass, velvet is velvet, a bird wing is seemingly soft and downy to the touch.

Take for example, the painting, Voyage, in which a plaster bust of a young girl becomes the centerpiece of a reader’s fantasy. A sailing ship takes her out of place and time, along with her small, rapt companions. The scrupulous detail of the carvings on the mantle causes them to look like they will leap off and join the fun while also anchoring the viewer’s attention to the immediate foreground.

Wonderland finds another young heroine, in pink, wandering through an enchanted forest with her brass pig. Almost invisible, a woodland faerie emerges from the trunk of a tree. The painting is offset, both visually and narratively, by the benign (is it?) putto. The ambiguity of the scene invites the viewer to write the ending.

Larkin’s figural work is just as lovingly rendered as his multi-layered still lifes. Drawn from life, this body of work exhibits the same careful attention to light, palette and design. Often simpler in arrangement, the figurative paintings are no less evocative – emitting a sensuality and sense of peace, sometimes co-mingled with innocence and psychological tension. Witness the scene in the pastel, The Knife, in which the soft skin tones and gentle expressions of the young women stand in stark contrast to the looming menace of the clutched weapon.

In printmaking mediums, Larkin’s work also reaches a pinnacle. The etchings, for example, are complex narratives, drawn with masterful skill. Details are, quite literally, executed under a microscope, making each print a journey of discovery.

Alan’s love of craft and creation is evident in all his work, regardless of medium or subject, and the viewer is impelled to experience the joy, pleasure and drama of both the artist and the story he is telling. Skill, craftsmanship, brilliantly conceived compositions, complex lighting, stunning but unpredictable palettes, and, above all, keen intelligence, combine to produce exquisitely beautiful works of art which are highly original, contemporary and timeless.

Susan Visser
Executive Director
South Bend Museum of Art

Artist’s Statement:

I was a chemistry major when I went to college. I loved organic chemistry and was pretty good at math too, but I found myself spending more time in the studio than solving the problems from my text books. My father who was an artist had suggested that I take a drawing class, something that ultimately resulted in the big change that has eventually led me here to this series of pictures and this catalogue. The love of drawing eventually made me into an artist.

It was my father who had earlier introduced my brother and me to the history of art by taking us as kids to Europe on a tour of the major museums. My earliest inspirations came from historical rather than contemporary art. While my artistic trajectory has changed gradually, from the pursuit of the how to the search for the why, it has really been like falling in love over and over again, first with one thing and then with another. Though this has resulted over time in an eclectic merger of interests, it is one that has been carefully meshed into a consistent practice.

My mother was very influential too, by the way. My father made the art, but it was my mother who hung it up. My dad’s work was only a part of her art form. She was the aesthetic dictator of the home. If you were to boil down my mother’s theory of interior design, it would basically be that if you love a piece of furniture you ought to be able to include it in your house. The house was a destination for the fulfillment of a broad range of desires. As a metaphor for picture making her ideas resulted in my belief that simplicity in art is rather thin soup for the soul. Eclecticism good, minimalism bad. You could maybe love it but you couldn’t live in it.

I find that the contemporary obsession with politics in art is as tragic as contemporary politics itself. While I have strong political views, I find that many crucial issues are not as simple as the strident would have us believe. Political art just fuels the fire. This really isn’t the need that art should be meeting. Art should be more like food less like Fox News.

My exposure to science taught me to view art as a problem-solving activity. All my pictures are considered responses to visual problems. I like them to be rich in visual stuff and crafted with an eye to telling a good story. The best works ask people to search for interpretations but don’t put them out of reach. I strive to create pictures that are an emotional conduit. At their best they can be sad, brilliant or sensual, but always as complex as any human being. They might elicit a tear but not necessarily give you a pat reason as to why. Art, like writing about art, ought to be plain spoken enough that it rewards people who make the effort to understand.

Alan Larkin

His work may be seen on the web at www.alanlarkin.net.

Image credit: Alan Larkin, Voyage, oil on linen, 30″ x 40″

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Diffractions of Post-Humans

Benjamin Rosenthal and Katie Torn

Katie Torn Breathe Deep

April 14 – July 1, 2018
Project Room

Does the surface of our skin draw a line between us and the rest of the world? If we define that boundary we end up with an outline of a person. An outline that is created by gauging the difference between light and dark or one color and another, it is not something we can clearly state. The line does not exist in any material sense of the word. The boundaries we draw between us and them are only a result of repetition of cultural and historical representations that enable forces of domination and occupation—perpetuating centuries of inequity and marginalization that rely on outdated modes of addressing the body and the category of “human.”

Artists Benjamin Rosenthal (Kansas City, MO) and Katie Torn (Brooklyn, NY) create works that question the authenticity of these representations and breaks down binary ways of seeing. By displacing the hegemony of stable bodies and comfortable categories through the lens of animation and new media, these artists open up possibilities for new, hybrid and diffuse forms of representation, interaction and body-ness.

This exhibition is guest curated by Eric Souther (Mishawaka, IN). Souther’s work can be seen in the 2-person exhibition, Katie Duffy and Eric Souther: Agentive Valley, March 31–June 24, 2018.

Images (Above): Katie Torn, Breathe Deep (still image), 2014, single channel animation. Commissioned by the Denver Digerati. (Below) Benjamin Rosenthal, from this side of space to the other side of the signal (still image), 2017, HD video, analog video with 3D animation.

Benjamin-Rosenthal-still-image

Benjamin Rosenthal lives and works in Kansas City, Missouri, and holds an MFA in Art Studio from the University of California, Davis (2011) and a BFA in Art (Electronic Time-Based Media) from Carnegie Mellon University (2006). Rosenthal’s work examines the strategies of how we perform—the systems of control we establish and the way we negotiate our psychological, tangible and virtual positions. He questiona the emphasis placed on physical experiences as a measure of authenticity or intimacy in an age where the boundaries between physical reality and the virtual become nearly indistinguishable. Employing broader themes such as militarism, religion, queer sexuality, and technology, he challenges the changing condition of bodies and psyches as they collide within these dysfunctional atmospheres. To probe these questions Rosenthal often creates large scale, multi-screen video installations that oscillate between television monitors, electronic “warning signs,” and large-scale projections with intensely frenetic color, pattern and sound. At the core of his current research is an exploration of a new kind of queer “technosexuality.” The work he is producing questions the identity/experience in which the supremacy of physical body-to-body contact, virtual sexualities, and hybrid “techno-body sexuality” exists along a continuum of experience. In his most recent projects, virtual erotic situations ignore the role of genitalia in favor of metaphors for penetration via USB ports implanted in skins of invented characters. Hand and finger images perform the strange “stroking” of body-like images on the screen.

Rosenthal’s work has been exhibited internationally in such venues/festivals as the Stuttgarter Filmwinter (Stuttgart, Germany), High Concept Labs at Mana Contemporary (Chicago, IL), ESPACIO ENTER: Festival International Creatividad, Innovacíon y Cultural Digital (Tenerife, Canary Islands, Spain), FILE Electronic Language International Festival (São Paulo, Brazil), Vanity Projects (New York, NY), Locomoción Festival de Animacion (Mexico City, Mexico), CICA Museum (Gimpo-se, Republic of Korea), PLUG Projects (Kansas City, Missouri), the LINOLEUM Festival of Contemporary Animation and Media Art (Kyiv, Ukraine), and SIGGRAPH Asia (Bangkok, Thailand), among others. He has been in residence at the Fjúk Arts Centre (Husavík, Iceland), Signal Culture (Owego, New York) and the Ox-Bow School of Art (Saugatuck, Michigan). Currently he is a resident at the STUDIOS Inc. in Kansas City, Missouri. Rosenthal is Assistant Professor of Expanded Media in the Department of Visual Art at the University of Kansas where he has been since 2012, and teaches video art, performance art, experimental animation, graduate seminar and interdisciplinary practices.

benjaminrosenthal.com

New York-based artist Katie Torn integrates 3D computer graphics and video to model virtually simulated scenes out of the detritus of internet and consumer culture. Collecting discarded products and elements available online, Torn’s digital assemblages carry traces of past consumer eras and web browsing histories. Referencing 20th century investigations into pictorial space and representations of the body found in the Modernist traditions of Cubism and Futurism, Torn abstracts and mechanizes female forms to create fantasy worlds that could only exist in a digital realm.

Torn has exhibited her work at national and international locations including Wayne State University, Detroit, MI (2017); Arizona State University (2017); The MCA, Denver, Colorado (2016); Young Projects, Los Angeles, CA (2016); Künstlerhaus Bethanien, Berlin (2015); The Center for Contemporary Art, Tel Aviv, Israel (2015);  Art in General, New York (2015); Postmasters, New York (2014); Upfor Gallery, Portland (2014); MOMA PS1, New York (2014); Roots & Cultures Contemporary Art Center, Chicago (2013); MOCA, Los Angeles (2013); and Bitforms Gallery, New York (2013). She received her MFA from the School of the Art Institute of Chicago (2012). Torn was a 2013 Fellow at the Eyebeam Art & Technology Center, and a resident of LMCC Process Space on Governors Island in 2016.  Her most recent solo exhibitions include An Ocean Without Water at the Rocky Mountain College of Art + Design in Denver (2017), CO and her Low Tide at Upfor Gallery in Portland, OR (2017).

katietorn.com

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Katie Duffy & Eric Souther

Agentive Valley

March 31 – June 24, 2018
Warner Gallery
Reception: Friday, April 6, 2018
Katie Duffy and Eric Souther will participate in a gallery walk and talk, beginning at 6:30 p.m. in the Warner Gallery.

Duffy and Souther exhibition-image

The South Bend Museum of Art is proud to present, Katie Duffy and Eric Souther: Agentive Valley, the third in the SBMA’s Conversations series of exhibitions.

Technology in many ways works as an extension of ourselves, allowing us to offload memories, breach geographic boundaries, and traverse our world and galaxy with growing speed. As technology becomes more complex, the space between the digital and the physical continues to shrink, and unseen algorithms, codes and computer-based systems become ever more omnipresent in our daily lives and rituals. Popular dystopian-focused media depicts how this integration could lead to abhorrent consequences. Regardless of the outcome, technology will continue to evolve and alter the way we see and exist in the world.

Artists Katie Duffy (Chicago, IL) and Eric Souther (Mishawaka, IN) explore the agencies of digital intelligence and their interaction with the materials they use. Through video, digital fabrication, performance and new media, they bring to light the patterns, rituals and broad possibilities that exist in the space between the digital and the physical… the Agentive Valley. In this arena, the artists navigate topographies of varying realities in order to uncover a connective locus of individual and artificial intelligence. From this point, the artists begin to erode normative notions of what it means to be human.

Katie Duffy creates carnal and colorful transmedia mashups that protrude outside of easy definition and circle cheekily around deep issues of humanity. Drawing from an expansive and obsessively created “library” of code snippets and cad/cam forms, Duffy creates pieces that fuse the aesthetics of digital devices with anatomical forms. They have had recent solo exhibitions at Arlington Art Center Arlington, VA, and solo projects at Satellite Art Fair, Miami, FL. Recent group exhibitions of Duffy’s work include Vox Populi, Philadelphia, PA; School 33, Baltimore, MD; Space Camp, Baltimore, MD; and Hillyard Art Space, Washington, DC. Duffy is the founder of the Art + Code education initiative, Hack the Patriarchy, which was a 2016 Grit Fund Recipient. Duffy received their M.F.A. in Interdisciplinary Art from the Maryland Institute College of Art (2014), and is currently an Assistant Professor of Art and Technology at Northeastern Illinois University in Chicago, IL.

ktduffyprojects.com

Eric Souther is a video and new media artist whom draws from a multiplicity of disciplines, including anthropology, linguistics, religion and critical theory. These investigations coalesce into works where ritual, materials, and technological assemblages form emergent systems. His work has been featured nationally and internationally at venues such as the  Museum of Art and Design, New York, NY; Everson Museum of Art, Syracuse, NY; and the Museum of Art, zhangzhou, China. His work has been screened in The Athens Digital Arts Festival, Athens, Greece; Cronosfera Festival, Alessandria, Italy; the Galerija 12 New Media Hub, Belgrade, Serbia; and the Simultan Festival, Timisoara, Romania. In 2016, Souther won the Juried Award for Time-Based at the international art competition, ArtPrize. He received his M.F.A. in Electronic Integrated Arts from Alfred University (2011) and is currently an Associate Professor of New Media at Indiana University South Bend.

unseensignals.com

The Conversations series of exhibitions pairs a regional established artist with an established artist from outside of the South Bend community. It sparks discussion between the work of the two artists – examining parallels and dissonances, and provides an opportunity to exhibit some of the strongest artists working today, in the region and nation. Taking full advantage of the expansive Warner Gallery, Conversations also encourages artists to show larger, more ambitious work than might be possible in smaller gallery spaces.

Images:
(left) Katie Duffy, Hard C, Custom code, PLA, power strip, USB cable, LEDs, dimensions variable
(right) Eric Souther, still image from Search Engine Vision “ISIS”, single channel video, 2016, 6min 31sec, 1920 x 1080 HD

Accommodations generously provided by:

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2017 College Residency Exhibition

March 31 – May 6, 2018 | Jerome J. Crowley Community Gallery
Reception: Friday, April 6, 2018 | 5:00 – 9:00 p.m.

In the summer of 2017, the SBMA hosted a program that gave artists the opportunity to experience teacher training, arts administration and community art projects.  This year, the program focused on three fellows who worked with our curatorial and education staff.  As part of this program, the artists each contributed 8-10 volunteer hours per week (over a twelve week period) and gained valuable experience through their work with the museum’s summer programming. This exhibition features the work of Katherine Elliott, Andrea Herrick and Kolton Sizer.  The work in this exhibition is representative of both the fellowship and work created up to the exhibit.

The Summer Undergraduate Residency Program offers a unique opportunity of self-direction for fine arts majors enrolled in area Indiana university or college art programs. The program offers studio space, as well as a series of critiques, workshops, and volunteer opportunities to local college students. College residents work with members of our curatorial and educational staff. Additionally, a residency mentor provides focused conversation in a challenging environment. Residencies last during the summer months of June, July, and August. At the completion of the residency, participating students and residency mentor are awarded an exhibition in our Community Gallery the following February.

Image credit:

From left to right:

Kolton Sizer, Oracle, 2017, Monotype, 22 x 28″ (detail)
Andrea Herrick, Summer Song, 2016, Silkscreen on handmade abaca paper, 6-1/2″ x 9-1/2″ (detail)
Katherine Elliott, History Repeated: The Armenian Genocide and Yazidi Genocides, 2017, Oil on canvas, 48 x 108″ (detail)

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Festival of Banners
Out Of This World!

Festival of Banners

 

Now in its eleventh year, the Festival of Banners promotes art in the community by bringing art to the public, and providing an excellent venue for artists of all ages and skill sets.

This year’s theme, Out of This World! Planets and moons, stars and comets! Unexplored nebulas and galaxies far away, rockets, satellites, telescopes, and rovers we’ve sent to see the universe. Look at some of the amazing data they’ve sent back, or just use your imagination, to explore all things Out of This World! We can’t wait to see what you create! All entries must be your own design. Works will be selected based upon creativity and how well the theme, Out of This World!, is explored and expressed.

Three age categories–youth, teen, and adult–allow fun for all. Designs are submitted small scale on paper. Jurors select designs based on creative interpretation of the theme, and use of color, pattern and line; the artists are then invited to paint their design on a 2 x 4 ft banner in the SBMA painting studios during the months of June and July.

All designs & entry forms must be submitted to the  museum office no later than 5:00pm, April 23, 2018.

For submission details download our entry brochure here (pdf):
Festival of Banners entry brochure

Submission details for Educators here (pdf):
Festival of Banners Educator submission information

Jurors’ Choice Awards are designated for three categories: youth, teen and adult:

1st Place: $100 cash, 1 year SBMA membership, 1 free art class
2nd Place: $50 gift card,1 year SBMA membership, 1 free art class
3rd Place: $25 gift card, 1 year SBMA membership, 1 free art class

An awards ceremony and unveiling of the banners takes place  in August of 2018 (TBA), then the bannersfly high for two months in downtown South Bend for the whole community to enjoy!

If you have any questions, please contact Curator of Education, Christyn Overstake at overstakec@southbendart.org or 574.235.9102

This community focused project is brought to you by the South Bend Museum of Art with support from patrons Jerry Thoma and Meg Auth and Jack and Yumiko Champaigne.  

Special thanks to the City of South Bend, Downtown South Bend, Inc., and The Art League for partnering and helping to facilitate this public art project.

 

  city seal sbma   DTSB_No Text processblue-2955 _________________________________________________________________________________________

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Brooke Thiele

A Fall to a Sea Called Home

Thiele-Sea-Detail

February 3 – April 8, 2018
Project Room

A Fall to a Sea Called Home explores artist Brooke Thiele’s identity and heritage through pansori, a traditional Korean musical storytelling form. An excerpt from a larger epic-in-progress, this installation reveals layers of her story at various intervals, creating a multi-sensory and immersive experience.

Brooke Thiele is an animator, performance artist, and filmmaker. She was born in Teague, South Korea, and adopted at 9 months old by a family from Green Bay, Wisconsin. In 2004 she earned a BFA from the School of the Art Institute of Chicago, followed by an MFA in film from the University of Wisconsin-Milwaukee in 2007. Since then she has been a lecturer at UW-Milwaukee in the Film, Video, Animation and New Genres department. Thiele’s work spans several mediums including animations, performance art, even cake, and her themes generally explore the concepts of identity, the perception of memory and nature.

Find out more about Thiele and her work at brookethiele.com.

Image: Brooke Thiele, A Fall to a Sea Called Home, installation detail

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Scholastic Art Awards 2018

February 2 – March 10, 2018
Warner and Jerome J. Crowley Community Galleries
(Museum hours: Wednesday – Sunday, noon – 5:00 p.m.)

Meet Me in the Gallery Opening Reception: Friday, February 2, 2018 5:30 – 9:00 p.m. | Warner Gallery

Awards Ceremony: Sunday, February 4, 2018
Century Center | Convention Hall A
1:30 p.m.: Junior High  |  2:30 p.m.: Senior High

For more than 90 years, The Scholastic Art & Writing Award program has sought to encourage, foster, and reward creativity in our nation’s classrooms and to confer recognition on emerging talent. Our region, which covers 18 counties, has participated for decades, beginning in the Tea Room of the former Robertson’s Department Store in downtown South Bend. L.S. Ayres hosted the exhibition until the South Bend Museum of Art became involved.

The South Bend Museum of Art is now the affiliate for the Scholastic Art Awards’ Northwest Indiana and Southwest Lower Michigan Region. This region includes the following counties: INDIANA counties of Benton, Cass, Elkhart, Fulton, Jasper, Kosciusko, Lake, LaPorte, Marshall, Newton, Porter, Pulaski, St. Joseph, Stark, White; and MICHIGAN counties of Berrien, Cass and St. Joseph.

The Scholastic Art Awards represents the most comprehensive national annual assessment of the creative spirit among American teens. Three core values have not changed since The Awards inception: freedom of expression, a blind adjudication process, and work criteria based on originality, technical proficiency, and emergence of personal voice. Students in seventh through twelfth grade submit digital images of their work, which is juried by more than 50 jurors solicited from the local arts and education community. A process of “blind adjudication” is used, whereby judging is determined on a merit basis with only the art object under review, without any knowledge as to student identity (gender, race, background, etc.). Jurors are instructed to select artwork that excels in 1) Originality, 2) Technical Skill, and 3) Emergence of a personal vision or voice.

Regional awards are given in several categories:

• Gold Key: The highest level of achievement on the regional level.
Approximately 5 – 7% of all regional submissions are recognized with Gold Key Awards and all are considered for national-level recognition.

• Silver Key: Approximately 7 – 10% of all regional submissions are recognized with Silver Key Awards.

• Honorable Mention: This Award recognizes students with artistic potential. Approximately 10 – 15% of all regional submissions receive Honorable Mention Awards.

• American Vision & Voice Nominees: Five works are selected out of all Gold Key works (across categories) as the “Best of Show” for each region.

Digital images of all of our GOLD KEY Awards are sent on to National Adjudication in New York City. Award recipients at the national level are invited to participate in the Awards Ceremony held in New York City at Carnegie Hall, have their work shown in noted galleries, attend workshops, be considered for scholarships, and have their names included in the New York Times article covering the Scholastic Art Awards.

The SAA competition has strong positive impact in our community, showcasing the vast talent in our region, not only the talent of the students, but of the teachers and mentors who work with them to assure their excellence. Many young artists who have gone on to highly productive careers in the arts have received their first encouragement and recognition through the SAA program, which bolstered their confidence to pursue their dreams.

SAA is also the most heavily attended exhibition in the SBMA annual schedule (about 5000 visitors annually) and is intrinsically connected to our mission of supporting arts education for youth. There is not a single arts program for high school and middle school students which has the broad reach or lifelong educational impact of the Scholastic Art Awards and SBMA is committed to working with the local SAA board to keep it alive and vibrant in our region.

Presented by

Scholastic Art AwardsThe NW Indiana & Lower SW Michigan Region of the Alliance for Young Artists & Writers
South Bend Museum of Art and Friends of Scholastic Art Awards

Congratulations to the 2018 Scholastic Art Award Recipients!

Click here for a list (pdf) of the individual awards.

Learn more about the Scholastic Art Awards!

Support the Scholastic Art Awards!

Donate today!

Scholastic Art Awards: South Bend Museum of Art
2017-18 Donors as of January 29, 2018:

Foundations & Major Contributors
Stanley A. and Flora P. Clark Memorial Community Trust Foundation
Jack & Yumiko Champaigne
Macy’s
South Bend Art Center Foundation
Walmart, Goshen, IN
Zilky Charitable Trust

Organizations, Corporations & Award Sponsors
Jim & Betsy Cooke
Docent Group of the South Bend Museum of Art and the Snite Museum of Art
Explore Media
Gurley Leep Automotive Family
Indiana Women’s Caucus for Art
Northern Indiana Artists
Northern Indiana Pastel Society
St. Joe Valley Watercolor Society
South Bend Hoosier Art Patrons

Visual Voices and Portfolio Award Sponsor
Department of Art, Art History and Design, University of Notre Dame

Scholarship Sponsor
Ernestine M. Raclin School of the Arts, Indiana University South Bend

In-Kind Sponsor
Ivy Tech Community College North Central

Contributions in Memory of June H. Edwards
Art League
Suzanne Cole
Phoebe Lykowski
Claudia Maslowski
Dr. & Mrs. J.R. Reineke
Mr. & Mrs. Richard Q. Stifel
Mr. & Mrs. Laurence Taylor
Susan Visser

Contributions in Honor of Lynda & Chuck Simon
Natalie & Paul Klein

Individuals
Mr. & Mrs. John Anella
Dr. Kay L. Antonelli & Mr. Charles Loeser
Sidney & Don Arenz
Mr. & Mrs. Edward Beatty
Mr. & Mrs. William Becker
Patricia Bellaire
Lynn Blue
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Mary Jane Buzolich
Judith Chase
Rabbi Karen Companez & Howard Steinberger
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Ron DeWinter
Sharon Donlon
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Betsy Fulnecky
Helen Geglio
Leslie Gitlin
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Steven A. Goldberg
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Jean Ketcham
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Ann Knoll
Brendan Kogiones
Charles F. Lehman
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Mr. & Mrs. Patrick McManus
William Randall Merryfield
Rose Marie Merz
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Ann Tideman
Brad & Katie Toothaker
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Mr. & Mrs. Erik Waelchli
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Thomas Werge
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Doreen Zisla
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The Scholastic Art & Writing Awards is generously supported by Scholastic Inc., the Maurice R. Robinson Fund, The New York Times, the Institute for Museum and Library Services, the President’s Committee on the Arts and the Humanities, Command Web Offset Co., the AMD Foundation, Blick Art Materials, the National Endowment for the Arts, 3D Systems, New York Life, Bloomberg L.P., Ovation, Amazon.com, the Jacques and Natasha Gelman Trust, the Bernstein Family Foundation, Duck Tape®, the New York City Department of Cultural Affairs, and contributions from numerous other individual, foundation, and corporate funders.

 

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Lisa Marie Barber

Neighborhood Garden


January 13 – April 8, 2018
Art League Gallery

Reception: Friday, March 2, 2018

For most of my professional career, I’ve created large-scale ceramic installations where passive figures occupy dense arrangements as if centerpieces to improvised shrines. While my aesthetic and process have stayed the same, I have cropped down the work over the years, making it easier to transport, install, and store—the mundane practicalities most artists have to consider. (And my getting older makes the change easier on my body!)

Regardless of size or medium—ceramic or fabric—my artwork is a reflection on life, home, gardens, peacefulness, playfulness, and celebration.

My aesthetic sensibility is rooted in Central American Folk Art and the Mexican Catholic shrines of my heritage and upbringing. For most of my childhood in Southern Arizona, this was the artwork I knew and I practiced making creations in similar ways. Whether it was through my novice interpretation or some forgotten informal training I received as a child, I came to believe that ornamentation and excess denoted value and importance. Materials weren’t required to be “fine” and tools were expected to be simple. Evidence of “the hand” (the maker) was never something to be self-conscience of or craftily removed. Throughout my life, I’ve remained loyal to this style of making.

My artworks, while not simple compositions, are simple in concept and method. At their heart, they serve as personal meditations on the ease, happiness, and beauty that outlines every day.

— Lisa Marie Barber, 2018

I was born and raised in Tucson, Arizona in a Mexican-American home. Like many artists, I made all sorts of creations for as long as I can remember, often inspired by the artwork of my heritage.

Before moving to Kenosha, WI in 2003 to begin my professorship at UW-Parkside, I lived in the California Bay Area where I taught ceramics and drawing at universities, art centers, and public high schools. I have always enjoyed teaching young artists while maintaining my studio practice. I am grateful to have an active career where I can do both.

While busy as the current chair of the UW-Parkside Art Department, I stay active in my studio and value being a practicing artist. My artwork has been featured in several publications including American Craft Magazine, Ceramics Monthly Magazine, 500 Figures in Clay, and multiple reviews. I exhibit my work nationally and have held Artist-in-Residence positions at the City University of New York-Hunter College in Manhattan, Northern Clay Center in Minneapolis, Watershed Center for Ceramic Art in New Castle, ME, and the Mendocino Art Center in Mendocino, CA. In addition to creating art, I am a passionate gardener and think of my garden as a living, interactive installation.

Learn more about Lisa Marie Barber at lisamariebarber.com

Image: Lisa Marie Barber, Girl, 2018, ceramic, 71(h) x 66(w) x 63(d) inches

Accommodations generously provided by:

 

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