New York based Joanne Greenbaum’s paintings are energetic profusions of overlapping techniques and colors, featuring clusters of architectural forms, irregular shapes, and doodle-like lines. Her work is held in the permanent collections of the Museum of Fine Arts Boston, Hammer Museum, UCLA, Rose Art Museum, Brandeis, and many others.
2018 Department of Art, Art History, and Design Faculty Triennial Exhibition
Eli & Edythe Broad Art Museum
March 17-May 13, 2018
Exhibition Reception April 8, 6-8PM
The 2018 Department of Art, Art History, and Design Faculty Triennial Exhibition showcases the recent work of twenty studio art & design faculty members. Recognized nationally and internationally, Michigan State University studio art & design faculty member’s creative research is regularly exhibited in venues all over the world. Collectively they have received recognition and support from Fulbright, the National Endowment for the Arts, and the Pollack-Krasner Foundation. Representing a broad-range of media and contemporary art and design approaches, the exhibition highlights the faculty’s dedication to actively pursuing creative research.
The 2018 MSU Department of Art, Art History, and Design Faculty Triennial exhibition is organized by the Eli and Edythe Broad Art Museum at MSU and guest curated by Christopher Atkins, Curator of Exhibitions & Public Programs at the Minnesota Museum of American Art. Support for this exhibition is provided by the John and Susan Berding Family Endowment.
Self – Clarissa R Gerber
Show Dates: May 25- July 21, 2018
Reception: Saturday, July 21
Whether understood as complex physiological organisms or as souls swaddled in flesh, humans embody mystery and potentiality. My interest goes beyond the unseen and incorporeal elements to embrace the physicality of people as well as their collective psychology. I find subtle moments revealing—the tension in an arm, the curve of a shoulder, the intense look in an eye, and the connections people make when they look at each other.
My work rides the edge between different modes of painting with color acting as a central component. I am drawn to that space where representation meets abstraction and where volume and flatness intersect. Overlapping marks create layers of paint that both reveal and conceal, similar to our physical surroundings’ ability to both reflect and influence our identity. My current series acts as both a study of persona and as conduit to express emotion for myself, for the model, and for the viewer. Through the use of color and the expressive language of paint, my work connects the personal to that which links us as human beings.
Clarissa R Gerber received her Master of Fine Arts degree in Painting from Michigan State University in 2011. Gerber is a figurative painter who uses color and the expressive language of paint to present the human form, both physically and psychologically. Her work has been exhibited numerous times in national juried exhibitions, including the Brooklyn Waterfront Artists Coalition in Brooklyn, New York; Gallery 263 in Cambridge, Massachusetts; Union Street Gallery in Chicago Heights, Illinois; and First Street Gallery in New York City. In 2015, Gerber had a solo exhibition entitled Sensation in the Sheetz and McLanahan Galleries on the campus of Penn State Altoona. She is currently an Assistant Professor of Art at Cuyahoga Community College in Cleveland, Ohio. Additional information and images of Gerber’s work are available at ClarissaRGerber.com.
June 2 – July 15, 2018
Reception Friday, June 1, 2018 6–8pm
Sometimes Bluebird featuring the work of Marcos Valella, Britta Urness, and Jacquelynn Sullivan. This special exhibition is organized by Britta Urness. Sometimes Bluebird brings the work of three artists together to discover new layers of abstraction, the relationship between humans and experience, and what can materialize as an object – as an artwork – or appear as an activity. All three artists lean on differing subject matter (permanence, action, memory, communication, the self) and the resulting installations can be read as both ephemeral or long-lasting.
Featuring Dianne Wolter’s paintings and sculptures.
August 3- October 5, 2018
Reception September 8, 3-5PM
Painting provides me a process driven opportunity to experiment, discover, manipulate, play, and sometimes even tell a story. I value mark making and like to see evidence of the history of the process in the finished painting. Narrative has been a component of my art that allows me to ask questions and make observations. I use whimsy as a means to enliven or to soften the content. Recurring themes and images return to new environments. Images that possess a personal iconography are infused with content from experiences and memories that hold power. I begin by creating an active ground plane, and then working out to the surface, sometimes finding rather than imposing imagery. I enjoy working figuratively, layering, searching for ideas and inspiration from the manipulation of the media, and often but not always embracing a narrative.
Adding papier-mâché sculpture to my studio involvement has been a logical and natural extension to my previous singular focus of two-dimensional work. The process is reductive, starting with foam forms that have been created by gluing construction foam into blocks that can be carved. Papier-mâché mulch and layers of paper finish off the surfaces and ease transitions and contours. The torn paper can communicate a new narrative while holding onto its past. I find myself stacking forms which is another way of layering, bringing elements together in proximity or support, contrasting familiar with fantastic.
Dianne Wolter graduated from Michigan State University in 1965 with a Bachelor of Fine Arts degree and a teaching certificate. Teaching and studio involvement have been the focus of her professional life since then. She concentrated on fabric collage for the first 14 years of her creative journey, teaching it in public schools throughout southern Michigan sponsored by the Michigan Council for the Arts. In 1979, Wolter began teaching after school art classes in her home studio to area children. Sharing her studio with children was a rewarding and meaningful opportunity. To concentrate more fully on her own art, she retired from teaching in 2002 to focus more on painting. A whim to make a cat riding on a unicycle introduced sculpture as an additional interest. Since then, Wolter has been enjoying both sculpture and painting.
For more information about Dianne’s work please visit her website:
Please stop into (SCENE) Metrospace to see our latest exhibition traveling to us from Bloomington, Indiana where it was recently on view at I Fell Gallery. COMMAND + N was co-curated by Anna Buckner and Sul-Jee Scully of Command Zine and Bill Bass and Raphael Cornford of Noise Project. This special exhibition brings together the work of nine artists; Roxana Azar, Israel Campos, Zachary Carlisle Davidson, Jonathan McFadden, Rowland Ricketts, Saman Sajasi, Caleb Weintraub, Tyler Wilkinson, and Chad Wys.
I can’t follow everything going on. You can’t either. I can grab a few strands here and there, focusing my reading and my podcast listening and my conversations. Still, I’m falling woefully short. I know that any sources I access have bias, that I’ve been lied to by dominant narratives across media forms, that my experiences have been misrepresented if represented at all.
So let art speak to us all at once and emotively and with information and through reference and via updated, augmented, and even subverted traditions. For art does
indeed reveal our new narratives and emergent mythologies, forces that selectively continue and negate aspects of their older counterparts. “But which art?” you
might ask, “Where? How? Will there be beer?”
NOISE and COMMAND Zine co-curate the exhibition “COMMAND + N,” a traveling group show of artists whosework is invaluable, transformative and alive, acting upon us just as much as we respond in turn. Working across multiple media these artists reveal untold stories, recontexualize traditions, speak from marginalized identities, and play with the boundaries between digital and tangible.
Bringing together an expertise that spans the contemporary fields of painting, textile, printmaking, photography, comics and digital art, the curators present two exhibitions at I Fell in Bloomington, IN and (SCENE) Metrospace in East Lansing, MI, highlighting selected works as simultaneously discrete narrative objects and cohesively indicative of the story of our time.
TITUS KAPHAR / NOVEMBER 5 / MSU Union Ball Room /6PM
Born in Kalamazoo, Michigan, Titus Kaphar lives and works on the east coast. Kaphar’s
mixed media work, speaks to the most vital discussions happening around race,
diversity, and reconciliation in the U.S. Kaphar exposes how all depictions, no matter
how personal or grandiose, are always fictional, imperfect, and capable of being
remade. He is the distinguished recipient of the Gwendolyn Knight and Jacob Lawrence
Fellowship as well as the 2015 Creative Capital Award and 2016 Rauschenberg Artist
as Activist Fellowship.
For more information about Titus Kaphar, please visit:
Science as Experience: A New Approach to Science Communication
Megan Halpern draws on Dewey’s theory of aesthetic experience to develop a model that can reshape how we research, practice, and evaluate science communication. Drawing on her work in art-science collaboration and design-inspired public engagement with science and technology, Halpern illustrates three principles of her model. First, experiences are cumulative rather than transformative, second, that context shapes experiences; and third, that ultimately, audiences have agency in shaping the meanings they draw from their interactions with scientific content. Finally, Halpern offers insights into how to develop projects from an experience perspective.
Coffee and Cookies provided.
Plan to stay after the lecture for additional coffee and networking time.