Biennial 30

Exhibition Dates:

Loraine Lynn, Assembly Language (Line 6), 2019, Line 6,​ 2019, Cotton yarn, monk’s cloth, 52 x 29 inches

July 27 – September 29, 2019 | Warner Gallery
Reception: Friday, September 6 | 5:00 – 9:00 p.m.

Now in its 30th incarnation, the South Bend Museum of Art’s all media Biennial 30 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. The pool of exhibiting artists is deliberately limited to allow for the showing of a greater body of work by each artist. From 337 submitting artists, twelve were selected by juror Sarah Rose Sharp, a Detroit-based writer, activist, photographer and multimedia artist.

Biennial 30 artists are:

Juror Sarah Rose Sharp writes about art and culture for Art in America, Hyperallergic, Flash Art, Sculpture Magazine, ArtSlant and others. She was named a 2015 Kresge Literary Arts Fellow for Art Criticism and is a 2018 recipient of the Rabkin Foundation Prize. She is a guest lecturer at several universities in Southeast Michigan and served as a mentor in the NYFA Immigrant Artist Mentorship Program in 2018. Sarah has served as guest curator and juror for institutions including Penn State University (State College, PA), Scarab Club (Detroit, MI), The Terhune Gallery (Toledo, OH), and The Ann Arbor Art Center (Ann Arbor, MI). Sarah has shown her own work in New York, Seattle, Columbus & Toledo, OH, Covington, KY, and Detroit—including at the Detroit Institute of Arts—with solo shows at Simone De Sousa Gallery and Public Pool. She is primarily concerned with artist and viewer experiences of making and engaging with art, and conducts ongoing research into the state of contemporary art in redeveloping cities, with special focus and regard for Detroit.

Gina Costa, Night Stories No.3, 2018, Archival pigment print, 11 x 17 inches
Bryan Northup, Can’t Put It Back In The Box, 2018, Plastic and foam assemblage installation, dimensions variable
Nicole Havekost, Massed (installation detail), 2018, Mixed media including: sewing pattern paper, acrylic paint and medium, cotton thread, sewing hardware, 38 x 35 x 10 inches

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