Stanislaus State Art Faculty Exhibition

S TA N I S L AU S S TAT E A RT FAC U LT Y E X H I B I T I O N 2017 University Art Gallery Department of Art School of the Arts California State University, Stanislaus

300 copies printed

Stanislaus State Art Faculty Exhibition August 28–September 29, 2017 University Art Gallery School of the Arts California State University, Stanislaus One University Circle Turlock, CA 95382

This exhibition and catalog have been funded by: Associated Students Instructionally Related Activities, California State University, Stanislaus

Copyright Š 2017 California State University, Stanislaus 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: Brad Peatross, School of the Arts, California State University, Stanislaus Catalog Printing: Claremont Print & Copy ISBN: 978-1-940753-30-9

CONTE N T S

Director’s Foreword.....................................................................................................................................................................................................4 Introduction.......................................................................................................................................................................................................................5 Essay: Getting to Know You: The Art Faculty of Stanislaus State..........................................................................................................6 Martin Azevedo............................................................................................................................................................................................................10 Jacob Been.......................................................................................................................................................................................................................14 Dean De Cocker.........................................................................................................................................................................................................18 James Deitz.....................................................................................................................................................................................................................22 Daniel Edwards.............................................................................................................................................................................................................26 Jessica Gomula-Kruzic...............................................................................................................................................................................................30 Chad Hunter..................................................................................................................................................................................................................34 David Olivant.................................................................................................................................................................................................................38 Ellen Roehne..................................................................................................................................................................................................................42 Susan Stephenson.......................................................................................................................................................................................................46 Jake Wiegel......................................................................................................................................................................................................................50 Acknowledgments .....................................................................................................................................................................................................54

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D IRE C TO R ’S FO R E WORD

Stanislaus State Art Faculty 2017 represents an opportunity to view the astounding artworks of the talented Department of Art Faculty of California State University, Stanislaus. This exhibition bids farewell to longtime faculty members Gordon Senior and Richard Savini who served the University and our students as excellent teachers and mentors for many years. We wish them a fond farewell and wish them good luck in their future endeavors. As we say goodbye to Richard and Gordon, we also welcome our newest faculty members, Susan Stephenson and Jake Weigel, to the Department of Art. The faculty is very excited to present this exhibition and hope it leads to interesting and important dialogues about their work with our students and gallery patrons.

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; Dr. Staci Scheiwiller for the astute essay; the School of the Arts, California State University, Stanislaus for the catalog design and Claremont Print & Copy for the printing of this catalog.

We are also grateful and extend our warmest 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 Gallery Director California State University, Stanislaus

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INTRO D U CT I O N

It is a great pleasure to celebrate the new academic year with a faculty exhibition.

This exhibition highlights the work of all the studio members of the Art Department and speaks to the depth and breadth of their collective expertise and interests.

The Art Department would like to thank President Junn, Provost Greer and Dean Tuedio for their unwavering commitment to the art program in providing tenure-track replacements for retiring faculty, thereby ensuring another generation of student’s access to a high quality art and art history program.The Art Department would also like to thank them for making possible the Art Department’s residency in downtown Turlock and the opportunities it has provided for community engagement. I would like to personally acknowledge Professor Scheiwiller for her generosity in sensitively crafting the exhibition catalog essay, Stanislaus State Art Gallery Director Dean DeCocker and Gallery Assistant Nikki Boudreau for their dedication and professionalism in running the gallery, and the many staff members that made this exhibition possible.

Dr. Carmen Robbin Chair, Art Department California State University, Stanislaus

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G E T T I N G TO K N OW YO U : T H E A RT FAC U LT Y O F S TA N I S L AU S S TAT E

By Dr. Staci Gem Scheiwiller

With eagerness, the Art Department at CSU Stanislaus is excited to present some works by its faculty, especially its new faculty, painter Susan Stephenson and sculptor Jake Weigel.The department has had a long tradition of giving its faculty the opportunity to exhibit their artwork for the university and community to view. Tirelessly, the University Art Gallery on campus and other former venues associated with the university have given many glimpses of the creative vision of the faculty who serve and mentor the students here. On one hand, there are practicalities associated with these art shows: a pedagogical tool, a line on a curriculum vitae, and exposure and publicity for professional reputations. On the other hand, there is something here more profound and intimate like a psychological glimpse into the psyches of the persons we work with, the persons we study with, and the persons we live with in our communities. Whether it is welcoming and introducing new faculty to the university or getting to know our seasoned faculty on a deeper level, it is only fitting that we are greeted by their artwork as extensions of their imaginative selves, alluding to the academic journeys that the students have embarked on or will do so in the near future.

In viewing these objects, I am not suggesting entirely a biographical or Freudian approach, however valid they are. I am also not dismissing technique, process, and material, yet the modernist credo of art for art’s sake is not wholly convincing, even to modernists themselves. However solid an artwork is on its own terms, a person still produced it—a person with her/his own complexities, experiences, and social contexts translated that object from mind to material reality, much like sculptor Ellen Roehne suggests in her alchemic sculptures. What comes to mind in relation to this show is Marina Abramovic’s relational aesthetic performance for her retrospective at MoMA, The Artist is Present (2010), in which she stared intensely at museum visitors from across a table, moving people to tears. Museumgoers had to stare back at the artist like she were a mirror in order to see reflections of themselves. In this way, the gallery or museum space becomes a site where people can come closer together or closer to the artist through her/his objects. Truly, the artist is ever present in the work s/he produces, eliciting infinitely a conversation or interaction with those who view the artwork.

Beginning in alphabetical order is the

guns, and a spewing man’s head. In his artist

work of graphic artist Martin Azevedo

statement, he writes, “My imagery makes use

whose approach and pedagogy have been

of symbolism and ideas of archetypes as a

through narrative. In Begin to End (2017),

means to explore ideas of masculinity, power,

very reminiscent of the earlier surrealist

narrative, and allegory.” Moreover, Azevedo’s

work of Jackson Pollock (1912-56), the viewer notes

work provides a platform for a discussion of signs and

seemingly random signs that connote certain frustrations

how they tell stories through multiple meanings, thus

and aggressions, such as three blind mice, raised fists,

reinforcing for the students the importance of each form

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in an artwork and its intrinsic value in interpretation.

during the war. What seems bound for the beach are

Alumni printmaker and painter Jacob Been offers

the remnants of a shot-down warplane or torpedoed

new energy, excitement, and empathy to our students,

ship, metaphorically transformed and recycled into the

freshly out of graduate school from the

found objects and materials that De Cocker

prestigious Penn State. In his Matisse-like

incorporates into his artwork.

painting Diversity (2017), diverse colors and

Modernist painter James Deitz’s eye

forms come together to balance one another

for sensual detail in everyday objects—a

and create harmony in a vertical, paradisiac

talent he passes onto his students every

landscape. It is a utopian vision of both calm

semester—unfolds in the intimate details of

and tension, melded into one: “In our society we are

his painting Goodnight Moon (2017). With a mix of New

taught that different is bad, chaotic, unorganized, and

Vision examination, such as that by Georgia O’Keeffe

should be feared. This could not be further

(1887–1986), and atmospheric sensibility,

from the truth, about diversity and how it

mastered by Richard Diebenkorn (1922–93),

truly enriches the world. It is a painting that

the illuminated room highlights the elegant

is meant to show the value of diversity and

but simplistic curves of the chairs while a

how even when it is edited to a minimum

lonely crucifix hovers over. It is reminiscent

with the hope of extinguishing it all together,

of a monk’s room that is shrouded in the

it really becomes more vivid, and more valuable to the

moonlight, haunted by the solitude of the night and by

survival of the image itself.” Truly, the act of painting is

the chairs of contemplation.

a complex one, as well as the teaching of

Possibly more than any faculty member,

the arts, to a diverse student body. Just like

filmmaker Jessica Gomula-Kruzic encour-

Matisse’s struggles to become one with the

ages collaboration and teamwork among her

great masters, the creation of art is a multi-

students and their projects. On one hand,

layered process—one that spans the past,

it is the nature of film work as a process

present, future through multiple voices and

to involve many people, but on the other

influences.

Sculptor Dean De Cocker in his modernist, post-

hand, community and cooperation are the bases of Gomula-Kruzic’s productions: “My visual arts research

minimalist style, which has inspired many

creates collaborative intermedia artwork

successful students, confronts the viewer

in diverse public spaces, which addresses

through the materiality of the object with his

socially conscious subject matter….” Indeed,

sculpture Bound for the Beaches (2016). The

in Disordered Passages (2017), she re-

title begs the question of what is bound for

presents dancers of a heroine’s journey,

the beach? In addition to the modernist vein

choreographed by Nicole Zvarik, in a

of analyzing the relationship of materials to one another,

deconstruction of feminine nature imagery. The mélange

De Cocker references the Pacific Theater of World

of dancers against brightly-colored projections like flashes

War II (1939–45) and latently his own father’s service

of light confuse and disorient the viewer as if there were

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many more bodies present, twisting and turning in space.

the moment through the translation of the brush. The

The viewer moves between the physicality of the dance

rawness of the watercolor and the ontological presence

and their ever-present awareness of the video medium

of the artist’s touch live ad infinitum through the canvas in true modernist fashion.

it is viewed through. In this vein, the viewer’s journey through the piece echoes that of the

Painter and sculptor David Olivant

dancer, enticing the viewer into becoming a

demonstrates his surrealist tendencies in

participant in the journey itself.

both assemblages, Hunter Gatherer (2017) creates

and Okapi (2017). Professor Olivant is

figural work that appropriates from popular,

renowned among the students for his Painting

Sculptor

Daniel

Edwards

mainstream culture, and as of recent, the greatest hits

from the Unconscious classes, which are extremely

of Art History, such as Verrocchio’s David (1473–5).

popular and fill up quickly almost every semester. His

Like most postmodern work, his art

work explores tension and collision, resulting

demonstrates the tensions between high

in the reconfiguration of fragments after

and low art, as those cultural boundaries

destruction in random Hans Arpian fashion.

have eroded during the twentieth century,

Okapi is particularly interesting as the okapi

leaving the residue of anxiety of what is still

witnesses from afar a sort of primeval human

meaningful in American society. This tension

history, from hunting and gathering to private

is further intensified as Edwards experiments with

property.There is also something violent about the okapi

technology in creating his figures, rebirthing their forms

as a potential hunted animal analogous to the brutal

through various computer programs. Much

fragmentation of the woman’s body in a

like a technological Sherrie Levine (b. 1947),

discourse of human history that continues

Edwards’ work raises questions of authorship,

to destroy one life to rebirth another in

ownership, heritage, homage, and genius. His

perpetual consumption.

approach and technique have expanded the

Ellen Roehne’s artwork also speaks of

notions of sculpture for many of his students.

surrealist tensions and oppositions, similar

What distinguishes Chad Hunter’s work from

to Azevedo’s and Olivant’s fragmented body parts and

many graphic designers is his colorful, painterly style.

signs. Whereas Azevedo challenges the boundaries

His digital work immaculately incorporates

of narrative to communicate angst and

the color and texture of painting with the

contention, and Olivant looks for phoenix-

electronic, illustrating beautifully the artistic

like renewal through violence and disruption,

heritage of digital design and offering his

Roehne’s aim is alchemic in intention: “These

students more than just technical skill but

pieces are … loosely based on alchemy,

also creative impulse. In this show specifically,

which is defined as a philosophical and difficult

protoscientific tradition which aimed to purify, mature

medium to control and to manipulate—but he also

and perfect certain objects….The ultimate goal of the

composed them en plein air, attempting to capture

alchemist is to transform the chaotic primordial first

Hunter

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presents

watercolor

paintings—a

matter into perfection, accomplished through spiritual

Hoops (2015) with her/his shadow in the foreground,

enlightenment.” All Roehne’s works in this show focus on

gazing out onto its concave, deserted, lush greenery.

the fragment of the human head. In her artist statement,

Last but never least, we welcome the post-minimalist

also

tendencies of Jake Weigel, which invoke

incorporate the writings of psychoanalyst

physical interactions reminiscent of the

Carl

when

epistemological philosophy of Merleau-Ponty

purifying and transforming the human body

(1908–61) who inspired the original American

in metaphorically alchemic terms, Roehne

minimalists of the 1960s. Weigel writes:

starts with the head/brain as the most

“[E]verything is a synthesis of relationships, of

she

mentions Jung

that

these

(1875–1961);

works hence,

magical, mysterious site of infinite possibilities—the

one entity being defined not by itself alone, but by another

human mind is the birth of knowledge, myth, archetypes,

entity and the space in between. To define one thing is

and the basis of everything we understand

to define another and that is a challenge

about the world.

of reality and the human condition…. The

Susan Stephenson shows us several

scarcity of meaning or information allows

modern, industrial landscapes, indicative of a

the viewer to directly confront this condition

growing contemporary landscape movement,

through the actual absence of material

which include the work of painters, such as

or meaning. It is objective knowledge and

Josef Kote (b. 1964) and Pauline van Buringen. Her figural

personal narrative formed to create visual poetry, where

sensibility is Abstract Realist with skewed Bauhasian

matter and the ineffable meet.” The installation Under the

angles, which are hinted at in her artist statement: “My

Mountain (2016) evokes these human relationships in the

easy relationship with curvilinear perspective is partly due

gallery, which metaphorically recall the great outdoors

to growing up in a geodesic dome. After twenty years of

under the stars. The high frequency accompaniment

using the wraparound view, it now permeates my work

creates a mysterious, 4-D ambiance that encourages

automatically.” Certainly in her figural work, the viewer

internal and spiritual reflection as these materials enter

is drawn into the beauty of the rounded forms of the

our physical spaces. As we confront the gallery space,

Westerly Airport or the Ashaway Hoops that twist and

this site becomes one, in which to contemplate the

warp. In particular, the viewer completes the Ashaway

onologtical world with philosophical concern.

So within the context of looking at the work of Stan State’s Art faculty, the viewer must ask not only aesthetic questions of the objects and their processes and materials, but also as members of the university and community, what else do these artists share with us? What do we learn from them, and how do they make us grow into better, wiser citizens, which is the goal of a liberal arts education? Moreover, engagement with these objects is a way for the viewers to become more acquainted with the faculty, to share in their visions, to know their pasts, and to see what manifold artistic possibilities lie in the future.

Essay author Dr. Staci Gem Scheiwiller is Associate Professor of Modern Art History 9

M ARTIN A ZE VE D O

My imagery makes use of symbolism and ideas of archetypes as a means to explore ideas of masculinity, power, narrative, and allegory. I am interested in the simplicity of an image and its ability to convey the same, or different idea or meaning to a group or individual. I am interested in what happens when these symbols interact on the same plane and the conversation that occurs between many or few pieces layered together in one visual plane.

Begin to End, relief/silkscreen/mixed media, 66� x 90�, 2017

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Ecce Homo VI, digital archival print, 33� x 22�, 2017 11

MARTIN AZEVEDO

EDUCATION 2012

MFA in Printmaking, The Ohio State University, Columbus, OH

2009

B.A. Art/ Minor Art History, California State University, Chico, CA

2006

General Education course work, College Of The Sequoias, Visalia, CA

2004

Associates of Arts, Cuesta College, San Luis Obispo, CA

SOLO EXHIBITIONS 2016

If Destruction be Our Lot, Art Space on Main, Turlock, CA

2015

We Will Live Forever, C.O.S. Art Gallery, Visalia, CA

2014

Our Lot, Spire, Mobile, AL

2014

Building Steam, Merced Art Gallery, Merced, CA

2013

100 Dialects, Roy G Biv Gallery, Columbus, OH

GROUP EXHIBITIONS 2016

Pacific States Biennial National Exhibition, University of Hawaii, Hilo, HI

2016

Stand Out Print, Highpoint Center for Printmaking, Minneapolis, MN

2016

Secrets, The Ohio State University Faculty Club, Columbus, OH

2016

Invitational Printmaking Exhibition, Sagebrush Art Gallery, Sheridan, WY

2016

Night Moves, The Cleaners at the Ace Hotel, Portland, OR

2015

Atlanta Print Biennia, Kai Lin Art, Atlanta, GA

2015

Press & Pull, The Center for Visual Arts, Greensboro, NC

2015

Printmaking Now, IMAGO Gallery, Warren, RI

2015

4 x 6 24 Chambers: Contextual Language, Corridor 2122, Fresno, CA

2015

La Arrache 4, Les Abattoirs, Riom, France

2014

Impressed, Tacocat, Columbus, OH

2014

Conduit, Lake Region Arts Council, Fergus Falls, MN

2014

Mash Up: Collages in Mixed Media, Islip Art Museum, Islip, NY

2014

Pressure, LeSo Gallery, Toledo, OH

2014

Impact-Influence, Carnegie Gallery at Columbus Metropolitan Library, Columbus, OH

2013

La Calaca Press 2013, Museo De la Ciudad, Cuernavaca, Mexico

2013

Big Ten Prints, Lawrence Art Center, Lawrence, KS

2013

Printmakers International, Art Center of Corpus Christi, Corpus Christi, TX

2012

Department of Art: Visiting Artists and Lecturers, Swing Space Gallery, Columbus, OH

2012

Calacas, II La Calca Press International Print Exchange, Expression Graphics, Oak Park, IL, Corpus Christi TX,

Ft. Lauderdale, FL, Michoacรกn, Mexico, Puerto Vallarta, Mexico 2012

20/20 Vision 5th Edition, The Art of Contemporary University, The Fire House Gallery, Louisville, GA (Catalogue)

2012

Next Wave Part II Masters of Fine Arts Thesis Show, OSU Urban Arts Space, Columbus, OH (Catalogue)

2012

Southern Graphics Conference Professional Portfolio Exhibition, The Big Ten Print Exchange, New Orleans, LA

2011

Kingsville Inksville, The University Of Texas Kingsville, Kingsville, TX

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2011

American Youth Printmaking, Liu Haisu Art Museum, Shanghai, China (Catalogue)

2011

Printed Matters, Shot Tower Gallery, Columbus, OH

2011

Impossible Things, The Ohio Art League, Columbus, OH

2011

New Prints 2011/ Summer, The International Print Center, New York, NY Juror: Trenton Doyle Hancock

2011 Recent Arrivals, The Ohio State University, Columbus, OH 2010 Last Gasp In Hasket Hall, The Ohio State University, Columbus, Oh 2008

Chico State Annual Juried Student Print Exhibition, Chico, CA Juror: Yuji Hiratsuka

2008

Eibon II Print Exchange, Exhibition Kansas City Art Institute, Kansas City, MI

2007

Chico State Annual Juried Student Print Exhibition, Chico, CA Juror: Kurt Kemp

PROFESSIONAL PORTFOLIOS 2014

Law and Order, Participant, curated by Richard Peterson

2013

Frogman’s Print and Paper Workshop Portfolio, Participant, curated by Jeremy Manard

2013

Secrets, Participant, curated by Sophie Knee

2013

Lithoholics-Non Anonymous, Participant, curated by Richard Peterson

2013

Transmogrify, Participant, curated by Jack Arthur Wood Jr

2012

La Calacas Print Exchange II, Participant, curated by Carlos Barberena

2012

Part and Departure, Organizer/Participant

2011

Mini Print Portfolio and Exchange, Participant, curated by Chico State Print Club

BIBLIOGRAPHY 2011

Best In Show ‘The Atomic Explosion’ at Peter Blum, Plus “New Prints 2011/ Summer” at the International Print Center.

The Village Voice, June 2011

AWARDS 2013

Greater Columbus Arts Council Professional Development Grant

2012

Fergus Family Scholarship for Thesis Research

2011

Charles Massey Jr Printmaking Scholarship

2008

Janet Turner Printmaking Scholarship

PERMANENT COLLECTIONS Southern Graphics Council Print Archives Collection Janet Turner Print Museum, Chico CA Meriam Library Special Collections, Chico CA

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JACOB BE E N

My work is meant to show the value of action. The function of a work is not found in its finalized form, but

ally is often abstract to represent the allegorical meaning found within the specific process.

the process enacted in its production. What is seen in the

For instance the image Diversity is a representation

gallery is the representation of time. This is represented

of the role that diversity is given in our current culture..

in the physical application of layers. The subject matter is

In our society we are taught that different is bad, chaotic,

often subtle, and not meant to be remembered, however

unorganized, and should be feared. This could not be

the way in which the subject matter is presented visu-

further from the truth; inherently diversity enriches all aspects of the world. It is a painting that is meant to show the value of diversity. Even through the process of editing different traits to a minimum, with the hope of extinguishing it all together, it becomes more vivid, and more valuable to the survival of the image itself.

Importance of Diversity, acrylic on canvas, 30� x 42� , 2017 14

Sunrise (C, CM, CMY, CMYK, MYK, YK, K), silkscreen on paper, 12” x 20”, 2016

Eastgate, silkscreen on paper, 7” x 12 1/2”, 2016 15

JACOB BE E N

EDUCATION 2012

BFA, California State University Stanislaus

2013

Post Baccalaureate Certificate Fine Arts, Maryland Institute College of Art

2015

MFA, University of Pennsylvania

GROUP EXHIBITIONS 2010

California Printmaking Exhibition, Merced County Art Council, Merced, CA

2011

Juried Show, 909 Gallery, Modesto, CA

2012

Over, Main Gallery, CSU Stanislaus, Turlock, CA

2013

En Masse, Leidy Gallery, Baltimore MD

2015

Down to Earth/ Terre a Terre/ Van Nature, Hanger H18 Gallery, Brussels, Belgium

SOLO EXHIBITIONS 2011

Escaping Image, CSU Stanislaus Library, Turlock, CA

2012

You Are Here, 909 Gallery, Modesto, CA

TEACHING & OTHER EXPERIENCE 2017 Volunteer Teen Docent, Palm Springs Art Museum, Palm Springs, CA spent two days a week giving guided museum tours to elementary school students.

2012

CSU Stanislaus Art Club Secretary, CSU Stanislaus, Turlock, CA

2012–13 Graduate Teaching Intern, Maryland Institute College of Art, Baltimore, MD Assisted in teaching curriculum, setting up the classroom daily, and evaluating students for grading, under the instruction of Lauren Adams: Drawing I/Drawing II Assisted in teaching curriculum, setting up the classroom daily, and evaluating students for grading, under the instruction of Timothy Horjus: Drawing II 2013 Studio Assistant , Timothy Horjus, Baltimore, MD Helped in the production and installation of multiple large scale paintings for Timothy Horjus’ solo exhibition at the Creative Alliance http://www.creativealliance.org/events/2013/timothyhorjussoloexhibition 2014 Teaching Assistant, University of Pennsylvania, Philadelphia PA Assisted in designing and teaching curriculum, setting up the classroom daily, and evaluating students for grading, under the instruction of Deirdre Murphy: Foundation Drawing Spring Semester 14 / Fall14 2014–15

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Printshop Technician / Production Assistant, The Common PressUPenn, Philadelphia, PA

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D E AN DE CO CK E R

My work is part of a continuing series, “Blue Jack-

and architectural works. These objects become concep-

ets Return.” From the first winged-shaped structures to

tual elements, which I transform into drawings. Then, via

the current work, I have been exploring my interest in

different techniques of construction, I fabricate many

formal elements by transforming flat, two-dimensional

objects of inner structures and outer coverings that cre-

surfaces into three-dimensional objects. I derive much of

ate volumetric enclosures. In recent years, my interest in

my inspiration from everyday objects such as mailboxes,

racecar fabrication and collecting vintage BMX bicycles

aircraft structures, wings, propellers, heavy machinery

from the 1970’s has led to subtle changes to my work’s structure and color. My work of drawings, prints and photographs come from objects that inspire me and places that I have visited that make me think about time and space.

Some of my newest print/painting work involves my interest in World War I and II military ship camouflage.

The titles of my works are a result of my interest in the construction techniques of World War II aircraft and the battles fought in the South Pacific.

Dean DeCocker is a Professor of Art at California State University, Stanislaus; he is also the Director of the University Art Gallery and the Art Space on Main Gallery.

As an artist he has had 50 solo exhibitions and over 150 group exhibitions with mention of his work in over 90 articles and reviews. More of his work can be seen at deandecocker.com.

At Mindano, acrylic paint, metal, powder coat, 22”x12”x12”, 2015 18

Deep Water, mixed media, 22� x 26�, 2017

Welcome to the Pacific, 2016, Art Space on Main, Turlock, CA installation

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D E AN DE CO CK E R

BORN RESIDES STUDIOS

Montebello, CA Turlock, CA Rosemead, CA (Los Angeles Area) and Turlock, CA

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– Professor, Department of Art Present 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 PROFESSIONAL 2003 - University Art Gallery, Director Present California State University, Stanislaus, Turlock, CA 1993–2003 Gallery Director, Department of Art, Claremont Graduate University, Claremont, CA SOLO EXHIBITIONS 2018 “Catalina,” JAYJAY, Sacramento, CA

“Return to the Big Pacific,” Merced Multicultural Center, Merced, CA 2017 “A Return to the Speed Flags,” John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA 2016 “Time and Tides,” Part of the Carnegie Art Center’s Centennial Celebrations, Carnegie Art Center, Turlock, CA

“The Shore Patrol,” The Art Institute of California, Sacramento

“Welcome to the Pacific,” Art Space on Main, California State University, Stanislaus, Turlock, CA 2015 “Tropical Boom Towns,” Merced College, Merced, CA

“When Flat Tops Ruled the Waves,” John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA 2014 “Specific to the Pacific,” JAYJAY, Sacramento, CA 2013 “Lightning Strikes,” Chartreuse Muse, Modesto, CA 2012 “Running at Full Tilt,” JAYJAY, Sacramento, CA 2011 “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 “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

Taken from over 55 Solo exhibitions starting in 1989

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GROUP EXHIBITION 2017 “a la mode,” Davis Art Center, Davis CA

“Summer Group Show,” JayJay, Sacramento, CA 2016 “Sculpture in the Garden,” Sam and Alfreda Maloof Foundation for Arts and Crafts, Alta Loma, CA 2015 “California State University Stanislaus, Recent Work- Department of Art Faculty

Merced College, Merced, CA 2014 “Art Faculty on Main, “ Art Space on Main, Turlock, CA

“Art Auction 2014,” Crocker Art Museum, Sacramento, CA 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

“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA 2007 “Research from the Department of Art @ John Stuart Rodgers Faculty Development Center,” CSU Stanislaus, Turlock, CA

“Benefit Art Auction,” Huntington Beach Art Center, Huntington Beach, CA

Taken from over 100 group exhibitions starting in 1985 BIBLIOGRAPHY 2014 “Dean De Cocker and Peter Wayne Lewis @ JayJay,” Janurary 22, 2015

“Peter Wayne Lewis ‘Temporal Paintings’ & Dean De Cocker ‘Specific to the Pacific’.” November 7, 2014

“Critics picks for Sacramento’s Second Saturday.” , November 6, 2014 2012 “Running at Full Tilt,” Catalog, JAYJAY, Sacramento, CA

Olivant, David, “In Praise of Collecting,” Catalog Carnegie Art Center, Turlock, CA 2011 Ren, Clark, “On the Wall.” Flagstaff Live, October 6 – 12, 2011 Vol. 17 issue 40

“First Friday Art Walk, Highlighted Galleries.” the Noise arts and news, October 2011 #125

“Art Galleries and Openings.” Sactown, August/September 2011

“Art Picks.” Midtown Monthly August 2011

d’ART.“ Sacramento News and Review August 11, 2011 2010 De Angelo, Darlene. “Dean De Cocker Point Luck.” Catalog, Andi Campognone Projects

Dalkey, Victoria. “Dean De Cocker’s ‘icily elegant’ sculptures on display at Skinner/Howard Gallery.” Sacramento Bee April 18, 2010

“Art Review: Rogelio Manzio, Dean DeCocker at Skonner Howard.”, May 7, 2010

“Current Los Angeles Contemporary Exhibitions: Doug Simay’s Best Picks,”,February 2, 2010 2007 “Pulse.” Flagstaff Live May 3 – 9, 2007

Jerome. “Art Beat.” The Noise, arts and news May 7, Number 72

Taken from over 55 articals starting in 1989 SELECTED COLLECTIONS The Crocker Museum, Sacramento, CA Robert V Fullerton Art Museum, San Bernardino, CA Laguna Beach Museum, Laguna, CA Orange County Museum of Art, Newport Beach, CA Riverside Art Museum, Riverside, CA Natomas Charter School, Sacramento, CA Bank of Sacramento, Meridian Plaza, Sacramento, CA Merrill Lynch, Sacramento, CA Sprint, Santa Clara, CA

21

JAM E S DE I T Z

My work is my statement

Jacob’s Ladder, oil on canvas, 15 3/4” x 31 1/4”, 2017

22

Goodniight Moon, oil on canvas, 12” x 36”, 2017

El Baile, oil on canvas, 23 3/8” x 56 1/2”, 2017

23

JAM E S DE I T Z

jamesdeitz.crevado.com jdeitz@csustan.edu EDUCATION 1986 M.F.A. Drawing and Painting, University of Washington, Seattle, WA 1984, B.F.A. Drawing and Painting, University of North Dakota, Grand Forks, ND VISITING ARTIST 2006–2017 California State University, Stanislaus, Turlock, CA 2004 University of Arizona, Tucson, AZ 2003 Pierce College, Lakewood, WA 1992 University of North Dakota, Grand Forks, ND TEACHING EXPERIENCE Foundations Drawing Color, Color Theory Drawing II: Composition Foundations Printmaking Intermediate Drawing Intaglio Advanced Drawing Monoprint, Monotype Figure Drawing Relief Printmaking Foundations Painting Advanced Printmaking Painting From Observation Text and Image Intermediate Painting Mixed, Media, Collage Advanced Painting Art In Action Painting from Unconscious Independent Study Foundations 2-D Design BFA Candidate Review SOLO EXHIBITIONS 2013 James Deitz, Chartreuse Muse Gallery, Modesto, CA 2011 James Deitz Paintings, Vermillion Gallery, Seattle WA 2010 James Deitz, California State University, Stanislaus Art Gallery, CA 2010 James Deitz, Paintings and Print Collages, Francine Seders Gallery, Seattle, WA 2008 Seattle: Land, Water, Sky, Upstairs Gallery, Francine Seders Gallery, Seattle, WA 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

24

SELECTED GROUP EXHIBITIONS 2015 Text and Image, Chartreuse Muse Gallery, Modesto, CA 2014 CSU Art Department Faculty, Merced College Art Gallery, Merced CA 2014 Art Faculty on Main, Art Space on Main, Turlock, CA 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 1994 1992 1990

Still lifes with twists, Matthew Kangas, Art in America, (Special to the Seattle Times) Lawrence exhibit is this month’s star at galleries, Robin Updike, The Seattle Times Two artists turn fragments into wholes, Regina Hackett, The Seattle Post-Intelligencer Gallery Review, 911 COCA, (Center on Contemporary Art), Seattle, WA

25

DANIE L E DWA R D S

These works originated as digital assemblages of

cultural assault the theme park must have been to the

objects found on the Internet. I began collecting 3D

senses of Europeans back in the 90s. The combinations,

models digitally scanned and made available through

or meshups, as I call them, may result in socio-political

various websites, like Sketchfab. The models on Sketch-

narratives, mostly religious narratives, it seems. To be

fab are produced and submitted by artists and museum

more universal and evenhanded, I included working with

enthusiasts who have advanced technical skills for digitally

3D scans of sculpture from places outside of Europe.

scanning sculpture.

I did not want to appear to be singling out particular

Thematically, I drew inspiration from Euro Disney (now called Disneyland Park) and decided to compose

religions or cultures in regard to producing images that could very well be considered sacrilegious.

American cartoon characters with European master-

I moved from Disney to Hanna-Barbera to Harvey

pieces to create assemblages with which to emulate the

Comics characters, and chose the characters whose designs possessed potential for dynamic sculptural form.

Adam Harvey, a son of the founder of Harvey Comics, supplied me with some original art for my studies.

Also, I received invaluable suggestions from Tomas Pettersson, the inventor of Sculptris, the digital sculpture program I used exclusively to create this series. Students may remember Tomas from his visits to CSU Stan last year.

The work generally appears in digital print form and 3D print form, as well.

Louis XIV and the Bahamuts, Material Capture: Yellow Nerf, 2017 26

Verrocchio’s David with Beheadings, Material capture: Yellow Nerf, 2017 27

DANIE L E DWA R D S

EDUCATION 2001

MFA, Drawing and Sculpture, New York Academy of Art, New York, NY.

1994

BFA Sculpture, Herron School of Art, Indiana University, Indianapolis, IN.

1988–90

MFA Program, New York Academy of Art, Warhol Scholarship from Estate of Andy Warhol.

PUBLIC SCULPTURE AND COMMISSIONS 2004

Olympians of the New York Athletic Club, bronze, New York Athletic Club, New York, NY.

2002

Wm. DeHart Hubbard, Olympian, 6’x 8’ bronze, Southwest Ohio Regional Transit Authority, Cincinnati, OH.

2000

Young Thoroughbred with Child, bronze life-size, Buckingham Companies, Indianapolis, IN.

1998

Affirmed: The Last Triple Crown Champion, bronze, 125% life-size, Champions Farms, Louisville, KY.

1998

Bronze Water Fountains (two), University of Indianapolis, Indianapolis, IN.

1998

Dean Charles Emerson, bronze life-size bust, I.U. School of Medicine, Indianapolis, IN.

1998

Senator Wendell Ford, bronze, twice life-size, Louisville Airport Authority, Louisville, KY.

1996

Governor Matthew E. Welsh of Indiana, bronze life-size, Indiana Statehouse, Indianapolis, IN.

1995

Landmark for Peace: The MLK Jr. and RFK Memorial (Groundbreaking ceremony performed by

1995

President Clinton, Martin Luther King III and Senator Ted Kennedy), sponsored by the Indiana Pacers, Indianapolis, IN. Jimmy Doolittle Award, Hudson Institute (Recipient: Barry Goldwater;

Guest speakers: Dan Quayle, William F. Buckley, and Sen. Sam Nunn), National Press Club, Washington, DC. 1995

Workers’ Memorial, Indiana Government Center, sponsored by AFL-CIO, Indianapolis, IN.

1994

Mother Seton with Child, bronze life-size, St. Vincent Hospital, Indianapolis, IN.

1994

Josef Gingold Memorial Gold Medal for the International Violin Competition, Indianapolis, IN.

SELECTED BOOKS WHICH REFERENCE WORKS Jennifer Tyburczy (Jan 11, 2016). Sex Museums: The Politics and Performance of Display. University Of Chicago Press. ISBN-13: 978-0226315249.

Renée Cramer (Oct 21, 2015). Pregnant with the Stars: Watching and Wanting the Celebrity Baby Bump. Stanford University Press. ISBN-13:9780804796743.

Ana Rita Ferreira, Ana Nolasco (2014). Creative Processes in Art: Proceedings of the International Colloquium. FBAUL. 9789898771063.

Christopher Schaberg, Robert Bennett (2014). Deconstructing Brad Pitt. Bloomsbury Publishing USA. ISBN-13:9781623561932.

McCallum, Jack and Wertheim, Jon (2012). Sports Illustrated Book of the Apocalypse: Two Decades of Sports Absurdity. Diversion Books.

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.

Kelley, Kitty (2010). Oprah: A Biography. Crown. ISBN 073937785X

28

Sturken, Marita and Cartwright, Lisa (2009). Practices of Looking: An Introduction to Visual Culture 2nd edition. Oxford University Press, USA. ISBN 978-0195314403.

Mancoff, Debra (2009). Icons of Beauty: Art, Culture, and the Image of Women. Greenwood. ISBN 978-0313338236.

Schechter, Harold (2009). The Whole Death Catalog: A Lively Guide to the Bitter End. Random House Publishing Group. ISBN 9780345499646.

Reiter, Mark (2009). The Final Four of Everything. Simon & Schuster Adult Publishing Group. ISBN 9781439126080.

Benjamin, Louis (2009). The Naked and the Lens: A Guide to Nude Photography. Focal Press. ISBN 9780240811598.

Wilks, Timothy (2008). Prince Henry Revived: Image and Exemplarity in Early Modern England. Paul Holberton Publishing. ISBN 9781903470572.

Jobson, Robert (2008). Harry’s War: The True Story of the Soldier Prince. John Blake Publishing Ltd. ISBN 9781844546725.

Kokoli, Alexandra M. (2008). Feminism Reframed: Reflections on Art and Difference. Cambridge Scholars Publishing. ISBN 978-1847184054.

Newkey-Burden, Chas (2007). Paris Hilton: Life on the Edge. Gardners Books. ISBN 9781844544578.

SELECTED DUBIOUS DISTINCTIONS In Touch Magazine (2015), “Bizarre Exhibit of the Week” for Shroud of Scientology.

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.

29

JE S SIC A GO M U LA -K R U Z IC

My visual arts research creates collaborative intermedia artwork in diverse public spaces, which addresses socially conscious subject matter. Through video and animation projects, live performances, and responsive systems, my projects creatively respond to the physical and social character of an environment in an effort to bring diverse people together to inspire, and be inspired.

“If you can imagine it, you can achieve it.

If you can dream it, you can become it.�

- William Arthur Ward.

My work revolves around the Central Valley, with recent work focusing upon Modesto, California. While not a native to Modesto, it is where I have been the longest. Growing roots in this community has had a profound impact on my artwork, and my sense of personal expression and art activism.

Disordered Passages, stills from the video. dimensions variable. 6 minutes. 2017

30

Disordered Passages, stills from the video. dimensions variable. 6 minutes. 2017

Disordered Passages, stills from the video. dimensions variable. 6 minutes. 2017

31

JE S SIC A GO M U LA -K R U Z IC

JGomula.com EDUCATION Master of Fine Arts, Printmaking, Illinois State University, Normal, IL Bachelor of Fine Arts, Printmaking, Atlanta College of Art, Atlanta, GA SOLO EXHIBITIONS 2017 Complicit Participants. Art Space on Main. Turlock, CA. 2016 Gemperle Gallery Centennial Exhibition. Carnegie Art Center, Turlock, CA. 2016 ACTION: Jessica Gomula. Faculty Development Center. California State University, Stanislaus, Turlock, CA. 2014 Art Faculty on Main. Building Imagination Center, Turlock, CA. 2012 Ssshhhh! Alameda Public Library. Alameda, CA. 2011 Meet Your Neighbor public art installation. Modesto Art Museum. Over 35 downtown storefronts. Modesto, CA. 2009 Semantic Frottage, solo video installation. Modesto Art Museum / Mistlin Gallery, Modesto, CA. 2008 Life’s Tantric Love Triangles. 21 Grand Gallery, Oakland, CA. 2008 B.O.O.B. (Breastfeeding Outside Our Bedrooms). Austin, TX. 2008 Infinite Transformations of Desire. University Gallery, California State University, Stanislaus, Turlock, CA. 2007 Love’s Receipts. Print / Photo Gallery, Truckee Meadows Community College, Truckee Meadows, NV. 2000 Transformations. University Galleries, Illinois State University, Normal, IL. GRANTS AND AWARDS 2010–2014 Research, Scholarship award Stanislaus State.

2012 ArtPlace America, nationally competitive award.

2012 Creative Work Fund, regionally competitive award.

2012 Outstanding Community Service Award, Stanislaus State.

COLLABORATIVE PERFORMANCE / VIDEO INSTALLATIONS WITH DOUBLE VISION INTERMEDIA PERFORMANCE GROUP 2016 Veritable Vicissitudes. Champlain College, Burlington, Vermont under Collaborations with Double Vision 2015 Live Video: Seven Days. Burlington, Vermont.

2014 International Symposium of Electronic Art, Dubai, UAE. 2013 Maker Faire. Burlington, Vermont.

2012 Quench ArtSpace, Waitsfield, Vermont.

2012 Eastern Bloc, Montreal, Canada.

2012 CDFS, Montpelier, Vermont.

2011 Ionion Center for the Arts and Culture, Kefalonia Greece.

2011 POP Revolution Festival, Lecce, Italy.

2011 ProARTS Festival 2011 & International Choreographic Platform, Brno and Prague, Czech Republic.

2011 Moving House Foundation / Florian Workshop in Budapest, Hungary.

2011 OZU, Monteleone Sabino, outside Rome, Italy.

2011 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.

2009 MuseumsQuartier Wien, Vienna, Austria 2009 Institut Intermédií, Prague, Czech republic.

2009 Hypnagogia. Climate Theatre. San Francisco, CA. 2009 Innovative Performances for Traditional Needs. Mr. Smith’s, San Francisco, CA. 2008 4×60 National Tour. Center for Contemporary Arts, Santa Fe, New Mexico.

2008 4×60 National Tour. ARTS Lab, Albuquerque, New Mexico.

32

2008 4×60 National Tour. BASIC, San Diego, CA. 2008 4×60 National Tour. DragonBar, San Francisco, CA. 2007 To Futurism and Back Again. Yerba Beuna Center for the Arts, San Francisco, CA. 2007 To Futurism and Back Again. Dance Mission Theatre, San Francisco, CA. 2007 CultureCatch.com Artist Salon, MacWorld Conference. Red Ink Studios. Red Ink Studios, San Francisco, CA 2006 21/ONE. Performance with Double Vision and Boxcar Theatre, Fringe Festival, San Francisco, CA. 2006 Lonely Owl and the Game of Life, Byte #2. CELLspace, San Francisco, CA. 2006 ArtsExpo. Civic Center Park, San Francisco, CA. 2006 Lonely Owl and the Game of Life, Byte #1.5. ArtSFest Spectra Ball, San Francisco, CA. 2005 Lonely Owl and the Game of Life, Byte #1. Mad Horse Loft, Oakland, CA. 2005 Lonely Owl and the Game of Life, Byte #0. WORKS, San Jose, CA. FILM PRODUCTION 2014–Pres. Eleven Dimensions. Experimental. 40 min. Director and Producer.

2017 Complicit Participants. Turlock, CA. 2016 Veritable Vicissitudes. Champlain College, Burlington, Vermont.

2014 International Symposium of Electronic Art. Dubai, UAE. 2014 Art Faculty on Main. Turlock, CA. 2016 Quotidian Mandala. Experimental short. 10 min. Director and Producer.

2017 Preselected, Cinema New York City. New York, NY. 2017 Best Shorts Award of Recognition, Women Filmmakers.

2017 Complicit Participants. Turlock, CA. 2016 DOUBLE VISION @ City Hall. Montpelier, VT. 2016 30th Scary Cow Film Festival. San Francisco, CA. 2016 Overhead. Thriller Short. Assistant Camera Operator. Directed by Alisha McCutcheon.

2016 29th Scary Cow Film Festival. San Francisco, CA. 2016 Uber Mom. Comedy Short. Assistant Camera Operator. Directed by Dana Moe. 2017 Palm Springs ShortFest. Palm Springs, CA. 2016 30th Scary Cow Film Festival. San Francisco, CA. Scary Cow: Members Award Best of Award: Director, Best of Award: Original Music Score Outstanding Award: Acting Outstanding Award: Writing 2015 Filling Her Shoes. Experimental short. 10 min. Director and Producer.

2017 Complicit Participants. Turlock, CA. 2015 Resident Artists’ Workshop. Safehouse for the Performing Arts. San Francisco, CA 2015 Chadu 2. Comedy Short. Assistant Camera Operator. Directed by Nitin Kant.

2015 27th Scary Cow Film Festival. San Francisco, CA. 2015 E.Z.P.Z. Science Fiction Short. 10 min. Best Boy Grip. Directed by Jason Bryan.

2016 Dead Walk Fast. Madison, WI. 2016 Best Shorts. Castro Theatre. San Francisco, CA. 2015 27th Scary Cow Film Festival. San Francisco, CA. 2015 Modesto 2034: Glimpses of the Future. Documentary Short. 4 min. Executive Producer. Directed by Michael George 2015 Gen Con Film Festival. Indianapolis, IN. 2015 Intendence Film Festival. Denver, CO. 2015 Columbia Gorge International Film Festival. Washougal, WA 2015 New Work from the Bii. Turlock, CA.

33

CH AD H U N T E R

To me, plein air painting must be more than a

I strive to paint what cannot be painted: the energy,

simple copy of a scene. Yes, it should capture the light

the poetry, or the interpretation rather than a literal

and shadow, texture, color but in the end it must be an

representation.

emotional response by the artist. I try to communicate the feeling of a scene through my paintings.

Seating for Seven, Watercolor, 22� x 14�, 2017 34

Monterey Marina, Watercolor, 15” x 11”, 2016

Yosemite High Country, Watercolor, 15” x 11”, 2016 35

CH AD H U N T E R

EDUCATION 2012

M.F.A. Visual Arts with emphasis in Graphic Design, Marywood University, Scranton, PA

1995

B.F.A. Illustration, Minor: Studio Art, Brigham Young University, Provo, UT

AWARDS 2017

2nd Place, California State Fair, Plein Air

2016

1st Place, Capitola Plein Air competition, Capitola CA

2016 Honorable Mention, Society of Children’s Book Writers and Illustrators (SCBWI) Northern California Conference logo 2016

1st Place Portfolio, SCBWI Northern California Conference

2015

1st Place, SCBWI Northern California Conference logo

2006–08

Gold Medal for Annual Report, MAC

2006

Best of Show for Coordinated Campaigns, CUES

2006

Gold Medal for Direct Mail, CUES

2006

1st Place, Plein Aire Competition, Turlock, CA

1999, 06, 07 Gold Medal for Coordinated Campaigns, CUES 1999

2nd Place Gallo Art Show, Modesto, CA

1999

Private Funding Award, Stockton Art League Juried Exhibition

1998

Best of Show, Stockton Art League Juried Exhibition

1998

Gold Medal for Logo, MAC

SHOWS 2017

Frank Bette Plein Air Paintout, Alameda, CA

2017

California State Fair Plein Air, Sacramento, CA

2016

Benicia Plein Air Paintout, Benicia, CA

2016

Capitola Plein Air Paintout, Capitola, CA

2016

Carmel Art Festival Plein Air, Carmel, CA

2015

Chad Hunter: 20 Year Retrospect, CSU Stanislaus, Turlock, CA

2015

Department of Art Faculty, Merced College Art Gallery, Merced, CA

2014

Faculty Show, Art of Main, CSU Stanislaus, Turlock, CA,

PARTIAL CLIENT LIST Washington Post WordPerfect Magazine Access Magazine Utility Telecom University of the Pacific PacWest Telecom Delicato Winery

36

Brubeck Institute Salt Lake City Art Director’s Club Networking Magazine Manteca Convention and Visitor’s Bureau Graphic Artist Guild, national Sactown Magazine Mary Graham Children’s Foundation Power Contents, Korea Montag Press Shakefest SCBWI Nor Cal COURSES TAUGHT Foundation Drawing Foundation Digital Media Lettering and Typography Graphic Design Illustration Visual Identity and Branding Intermediate Graphic Design Digital Photography Web Design Type and Image Publication Design Fundamentals/Observational Drawing Image Manipulation Digital Illustration Intermediate Ad Campaign Advanced Ad Campaign Project Study Digital Illustration Illustrative Concept Design

37

DAV ID OLI VA NT

A Brief Pre and Post History of Dismemberment.

least prominent fragments, to mentally re-assemble the

For several years a full size ceramic woman built

‘source’ woman or even to know that there was such

in 2001 and originally intended for display on the floor,

a common source, so let’s just give up on that—not

found herself hanging from my office wall. This was

the point anyway. The thrust of this series for me has

almost entirely due to economies of space and the

been the attempt to accommodate such large fragments

incremental filling up of those parts of space to which I

onto a relatively small surface. Almost inevitably it has

could claim at least tenancy if not ownership. It made her

entailed suggesting that the large fragments displayed

less liable to being stepped on, but had partially reduced

are continued in the form of something more complete

an already narrow entryway. I had only timidly begun a

beyond the material confines of the format, almost as if

haphazard assessment of the possible aesthetic merits

what is displayed could be a fragment of a much larger

of this novel placement when it dawned on me that the

story or as if the work of art is a glimpse, or a residue of

new positioning rendered parts of her anatomy, normally

something else and it is this “something else” more than

almost concealed when this lady sprawled on the floors

the prior existence of a complete ceramic woman that

for which she had been intended, now appallingly promi-

I hope the viewer might begin to extrapolate from the

nent to those seeking entrance to my office.The situation

glimpse. At the very least the possibility of entering my

received a temporary redress in the form of items like

office and making it all the way to the back room with a

dessert spoons, masking tape, whatever came to hand,

clean conscience is now restored.

used as surrogate fig leaves.

Clearly the situation needed more permanent solutions and the one that most recommended itself some time in April of 2017 was dismemberment, always a sketchy proposal in the case of large fired ceramics. I will spare readers the mechanics of such an act, except to say that despite the application of chisels and hammers and a certain amount of brute force the entire operation was undertaken in a spirit of modest regret and humility not in the least seasoned by misogyny or rejection at an impressionable age by girls whose divine beauty and grace placed them clearly ‘out of my league’!

It might scarcely be possible, even in the presence of the five images which comprise the current Dismemberment series and in which have been utilized all but the

38

Return of the Hunter Gatherer, mixed media, 2017

Demise of the scopophiliac, mixed media, 2017

39

DAV ID O LI VA N T

Professor of Art at California State University, Stanislaus since 1995 Born in Watford, England Liiving and working in Turlock, California EDUCATION 09/81-07/84 M.A. Painting. Royal College of Art, London/UK 09/76-07/77 B.A. Art. Falmouth School of Art, England/UK AWARDS 09/89-04/90 British Council travel award, Stockholm/Sweden 11/86-06/88 Commonwealth Scholarship, Lalit Kala Akademi, New Delhi/India 09/84-07/85 Cheltenham Fellowship, England/GB SOLO EXHIBITIONS 1/14-2/14

Heteroglyphs Art Space on Main, Turlock CA/USA

9/14-10/14 Hybrid Dreams-objects, assemblages, Janzen Galerie, Dusseldorf, Germany.

2/11-3/11

Narrative Drift. First Street Gallery, Humboldt State University, CA/USA

2/10 -5/10

Studio Leitmotifs. Robert V Fullerton Museum, California State University, San Bernardino/USA

9/08-10/08 Cadenza. University art Gallery California State University Stanislaus/USA 11/07-12/07 Cadenza. Janzen Galerie, Wuppertal, Germany.

06/07-07/07 Ceramic Sculptures. Vergas Gallery, Mission College, Santa Clara /USA 03/07-04/07 Those Images That Yet‌, Truckee Meadows Junior College, Reno/USA 09/01-10/01 Towards the Door We Never Opened, University Art Gallery, California State University Stanislaus/USA 04/99-06/99 World Not World, Fresno Art Museum, California/USA 11/96-12/96 University Art Gallery, California State University Stanislaus/USA 12/95-01/96 Art Heritage Gallery, New Delhi/India 12/93-02/94 Watercolors from the Aspen Series, Stephen Solovy Fine Art, Chicago/USA 06/92-08/92 Stephen Solovy Fine Art, Chicago/USA 03/91-04/91 Stephen Solovy Fine Art, Chicago/USA 02/90-04/90 Center for International Contemporary Art, New York/USA 11/87-12/87 Art Heritage Gallery, New Delhi/India SELECTED GROUP EXHIBITIONS 04/15

International art Fair, Art Karlsruhe, Karlsruhe/Germany (represented by Janzen Galerie,Wuppertal)

08/12-12/12 CSU Stanislaus Art Department faculty exhibition, Carnegie Art Center, Turlock CA 02/10-03/10 California State University Stanislaus Faculty Exchange Exhibition, First Street Gallery, Humboldt State University/USA 03/09

International art fair, Art Karlsruhe, Karlsruhe/Germany (represented by Janzen Galerie,Wuppertal)

03/08

International art fair, Art Karlsruhe, Karlsruhe/Germany (represented by Janzen Galerie,Wuppertal)

40

10/06-11/06 Eight Hours Difference, Lancaster University/ England.

09/02-10/02 Art Department Faculty: Valley View, University Art Gallery, California State University Stanislaus/USA 11/97-02/99 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 02/97-03/97 Two From Britain, California State Polytechnic, Pomona Art Gallery/USA 01/95-04/95 Archer M. Huntington Art Gallery, University of Texas, Austin/USA 11/92-02/93 Haggerty Art Museum, Marquette University, Milwaukee/USA 04/90-06/90 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 (Reviews) 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 Mark Van Proyen, “Olivant@CSU Stanislaus” Square Cylinder, February 2015 Daniella Walsh, “Romantic Visions for Modern Times,” Orange County Register, March 1, 1998 CATALOG ESSAYS ABOUT DAVID OLIVANT David Cohen, Cadenza Catalog, September 2007.

41

E LL E N RO E HN E

These pieces are part of a recent series loosely

ative process, fairytales and mythology, and many religious

based on alchemy, which is defined as a philosophical and

texts. Although some of the imagery references alchemy

protoscientific tradition which aimed to purify, mature

directly, most of the work comes spontaneously, without

and perfect certain objects.Through a series of processes

concern for specific conventions of the pseudoscience. It

or stages, the alchemist attempts the transmutation of

is the process of discovery through trial and error, chance

base metals into precious metals (lead into gold). The

and accident that most intrigues me. Because ceramics

ultimate goal of the alchemist is to transform the cha-

involves several steps that include building, glazing and

otic primordial first matter into perfection; accomplished

multiple firings, the outcome of the finished product is

through spiritual enlightenment. My interest in alchemy

difficult to foresee. Working with fire, earth, water and

began almost 20 years ago and I have used many of the

other elements also leads to this unpredictability. My

processes such as burning, submerging, deconstructing,

work is continuously transformed through these various

burying, disintegrating and reconstructing in much of my

procedures. By working in this way, I find that synchron-

work since.

icities occur within my daily life, dreams, memories and

At the beginning of 2016, I began reinvestigating alchemy and Carl Jung’s writings about its correlation to

art. It is these connections that guide me in my creative pursuits.

psychotherapy, as well as the many parallels with the cre-

Sublimatio mixed media, 30” x 42” x 6”, 2016 42

Coagulatio, mixed media, 54” x 36” x 9”, 2016 43

E LL E N RO E HN E

Lecturer of Art at California State University Stanislaus since 2003 BORN 1968, Caldwell, Idaho RESIDES Modesto, California STUDIO Modesto, California EDUCATION 1998 M.F.A. Sculpture, John F. Kennedy University, Berkeley, CA 1993 B.F.A. Ceramics, California State University, Chico, CA 1987 Mixed Media Studio Art, Romerike Folkehoyskole, Jessheim, Norway SOLO EXHIBITIONS 2016 “Transformations” FD C, California State University, Stanislaus, Turlock, CA 2015 “Labels Installation”, The Chartreuse Muse, Modesto, CA 2011 “Recent Work” Teagues, Longview, WA 2007 “Lost and Found” University 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 GROUP EXHIBITIONS 2015 “Speech Patterns” The Chartreuse Muse, Modesto, CA 2014 “Faculty Show” ASOM Gallery, California State University, Stanislaus, Turlock, CA 2013–2017 “The Art of Justice”, Stanislaus Family Justice Center, Modesto, CA 2012 “The Many Faces of Clay” Mistlin Gallery, Modesto, CA 2012 “Figures of Speech” The Chartreuse Muse, Modesto, CA 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 “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 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 1999 “Opening Tricks” Festival of the Arts, Berkeley, CA 1999 “What is Art For?” Oakland Museum, Oakland, CA 1998 “Human Habit” William King Regional Arts Center, Abingdon, VA 1998 “Lead Into Gold” Gallery Route One, Point Reyes, CA 1998 “Animals and Their People” Sebastopol Center for the Arts, Sebastopol, CA 1998 “An Homage to Inspiration” Danville Fine Arts Gallery, Danville, CA 1998 “Re-Membering” Arts Annex Gallery, Berkeley, CA

44

1998 1998 1997 1997 1997 1997 1997 1996 1996 1996 1995 1993 1993 1992 1992 1992 1992 1991 1987 1986

“Women Artists- New Work” Central California Art League Gallery, Modesto, CA “Trash Into Treasures” YWCA Gallery, Oakland, CA “Calcinatio” The Art Explosion Gallery, San Francisco, CA “Journey Into Wholeness” Center for the Visual Arts, Oakland, CA “Collage and Assemblage” Arts Benicia, Benicia, CA “Spring Show” The Art Explosion Gallery, San Francisco, CA “Between Dreams” Arts Annex Gallery, Berkeley, CA “A Woman’s Worth” Wednesday’s Gallery, Santa Cruz, CA “Bay Area Artists” The Art Explosion Gallery, San Francisco, CA “13th Annual Dream Art Exhibit” Claremont Resort, Berkeley, CA “Summer Art Show” The Art Explosion Gallery, San Francisco, CA “California Clay Competition” The Artery, Davis, CA “37th Annual Student Exhibition” California State University, Chico, Chico, CA “Feats of Clay” Lincoln Arts Center, Lincoln, CA “California Works” California State Fair, Sacramento, CA “National Women’s Month Show” Planned Parenthood, Chico, CA “Figurative Sculpture” California State University, Humboldt, Arcata, CA “It Figures” Ayres Gallery, Chico, CA “Romerike Art Show” Radhus Gallery, Jessheim, Norway “International Art Exhibit” Romerike Gallery, Jessheim, Norway

SELECTED AWARDS, GRANTS & 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 SELECTED REVIEWS, PUBLICATIONS, & ARTICLES “Their Own Muse” The Modesto Bee, September 11, 2009 “Beauty for Ashes” Lifewind Publications, October 2008 David Hill. “A Work of Art for Trio” The Modesto Bee, February 2, 2003 Leo Stutzin. “Outside the Box” The Modesto Bee, October 5, 2001 “Artist’s Reception” Turlock Journal, July 27, 2001 Karen Hunt. “The Jury’s In” San Francisco Chronicle, February 12, 1999 “Re-Membering” Video Interview, September 8, 1998 April Street. “The Human Habit” William King Regional Arts Center Catalog, July 1998 “Current Work” Television Interview, Sputnik’s Rocket to Stardom, May 1998 Holly Metz. “Woman on the Verge” Chico News and Review, December 9, 1993 Laura Weir. “Ceramics of the First Order on Display” Davis Enterprise, April 1, 1993 Bjorg Ytterhus. “Elevutstilling I Radhuset” Jessheim Dagblad, February 3, 1987 Tom Haehre. “Folkehoyskole med Fagerik” Jessheim Dagblad, December 10, 1986

45

S US AN S T E PHE N SO N

At a time of unprecedented visual abundance—

the “do not pass” lines in the road. Instead of pretending

when artists sift through hundreds of photos before

that electric lines are nonexistent, I use them to break

layering them into a single image—I remain a steadfast

the sky into visual patterns, letting them catch the light

oil painter, determined to continue my slow-cooked

and become orange against the blue dome of the atmo-

practice of working from direct observation as much as

sphere. Every day, people are bombarded with chances

possible. Rather than turning my back on the contem-

to see beauty in the mundane and yet sleepwalk past

porary world, I am responding to it in the most primal

them. Rather than wait a hundred years for our culture

means I know.

to look back wistfully at some of the things we currently

Everyday scenery is fodder for my paintings. Navigating a line between attraction and unease, I am torn

overlook, I prefer to show their beauty right now—why wait?

between the lovely places that appeal to collectors and

My easy relationship with curvilinear perspective

locations that some might find un-paintable. Traffic lights

is partly due to growing up in a geodesic dome. After

and stop signs inspire me, as does the way sunlight hits

twenty years of using the wraparound view, it now permeates my work automatically, and the spatial relationships of landscape define all of my work regardless of genre. I find it meditative to look for equilibrium among a work’s formal relationships and the visual cues from a particular location. As a result, balancing abstraction and reality has become one of my primary reasons for creating. Ultimately, I look for combinations of modern life and contemporary scenery that spark that peculiar blend of kooky and beautiful I find so compelling.

Big Sky at the Airport, oil on panel, 12” x 12”, 2016 46

Ashaway Hoops, oil on panel, 10” x 10”, 2015

47

S US AN S T E PHE N SO N

www.susan-stephenson.com stephenson.susan@yahoo.com BORN: Ruston, Louisiana EDUCATION 1992

MFA in Painting, Boston University, Boston, MA. Studied with John Moore.

1990

BFA in Studio Art - Painting, Louisiana Tech University, Ruston, LA. Graduated summa cum laude, Phi Kappa Phi.

TEACHING HISTORY 1995–2017 LYME ACADEMY COLLEGE OF FINE ARTS - Full-time Associate Professor 1995–96

SALVE REGINA UNIVERSITY - Sabbatical Replacement

1993–94

UNIVERSITY of LOUISIANA at MONROE - Adjunct Instructor

1990–92

BOSTON UNIVERSITY SCHOOL for the ARTS - Teaching Assistant

SELECTED EXHIBITIONS: 2017

CONVERSATIONS: STUDIO & TABLE: Works by guest artists at the July-August,

2016 Joseph A. Fiore Art Center Artist Residency Program, Studio & Dinner discussions, The Gallery at Rolling Acres, The Joseph A. Fiore Art Center at Rolling Acres Farm, Jefferson, ME.

54th Annual Juried Competition, Masur Museum of Art, Monroe, Louisiana.

Gia Hamilton and Daniel Stetson, jurors.

2016

ENDLESS SUMMER, Cate Charles Gallery, Westerly Land Trust, Westerly, RI.

2015

SUSAN STEPHENSON, Cate Charles Gallery, Providence, RI.

SUSAN STEPHENSON: An Informal Exhibition of a Visiting Artist, Loomis Chaffee School, Avon, CT.

2014

DOORS OF PERCEPTION: HOLLIS DUNLAP, NATHAN LEWIS, AND SUSAN STEPHENSON, Six Summit Gallery, Ivoryton, CT.

2011

A UNIQUE PERSPECTIVE: SUSAN STEPHENSON AND DEBORAH RANDALL, Cate Charles Gallery, Stonington, CT.

SUSAN STEPHENSON: GUEST ARTIST, Imago Gallery, Warren, RI.

2010

CONTEMPORARY REALISM BIENNIAL, Fort Wayne Museum of Art, Fort Wayne,

2007

SUSAN STEPHENSON: INSIDE - OUT: Selections from the Past Eight Years, Stonington Vineyards Gallery, Stonington, CT.

2006

THE LANDSCAPE OF GOLF, Newport Art Museum, Newport, RI.

2005

LACFA AT THE THE ARNOT ART MUSEUM, Arnot Art Museum, Elmira, NY.

URBAN ESCAPE, City Lights Gallery, Bridgeport, CT.

2004

SUSAN STEPHENSON: COLOR AND LIGHT, Masur Museum of Art, Monroe, LA.

REALISM NOW: TRADITIONS AND DEPARTURES, Vose Gallery, Boston, MA.

MIAMI UNIVERSITY YOUNG PAINTERS COMPETITION, Hiestand Galleries, Oxford, OH.

2003

SUSAN STEPHENSON: RECENT PAINTINGS, South College, University of Massachusetts, Amherst, MA. Invitational.

2001

SUSAN STEPHENSON: RECENT WORKS, Stonington Vineyards Gallery, Stonington, CT.

AMERICAN LANDSCAPES, MFA Circle Gallery, Maryland Federation of Art, Annapolis, MD. Gary Vikan, Juror.

2000

PAINTINGS OF THE GRIFFIS ART CENTER, Pfizer Central Research Division, Groton, CT.

1999

SUSAN STEPHENSON: RECENT PAINTINGS, Stonington Vineyards Gallery, Stonington, CT.

1998

FIGURE DRAWING IN THE ACADEMY TRADITION: 1890 – 1998, Lyme Academy College of Fine Arts, Old Lyme, CT.

48

Indiana.

1997

VISIONS OF THE SEA, Gregory Gallery, Darien, CT.

1996

LANDSCAPES: A NEW ENGLAND VIEW, Gregory Gallery, Darien, CT.

1995

REFIGURING THE FIGURE, Creative Arts Workshop, New Haven, CT. Helen Cooper, Juror.

SELECTED AWARDS AND HONORS Corporate Collections: Masur Museum, Pfizer Central Research, The Griffis Art Center.

Lecture: Up Close & Personal, Ocean House, Watch Hill, RI, May 2017.

Lecture: Center for Creative Arts, Lyme Academy College of Fine Arts, February 2016.

Creative Capital Professional Development Workshop, Providence, RI, 2011.

Painting Fellowship: Rhode Island State Council on the Arts, 2004.

Fellowship: Lyme Academy College of Fine Arts Faculty Travel Grant, 2002.

Artist in Residence: Ocean House Hotel, Watch Hill, RI, July, 2017.

Artist in Residence: Loomis Chaffee School, Avon, CT, January, 2014.

Artist in Residence: The Griffis Art Center, New London, Connecticut, 1994 – 95.

Artist in Residence: Association for Visual Artists, Chattanooga, Tennessee, 1993.

1992 NAN Award. Chosen by painting faculty, Boston University College for the Arts.

SELECTED BIBLIOGRAPHY THE DAY, “Endless Summer” Kicks Off in Westerly. Amy Barry, July 24, 2016.

ARTIST ON ARTIST INTERVIEW, Polly Seip Blogspot: Interview with Susan Stephenson, by Polly Seip. October 1, 2014 STONINGTON-MYSTIC PATCH, “Susan Stephenson Paints Barefoot in the Borough,” by C.M. Glover. June 29, 2011.

THE DAY, “Capturing Color and Local Views,” by Amy Barry. November 3, 2011.

AMERICAN ART COLLECTOR, “Museum Curator: Old Lyme, Miss Griswold, and the Yale Art Gallery,” by John O’Hern. March, 2007. Pp. 56 - 61.

THE BOSTON GLOBE, “Exhibit is a Learning Experience,” by Christine Temin. December 10, 2003.

INTERNATIONAL ARTIST, “Notable Exhibitions: Mentors and Protégés,” October/November, 2003. Pp. 18- 31.

REALISM NOW: TRADITIONS AND DEPARTURES, MENTORS AND PROTÉGÉS, Part 1, Published in 2003 by Vose Galleries, Boston, Inc. THE WESTERLY SUN, “Seaport Gallery to Offer Prints by Ashaway Artist,” by Sara Ross Clark. June 25, 2002.

THE NEW YORK TIMES, “Wit in Force, Figures Talking to Each Other,” by William Zimmer. April 30, 1995.

49

JAK E WEI GE L

As far as I can tell everything is a synthesis of rela-

a focus on materiality, I attempt to simultaneously define

tionships, of one entity being defined not by itself alone,

the variables and create a new synthesis, discovering

but by another entity and the space in between.To define

connections between these seemingly disparate areas

one thing is to define another and that is a challenge of

of study. This synthesis, or new spatial awareness, is the

reality and the human condition. This exploration of the

practice of creation itself, the resulting art as a physical

human condition and the multiple dimensions involved is

manifestation, both successes and failures.

paramount to my art making process. Although infinite in

The focus of this spatial concept in my work is to

possibilities I begin with interests in art theory, literature,

proffer information not easily grasped, instilling a long-

philosophy, historical events, political systems, ecology,

ing for more information or answers while giving none

mysticism, and theoretical physics. From observation and

in particular. This can further be achieved by a continuous play between the revelation and concealment of object and illusion, existence and essence. Ultimately, the negative space and lack of information is intended to relate directly to being and questions the profound human condition of unknowingness.

The scarcity of meaning or information allows the viewer to directly confront this condition through the actual absence of material or meaning. It is objective knowledge and personal narrative formed to create visual poetry, where matter and the ineffable meet.

Under the Mountains, mixed media, dimensions variable, 2016-2017 50

Void, 8” x 12”, 2015

51

J AKE W E I GE L

jakeweigel@gmail.com | jakeweigel.net EDUCATION 2013

University of Mississippi, Oxford, MS

Master of Fine Arts in Studio Art, Emphasis in Sculpture

2008

University of Minnesota, Minneapolis, MN

Bachelor of Fine Arts in Studio Art, Emphasis in Sculpture

2006

University of Wisconsin - Fox Valley, Menasha, WI

Associate of Arts and Science, Emphasis in Ethnic Studies

SELECT JURIED, GROUP & INVITATIONAL EXHIBITIONS 2017

Profusion in the Void, Space 111, Fort Worth, TX

The Nth Degree, Foundry Art Centre, St. Charles, MO

Patent Pending #2, Dennis Gallery, Austin College, Sherman, TX

Steering Committee Exhibition, Trim Tab, Birmingham, AL

2016

Texas 12*, Texas Sculpture Group, College Station Arts Center, College Station, TX (Catalogue)

Texas National 2016, Stephen F. Austin University, Nacogdoches, TX (Catalogue)

Texas Artists Today, Museum of the Southwest, Midland, TX

the beginning of everything, Visual Arts Exchange, Raleigh, NC

Dada Lives!, University of Cincinnati Blue Ash College, Cincinnati, OH (Catalogue)

Off the Wall, New Mexico State University, Las Cruces, NM

Midland Arts Association Juried Exhibition, McCormick Gallery, Midland College, Midland, TX

Oxford Film Festival Art Exhibition, Powerhouse Community Arts Center, Oxford, MS

2015

Patent Pending, Charles Adams Studios, Lubbock, TX

Steering Committee Exhibition, Trim Tab, Birmingham, AL

Texas Sculpture Symposium Exhibition, 5th & J Gallery, Lubbock, TX

Artists of the Permian Basin, Centennial Library Gallery, Midland, TX

Artists of the Permian Basin, Noel Wagner Performing Arts Center, Midland, TX

2014

500X Expo 2014, 500X Gallery, Dallas, TX

Art of the South, Fogelman Gallery of Contemporary Art, University of Memphis, Memphis, TN

Off the Wall, New Mexico State University, Las Cruces, NM

Midland Arts Association Juried Exhibition, McCormick Gallery, Midland College, Midland TX

Explore, Flow Art Space, St. Paul, MN

Structure, Printmaking Center of New Jersey, Branchburg, NJ

Light of the Moon, Sandra J. Blaine Gallery, Arrowmont School of Arts & Crafts, Gatlinburg, TN

Live Amateurs, MINT Gallery, Atlanta, GA

52

SELECT GRANTS, AWARDS & RESIDENCES 2016 Honorarium, Texas 12, Texas Sculpture Group

Award of Merit, Texas Artists Today, Museum of the Southwest

Odessa Council for the Arts & Humanities Grant, UTPB Fine Arts & Humanities ($27,000)

2015

Artist-In-Residence, Vermont Studio Center, Johnson, VT

Artist Grant, Vermont Studio Center ($2,500)

Artist-In-Residence, Sloss Furnaces National Historic Landmark, Birmingham, AL

Odessa Council for the Arts & Humanities Grant, Nancy Fyfe Cardozier Gallery ($12,113)

SELECT PROFESSIONAL SERVICE 2014–2017 Odessa Council for the Arts & Humanities/City of Odessa, Odessa, TX

Public Art Committee

Committee Chair (2016 – 2017)

2014–2017 National Conference on Contemporary Cast Iron Art & Practices

Sloss Furnaces National Historic Landmark, Birmingham, AL Steering Committee Chair of Exhibitions (2014 – 2016) Co-Chair of Exhibitions (2016 – 2017)

53

AC K NOW LE D GE M E N TS

California State University, Stanislaus

Dr. Ellen Junn, President

Dr. Kimberly Greer, Provost/Vice President of Academic Affairs

Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences

Department of Art

Dr. Carmen Robbin, Chair, Professor

Dean De Cocker, Professor

Martin Azevedo, Assistant Professor

Jacob Been, Lecturer

James Deitz, Lecturer

Daniel Edwards, Associate Professor

Jessica Gomula-Kruzic, Professor

Chad Hunter, Lecturer

David Olivant, Professor

Ellen Roehne, Lecturer

Dr. Staci Scheiwiller, Associate Professor

Susan Stephenson, Assistant Professor

Jake Weigel, Assistant Professor

Meg Broderick, Administrative Support Assistant II

Andrew Cain, Instructional Technician I

Jon Kithcart, Equipment Technician II

University Art Gallery

Dean De Cocker, Director

Nikki Boudreau, Gallery Assistant

54