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    Robert C. Shields American Series

    Highlighting the indelible ways in which the women of American Abstract Artists have, for more than eighty years, shifted and shaped the frontiers of American abstraction.

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Full Deck | A Short History of Skate Art

Full-Deck-images&titleAmerican Series 2011 | Warner Gallery

organized by Bedford Gallery at the Lesher Center for the Arts, Walnut Creek, California

October 1, 2011 – January 8, 2012

Opening Reception|Friday, October 7, 5:00 – 7:30 p.m.

Skate Day! | Sunday, October 16 | Noon – 4:00 p.m.

Featuring demonstrations by Don Pendleton, skater and graphic designer for the skateboarding industry

The SBMA’s 2011 American Series exhibition delves into contemporary American youth culture in a very real way, presenting an anthology of skate art from the 1960’s to the present. Over 300 skateboard decks borrowed from artists, skaters, and companies from across the country will be on display, along with dozens of photographs, other original artwork, videos, and related skate culture paraphernalia.

Full Deck was organized and curated by Carrie Lederer, Curator of Exhibitions and Programs at the Bedford Gallery, Lesher Center for the Arts, Walnut Creek, California and is traveling to museums, galleries and universities across North America.

Ms. Lederer states:

The multi-media skate art community fosters a highly unique blend of, painting, photography, video, music, stickers, magazines, and clothing – the ever-growing creative by-products stemming from this popular sport and alternative mode of transportation. The eye-catching images on the bottom of these skateboards are one of the purest forms of self-expression: highly personal and mostly created without artistic boundaries – just like skateboarding itself.

The skate artist’s aesthetic — raw, passionate, and personal — is energized by a devotion to the act of skating and a DIY embrace of skate culture … Since the first graphic was drawn onto a board, the culture of skateboarding has grown hand-in-hand with visual arts movements such as the Mission School, Pop Art, and graffiti. The skate culture’s embrace of individual style, approach, and intention is what continues to draw new skaters to this renegade art practice — a hybrid in a realm of its own. And like the inclusive surf community, skaters and skate artists span several generations.

The exhibition includes elegant one-of-a-kind hand-stained decks by Skip Engblom, co-founder of Zepher Skate Shop and profiled in the Hollywood film Lords of Dogtown. A collection of early boards, circa 1960, are on loan from pro skater Sam Cunningham, as well as a broad range of now rare commercial decks (Element, enjoi, Krooked, etc.) from the collection of Mark Whiteley, Editor of SLAP magazine in San Francisco. Jason Strubing, owner of Skateworks in Santa Cruz, also contributed a large selection of significant and historic decks from his collection. Metro Skate (Pleasant Hill), StreetCorner Skate (San Francisco), and Thrasher magazine (San Francisco) also loaned skate art to Full Deck. Nationally known pro skater Corey Duffel contributed selections from his private collection. A selection of skate photography by Bryce Kanights, Tobin Yelland and others will also be on view.

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We Are the Ship: The Story of Negro League Baseball

Original Paintings by Kadir Nelson
2012 American Series Exhibition | Warner Gallery

Tour Management by Smith Kramer Fine Art Services, Kansas City, Missouri

September 15 – November 11, 2012

WeAreShip3Web-1

“We are the ship, all else the sea.”– Rube Foster, founder of the Negro leagues

This traveling exhibition features a collection of thirty-three paintings, thirteen sketches and educational materials from the book, We Are the Ship: The Story of Negro League Baseball, by award-winning artist and author Kadir Nelson. The New York Times named this book one of the Best Illustrated Children’s Books of 2008. Nelson chose Foster’s quote for the title, explaining that it was a “declaration of independence” of the Negro Leagues from the Major Leagues. 

Nelson spent seven years researching, writing and creating handsome paintings to be included in the brilliantly illustrated book, which is dedicated to the preservation of the history of Negro Leagues. During this process, he interviewed former Negro League players, traveled to museums around the country, pored over old photographs, firsthand testimonies and documentaries, collected baseball memorabilia, sports equipment and uniforms, then posed and photographed himself in them, all with the intention of putting himself in the shoes of a former Negro League player to recreate an authentic depiction of life in the Negro Leagues. 

This exhibition is the story of Negro Leagues-the story of gifted athletes and determined owners; of racial discrimination and international sportsmanship; of fortunes won and lost; of triumphs and defeats on and off the field. It is a perfect mirror for the social and political history of black America in the first half of the twentieth century. But most of all, the story of the Negro Leagues is about hundreds of unsung heroes who overcame segregation, hatred, terrible conditions, and low pay to do the one thing they loved more than anything else in the world: play ball.


Triple Play logoWe Are the Ship is the centerpiece of a collaboration the SBMA initiated with the University of Notre Dame Multicultural Student Programs & Services Office,  Center for History, The Civil Rights Heritage Center at the Natatorium, and the South Bend Silver Hawks. This series of community programs, entitled Triple Play: Race, Baseball, Art, is aimed at creating awareness, education and action about the topic. Each partner  planned related programming in order to expand our collective impact and audience, making the exhibition and its valuable teaching opportunities accessible to youth and adults in the region and beyond.

 


The South Bend Museum of Art’s 2012-2013 Exhibition Program is made possible, in part, with support from the Community Foundation of St. Joseph County’s ArtsEverywhere Initiative.

This exhibition is made possible, in part, with support from the following sponsors:

logo 

      June H. Edwards Burkhart logo

Barbara K. Warner                           

                                          WVPE 

All Star:
Faegre Baker Daniels
Arts Everywhere Matching Grant
Perfect Game:
African American Community Fund
Florence V. Carroll Charitable Trust Foundation
June H. Edwards

Grand Slam:
1st Source Bank
Burkhart Advertising
Inn at Saint Mary’s
Hilton Garden Inn

Home Run:
Barbara K. Warner
PNC Bank

Double Play:
Electronics, Inc.
Teachers Credit Union
DoubleTree by Hilton Hotel South Bend

Line Drive:
Ramona Payne & Tony Fitts
Robert & Susan Shields
Marcia Rickard & Dennis Doordan

 

Fireballer:
Lynn Blue
Mary Jane Buzolich
Drs. Richmond and Virginia Calvin
Mr. & Mrs. James Cooke
Mr. & Mrs. George Coquillard
Margo DeMont
General Sheet Metal Works
Gerber Family Fund
Richard and Mary Pat Nussbaum

Mary Pyles
Lynda B. & Charles S. Simon
Mrs. & Mrs. T. Gordon Smith

Steel Warehouse
Maria Tomasula

Base Hit:
Brent and Carolyn Banulis
Harvey & Mary Anne Hurst
Carolyn Joers
Claudia Maslowski
Donald Maylath
Raymond McLein
Mary Ann Moran
Steve and Annette Romans
Dr. & Mrs. Charles Rosenberg

Carol Schultz
J. Eric Smithburn and Aladean M. DeRose
William C. Whitman

 
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Recombination | Painting and Sculpture by Art Martin and Lee Brown

Martin-Brown-3images

Art League Gallery | December 15 – February 24, 2012

Click here to view a brief portion of the artists’ talk at the exhibition reception on January 4, 2013.

Recombination is an exploration of storytelling, of the combining of familiar elements and objects into new forms and relationships. Found items, both depicted and physical, are merged with others in landscape and sculptural forms, adding their own inherent and narrative characteristics. These characteristics are enhanced or altered in their new context. In this way, the familiar becomes new, or is re-examined or experienced in an unfamiliar way. – Art Martin and Lee Brown

Art Martin‘s (b. 1975, Blytheville, AK) intricately rendered still life, portrait, and landscape paintings reference the symbols and structures of Renaissance painting to invite a closer examination of the everyday things normally recognized and quickly discounted. Discarded items like marbles, seeds, insects, bones, toys, and patterned fabrics are rendered actual size in precise arrangements. The landscapes are small, to establish a sense of intimacy and possession. Within the Cabinet Landscapes are everyday objects, but in new scale and in context with visually or conceptually sympathetic still life elements.

The Travelogue paintings speak to the human habit of imbuing the inanimate with life and personality. Stuffed animals pose in landscapes that recall family travel photos and Renaissance portraiture, interspersed with portraits of contemporary people in similar display.

Martin received an MFA from Wichita State University in 2000, and is currently the Collections Manager/Assistant Curator at the Muskegon Museum of Art.

A graduate of Kendall School of Design, Lee Brown‘s (b. 1956, Grand Rapids, MI) cabinets and lidded boxes speak to the sacred vessel-ornate containers of treasured and mystical objects. Their surfaces convey the passage of time while references to Neolithic art, Chinese architecture, and African design motifs intermingle to create new and varied narratives. The visual character of the reclaimed wood conveys history, physical evidence of the witness of time and the elements. This character is enhanced by the layering of color and paint, stripped away with selective sanding, creating the weathered effect. Carved stones with simple, repetitive patterns recall Neolithic artwork. The forms themselves are inspired by shapes from cultures around the world and throughout history.

Brown’s found object assemblages, some of which include small paintings by Martin, merge the history of varied materials into visual stories, layers to be explored and riddles to be solved. Each element’s own story is changed by its new relationships and context. The viewer’s own familiarity with these objects changes the formula yet again.

In addition to his sculpture, Brown also works in product styling, industrial design, graphic design and illustration.

Taken together, the work of Lee Brown and Art Martin speak of a fascination with object, and the narrative and emotive possibilities of the everyday when blended and conveyed in stories both familiar and new. 


image: Art Martin, Cabinet Landscape:Grand Rapids 131 S, 2012, oil on hardboard, 11″ x 4.5″;Lee Brown, Promethues Cabinet; Art Martin and Lee Brown,Cabinet Landscape: Sherman Bowling, 2012, oil on hardboard, found objects, wood (detail)

 
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Mary King: Beautiful Industry

Beautiful Industry, by Mary King

March 9 – June 2, 2013

Beautiful Industry takes an unexpected look at steel mills and other industries that are still in operation in and near Chicago and Detroit.

The lovingly crafted works show the feel of industry: the flames, the amazing clouds of steam, the remarkable structures, the air that makes your chest hurt, the swollen fish in a poison canal, the swampy area now replaced by pollution. The works are simultaneously poignant and celebratory.

This series evolved from sketching the mills in Gary from as close as the security guards allowed, and from sketching and photographing industrial sites in Detroit — which surprisingly has a working steel mill. The project concludes with a visit to a forging plant in Chicago just before the 2012 election.The resulting commentary is mildly political but nonjudgmental, matching the positive tone of the series. — Mary King, 2013

Mary King has exhibited her work in solo shows at Denise Bibro Fine Arts in New York, NY; the Kalamazoo Institute of Arts in Kalamazoo, MI; and Woman Made Gallery in Chicago, IL. She holds a BFA from The University of Chicago and an MA from Western Michigan University.

image: Beautiful Industry: Hot, 2011, Acrylic on Dura-Lar Collage, 17 x 21.5 inches
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Makers and Champions

Makers and Champions: Untitled (self portriat) Harold Zisla; Howard Park Skating Rink, Edward Herrmann; South Bend, Robert Indiana

South Bend’s Rich Artistic Legacy: 1841 – Present
March 23 – June 16, 2013

This exhibition offers reflections on the fine arts history of the area, and showcases important artists, people, and institutions that have contributed to the rich artistic heritage of South Bend and the surrounding area.

Historical artists such as George Ames Aldrich, L. Clarence Ball, Sara Kolb Danner, Alexis Jean Fournier, Luigi Gregori, Glen Cooper Henshaw and T.C. Steele as well as local artists, Edward Basker, James Borden, Harry Coffman, Edward Herrmann, Leon Makielski, Harriet Monteith, Dean Porter, and Harold Zisla, among others, are included.

The exhibition, based on the Museum’s collections, mirrors the development of South Bend and the local visual arts, offering a perspective on our community history. The collection grew out of a community-based organization founded in 1947, the South Bend Art Association, (now the South Bend Museum of Art) and was enriched by a gift from Mr. and Mrs. E. M. Morris which includes paintings by members of “The Hoosier Group:” William Forsythe, Clifton Wheeler, T.C. Steele, Karl Bradner and George Jo Mess.

The region’s academic institutions attracted fine arts faculty that contributed to the local legacy, while industries such as Studebaker employed commercial artists/designers who developed reputations as fine artists, adding a unique dimension.

Makers and Champions celebrates the release this fall of a seminal book on this cultural contribution to our community. The project is a collaboration between the SBMA, Indiana University South Bend, Wolfson Press, and L.E.A.R.N. (Lifetime Education And Research Network) aimed at documenting the fine arts legacy of our area for future generations.

Images: from left: Untitled (self portriat) Harold Zisla; Howard Park Skating Rink, Edward Herrmann; South Bend, Robert Indiana

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Creactive: Ivy Tech Community College Juried Student Exhibition 2013

CreActive_LogoWeb

 

 

May 18 – August 18, 2013 | Jerome J. Crowley Community Gallery IvyTechWeb

The South Bend Museum of Art is proud to host this exhibition of student work. Ivy Tech Community College’s School of Fine Art & Design (SOFAD)’s program in Visual Communication offers courses in graphic design, photography, web design, film & video, as well as drawing, painting, and three dimensional design. SOFAD’s Environmental Design program provides courses in interior design, sustainable building and construction, garden landscape design, kitchen and bath design, and the decorative arts.

This exhibition contains SOFAD student work from the spring semester and exit portfolio preparation courses. The students were requested to submit 1-2 of their best pieces to be considered for display. The faculty, all industry professionals and educators, have “vetted” the work by selecting pieces based on how well the students met the course objectives, creativity, and craftsmanship.

Ivy Tech Community College’s School of Fine Art & Design (SOFAD) has an expansive mission to prepare students for a career in design, transfer to a four year university, advancement in their profession, or personal enrichment. This broad mission requires a comprehensive curriculum that allows students to experience the theoretical, technical, and applied aspects of the commercial and fine arts professions.

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Collaborative Printmaking in BLACK AND WHITE and color

SueCoeFronteraSelections from the Segura Arts Studio

June 15 – September 8, 2013 | Art League Gallery

Reception: Saturday, August 17, 2013 | 5:00 – 7:30 p.m.

Featuring the work of established and emerging minority artists, Black and White and Color reflects the mission of the Segura Arts Studio. Founded by Tamarind Master Printer Joe Segura and formerly known as the Segura Publishing Company, the Studio has a 30-year history of collaborating with underrepresented artists—with a particular interest in Hispanic art—fostering relationships, producing original works of art and guiding artists into the mainstream art community.

Combining traditional processes and nineteenth century photographic techniques, the Studio strives to dispel outdated and culturally-biased ideas of American life through themes of self-identity, immigration, acculturation and assimilation as addressed by minority artists.

Black and White and Color features works by Elizabeth Catlett, Enrique Chagoya, Sue Coe, Luis Jiménez, Philip Pearlstein, Andres Serrano, and Frances Whitehead, among others.

Segura Arts Studio is settling into its beautifully renovated new space in the Notre Dame Center for Arts and Culture, just a few blocks west of the Museum, and the SBMA is extending their introduction to the community with this exhibition. Work is commercially available through the Studio, consistent with its mission to make the work of important artists accessible to the market and influential collections.

Sue Coe, La Frontera, 1997, Lithograph, ed. of 70; 36.5 x 26.5 inches;
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Biennial 27 | A Window into Contemporary Art in the Midwest

July 6 – October 6, 2013
Reception: August 2, 2013 | 5:00 – 7:30 p.m.Biennial27-LogoWeb

Sponsored by The Art League

Now in its 27th incarnation, the South Bend Museum of Art’s all media Biennial 27 presents a diverse look into contemporary artwork made by artists living in the Midwest. Open to artists residing in Illinois, Indiana, Iowa, Kentucky, Michigan, Minnesota, Ohio and Wisconsin, this exhibition is an up-to-date dialogue of art happening in our own backyard. From hundreds of submitting artists, only eleven were selected by juror Lisa D. Freiman, Senior Curator and Chair of the Department of Contemporary Art at the Indianapolis Museum of Art, Indianapolis, IN. The pool of exhibiting artists is deliberately limited to allow for the showing of a greater body of work by each artist.

The following artists were selected by Freiman from a pool of 230 submitting artists:

  • Leticia Bajuyo (sculpture and installation) of Madison, Indiana
  • Terrence Campagna (photography) of Ann Arbor, Michigan
  • Derek Coté (sculpture and installation) of Grosse Pointe, Michigan
  • Meredith Foster (drawing and photography) of Urbana, Illinois
  • Margaret Leininger (fiber) of Oak Park, Illinois
  • Kylie Lockwood (sculpture) of Detroit, Michigan
  • Cherith Lundin (drawing and sculpture) of Wheaton, Illinois
  • David Masters (painting) of Cleveland, Ohio
  • Todd Reed (painting) of Bolingbrook, Illinois
  • Amanda Smith (painting) of Bloomington, Indiana
  • Maxwell Stolkin (sculpture and installation) of Mooresville, Indiana

The museum uses this pool of artists to acquire new works into its permanent collection with $1,500 in purchase awards. Other artists will receive a $1,500 in merit awards sponsored by the museum’s Art League.

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Art Matters | Stories from SBMA

Art Matters

August 31 – November 10, 2013

Mission: The South Bend Museum of Art affirms the enduring power of the visual arts to reflect and create community, engage minds and nurture growth through exhibitions, collections and educational programs.

SBMA has embraced this mission since its founding in 1947. In the past year over 7,000 people have engaged with the SBMA through classes, outreach and public programs. This is more than a number to us. It represents families, friends, art lovers, new students, aspiring artists, and first time visitors to an art gallery. As the community’s museum, our programming is designed to create an experience for everyone.

Stories from SBMA, appropriately installed in the Jerome J. Crowley Community Gallery, offers a unique look into our educational programs. We asked the question, “Why do you think art matters?” to program participants throughout the summer and received answers that were deeply personal and articulate. Several are displayed on the gallery walls, along with images depicting programming activities, past and present: mural painting, garden projects, school tours and hands-on activities, outreach programs, family days and more. A wave of 7,000 linked paper chains suspended from the gallery ceiling represent the individuals served in the past year, each link representing a person that has strengthened our art community. Visitors are invited to add their answer to the question on a chalk-board wall.

This exhibition was designed by SBMA’s Education staff but most importantly, envisioned by Education Coordinator Candie Waterloo, who through her work here knows first hand Why Art Matters.

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Somewhere There | The Role of Place in the Work of Four Local Photographers

Susan Moore image

September 21, 2013–February 16, 2014
Art League Gallery

A sense of place locates us within the world and provides context to our experiences within it. We also identify with places as extensions of ourselves — garnering pride, nostalgia, or sometimes embarrassment in them. Without place, we feel dislocated and disjointed, afloat without an orientation.

The work of local photographers Susan Moore, Steve Moriarty, Fred Slaski and Steve Toepp highlights this importance. Whether exploring unique qualities of a ubiquitous subdivision (Moore), setting the stage for an epiphany (Moriarty), evoking a quiet sense of poetry (Slaski), or representing time through decay (Toepp), everything we see is affected by a sense of place. It provides a contact point for each image, adding meaning and reflecting the sometimes subtle yet always important role place plays in our lives.

This exhibition overlaps with Ansel Adams: Masterworks, on exhibit in the SBMA’s Warner Gallery (November 1, 2013–January 12, 2014), and offers a complement to Adams’s uncanny ability to present a place as a moment — ever changing and ephemeral.

Somewhere There: Moriarty, Slaski, Toepp

Images:

(Top of page)
Susan Moore, Wembley Drive 5.13, 2013, Archival ink jet print
(Above, from left to right)
Steve Moriarty, Paris, Rue de L’Université, 1976, Gelatin silver print
Fred Slaski, James Madison Elementary School, Rainy Night, 2012, Selenium tone gelatin silver print
Steve Toepp, Dead City: Church #756, Circa 2010, Dye sublimation into aluminum (archival)

Susan Moore (South Bend, IN) received an IAC Individual Artist Grant in 2010 and an IU South Bend Research Grant in 2012. Moore has a MFA from Washington University, St. Louis, MO; a MA from The School of the Art Institute of Chicago, Chicago, IL; and a BA from Columbia College, Chicago, IL. Her work has been exhibited at Photo Place Gallery, Middlebury, VT; Santa Reparata Gallery of Contemporary Art, Florence, Italy; and the Buchanan Center for the Arts, Monmouth, IL.

Steve Moriarty (South Bend, IN) is an emeritus curator of photography at the Snite Museum of Art at the University of Notre Dame. He received a MFA in photography from the University of Notre Dame, and has photographed extensively in El Salvador since 1985.

Fred Slaski (South Bend, IN) received a BA and a Certificate of Film Studies from Indiana University, Bloomington, IN. His photographs have been exhibited at the South Bend Christian Reform Church Gallery, South Bend, IN; the Jewish Federation Mishawaka Gallery, Mishawaka, IN; and the South Bend Museum of Art, South bend, IN.

Steve Toepp (Mishawaka, IN) received a BA in photography from Columbia College, Chicago, IL; and is owner of Midwest Photographics, a still photography and video production studio located in Mishawaka, IN. Recent exhibitions of his photographs include the Midwest Museum of American Art, Elkhart, IN; Spencer Gallery, Mishawaka, IN; and Studio Arts Center, South Bend, IN.

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