Jenny Schmid Momento Mare
D ir e c tor ’s For ewor d
Jenny Schmid - Memento Mare, represents a chance to view her brilliant work. Printmaking in all forms is one of the Art Department’s fundamental areas of educating artists. Whether the printmaking is a mono print or etching, having exceptional exhibitions of printmaking in our galleries helps to generate meaningful discussions and life long learning about printmaking. The University Art Gallery’s programing helps to support our faculty’s teaching. It is through faculty recommendations that many exhibitions come to our galleries. This exhibition was recommended by my colleague Martin Azevedo, who wrote the following about Jenny’s work: “I have long admired Jenny’s artwork and her ability to work with both traditional printmaking processes and her willingness to use video and animation to further her concepts and ideas. I believe the students and the public will also admire and connect with the narratives, imagery and content of the work”. I am very excited to be able to exhibit Jenny’s work for others to enjoy. I would like to thank the many colleagues that have been instrumental in presenting this exhibition. Jenny Schmid for the chance of exhibiting her work, Martin Azevedo for recommending Jenny’s exhibition, the College of the Arts, California State University, Stanislaus for the catalog design and Parks Printing for the printing this catalog. Much gratitude is extended to the Instructionally Related Activates Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue. Their support is greatly appreciated.
Dean De Cocker, Gallery Director California State University, Stanislaus
Momento Mare 16.5” x 20.5” Etching, 2017 4
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Jen ny Sc h m id
The Last Tree Huggers, 16.5� x 20.5� Etching, 2017
Ar tist Statement My work explores ideas of gender, identity and liberty and is inspired by the graphic tradition of social commentary. I draw from medieval engraving, Persian miniatures, current politics, and graphic novels to create a contemporary narrative. My work uses humor to draw the viewer in and then asks them to confront greater social issues. Although I work in a range of graphic media, from lithography to animation, I return to black and white etching as the most direct (albeit laborious) method to emphasize the influence of historical sources and the urgency of my content. My most recent prints take a new turn to connect with environmental themes through the use of mythical figures who confront the realities of encroaching technology and diminishing wilderness while continuing the search for utopian ideals and indulging in desire as a form of resistance. I am inspired by the history of fantastical beasts in printed imagery from the 1500s and 1600s such as The History of Four Footed Beasts and Serpents (Edward Topsell, 1658) as well as maps charting the sea, populated by various serpents, mermaids, mermen and sea monsters.
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I regularly visit archives to view original works and am attracted to how such encyclopedias freely conflate the real and the imagined, presenting chimera as if they have been witnessed by the engraver. Based on their ubiquitous presence, one almost starts to believe that sea monsters are real. Although the yeti and the unicorn may seem to be icons of popular culture, these creatures are invented out of a need to simultaneously propagate an ideal and escape from confining social expectations. For example, in Medieval Northern Europe, The Wild People were mythical human-beast hybrids, free of societal constraints and morality. They lived in wild places, had sex without guilt and provided an attractive alternative to the confines of daily life and morality. They were a precursor to the myth of the contemporary Yeti, who is normally depicted as a solitary figure (but falls in love with a human girl in a clear-cut forest in my recent piece The Wildness). We are collectively returning to these images of mythical wild creatures to keep our subconscious alive while confronting the demise of wild places. These allegorical figures are forced to deal with the reality of contemporary problems, drawing poetic attention to current contradictory desires of idealism and materialism. The sea has long been an inspiring source of adventure, history, stories of faraway lands and mysterious and mythical creatures. From sea monsters to mermaids, giant squid to whales and the unknown, the sea invites us to think expansively and dream of what lies in the deep ocean and who or what might populate distant places. But as ocean levels rise and plastics form islands at sea, we face the consequences of our consumption. The sea is in peril and it is an international crisis: waste has started washing up on shore in the Dominican Republic, floods are emptying debris into the ocean, the warming of the sea is destroying the great barrier reef in Australia and we are consuming micro-plastics in our seafood. The sea becomes a contentious topic that demands international cooperation. Growing up in proximity to the Puget Sound, my subconscious has returned to the salt water for image content. Recent etchings Insatiable (where a mermaid has devoured all the oysters and is shopping online for more) and Message in a Bottle (my largest intaglio to date, depicting the panoramic ocean and environmental challenges) begin to confront the impending reality of climate change and the ocean with the weapon of metaphor. It is a crucial time to remind people of the sea and its value to us both as a critical source of life as well as its historic role as a resource for fantastical imaginings.
Biography Jenny Schmid grew up in the Pacific Northwest and currently lives in Minneapolis, Minnesota where she runs bikini press international and is Professor and Director of Graduate Studies at the University of Minnesota Department of Art. She is represented by The Davidson Galleries in Seattle and her prints have been purchased for collections including The Minneapolis Institute of Arts, The Detroit Institute of Arts, The Block Museum, The Spencer Art Museum and the Library of Congress. She received a Fulbright Fellowship to Slovakia, the McKnight Fellowship, the Bush Artists Grant, a Jerome Film and Video grant and two Minnesota State Arts Board grants. Recent projects include live animation performances with Ali Momeni at the Vertice Festival in Mexico City and for the Nobel Peace Prize Forum at Augsburg University as well as a residency at The Frans Masereel Center in Belgium. Her solo exhibition of prints Wildness Lost exhibited in 2018 at the Davidson Galleries as well as the National Gallery and Gradska Galerija in Bosnia and Herzegovina. She is a 2019 recipient of the McKnight Printmaking Fellowship administered by Highpoint Center for Printmaking in Minneapolis.
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The Nihilist Mermaids, 10” x 14” Etching, 2018
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Insatiable, 10” x 14” Etching, 2018
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Merfrau Gleaming evacuated skull + craggy rocks + all my fucks + dark horse velocity + eternal present as the moment of the aforementioned activated in collision = mood. Mood minus man on fire equals A plastic vortex twice the U.S. vortex? A roiling maw my love my love How deep a matter of data How deep and the radio answered How I love you a matter of debris In these [grotesqueries] a new league of feeling unknown
Skyscraper skyscraper skyscrapers deep 10,000+ m — what appeared to be a crumpled white shopping bag at the prehistoric lip of the Mariana Trench (O lovely pussy o pussy my love) In her dream the abyss was the repository of all dreams For the longest time she said ether when she should have been saying sea deep—or—when there is no sun Dear online crystal wildlife, meet me when there is no sun
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Bring some honey and plenty of money Tuesday night for example at rock bottom where we burst into song for unjustified reasons Where the single-use fucks have come to gather amid the animal lights According to the research submersibles WITCH SQUID 2000 and SHINKAI 6500 and the ROVs DOLPHIN 3K, HYPER-DOLPHIN, and OPHELIA DOLPHIN PROM, with maximum survey depths of approximately 2000 m (The Year of a Merman I Should Turn to Be — Dancing on the Hood in the Middle of the Woods Common Era) 3000 m (Anno Aretha–Dancing on the Hood in the Middle of the Woods Common Era) 4500 m (A rare conjunction of being crushed by a tree the last Pyrean Ibex is found dead as cells from her corpse are recovered on seven celestial bodies–International Year of Crystallography & Family Farming) 6500 m (Anno Violeta–Year of Hello Kitty isn’t actually a cat she is a British girl five apples tall) 7,000 m (Anno Lisa–International Year of Solidarity with the Palestinian People)
POLYSTYRENE POLYETHYLENE POLYKELPIE POLY-YETI-SAN POLYSPECTER POLYPI POLYMER MURMUR MERMARE MERMANE It began with the elements—land sea air internet then wandered elsewhere The song an external memory code behind which the sorceress lived & you with your analfin etched a mandala far beneath the garbage patch [and somehow still in it] as a message to the world you were ready you were ready you were ready to love Bite my cheek as the leatherjackets & triggerfish press their sex into the sand What are the names of your stuffed animals among the daughters of the air? Like a shroud vacationing a scratched record of myopic behavior over a long period of time It began on land then wandered elsewhere
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With a cast of characters but the idea of character seemed so limitingly human—something to be in and out of—a four hour tour—when really we should be trying to find ways to dance more
To cast our sad nets beyond any human sense of self, said the psyche then puffed on a smoke 7,000 m (Anno Harryette — International Year of the Reef) 8,000 m (Anno Agnès — Cuddle too much being) As the sharks gnaw at the edges of our instants Selfies dreams worms desires chimeras: all portals! Did I say slurp oysters in the crepuscular half-light of our complicity yet You in your underwear with your electric toothbrush the chomped elevator cords in free fall from the 13th floor that flat tire in Brugge shattered screen hook and eye poet pimp pufferfish my love my love Even in the submerged city there are the bellies of birds above and the autonomy of trash living its abandoned eternity. Moonlight fan dances its reach shifting—like, through that opening what—our last universal mother thought to be a gigantic sea monster with very porous cells Tiny toxic pearls I keep in my mucous house Sometimes I have to fish for the feeling—the first not me but the state—the next something like the residue of history when I am looking for the unattributable An accumulation of submerged steeds whose torque I want to breathe Late night shape shift in the abyss—shimmerish 9,000 m (Galactic Year of Pulses)
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Real urge—blue velvet cliffs a thought leaps from and
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The night birds collected specific bits of trash, namely the process control patches from boxes and the metallic wrapping around consumables, the otherwise unnoticed code of our debris, in an unacknowledged ritual of moving light To be versatile buoyant flexible moisture-resistant strong and relatively inexpensive poison The creeps the chokes the staggers extreme pain and fatigue disproportionate to conditions become/became present how easy it was to misread president this far down pulverized to bits Unapologetic mammoth spider-in-claw wolfish fangtooth projecting vipermaw triangulating shiver looking for a spine coming to terms with love otherwise and a longing for tentacles that can taste and the state of bioluminescence—these cords that connect us How do you use the word myriad—the toothy sentinels with the lanterns wheeze no time—it’s time—angling for our dispersal—reply all—the thread ENTANGLEMENT To cast those sad nets undone said the psyche then drifted into the puffer cloud blowhole first For the longest time I said your name—when I should have said solipsist At this point there needs to be the feeling of slipping out of a heavy sequined maxi dress The myriad microplastics called mermaid tears Fish eyes unblinking behind the blue light of the screen Every step like a knife cutting through and through
—Elisabeth Workman
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Message in a Bottle, 19.5” x 35” Etching, 2018 14
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Unnatural Disaster (beached), 17.25” x 13.25” Etching, 2018
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Chernobyl Chimera, 17.25” x 13.25” Etching, 2017
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Harpies Revenge (Planned Obsolescence), 23.5” x 16.75” Etching, 2018
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The Wildness, 20.25”x 30” Etching, 2016
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The Last Girl…, 5 1/4 x 7 ¾ Color Etching 2019 Published by Iowa Print Group, 2018
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In the Deep Dark Woods, 5 1/4 x 7 ¾ Color Etching 2019 Published by Published by Iowa Print Group, 2018
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In Eadem Navi, 29.5� x 38� Lithograph 2019 Printed at Highpoint Editions with assistance from Apprentice Printer Megan Anderson and HPE Senior Printer Zac Adams-Bliss 22
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The Narcissist Mermaid, Lithograph and Screen print, 14” x 17”, 2019 Published by Hoofprint Workshop, Chicago
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The Nihilist Yeti, Lithograph and Screen print, 14” x 17”, 2019 Published by Hoofprint Workshop, Chicago
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Social Media Siren, 13.25” x 27.25” Etching, 2016
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Adrift, Variable Edition Woodcut and Monotype, 18” x 47” 2019 Published by Mullowney Printing and Watershed Center for Print Media PNCA.
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J e n ny S ch mid w w w. j e n ny s c h m i d . co m EDUCATION 1996 MFA, University of Michigan, Ann Arbor, MI, Printmaking and Painting 1991 BA, With Honors, Macalester College, St. Paul, MN, Political Economy 1997-98 Fulbright Grant in Printmaking, Bratislava, Slovakia 1991-92 Study Abroad at Charles University, Prague, Czech Republic 1992, 1995 Intaglio Printing at UMPRUM School of Applied Arts, Prague SOLO EXHIBITIONS 2018 “Wildness Lost” Davidson Galleries, Seattle, WA “Wildness Lost” National Gallery, Sarajevo, Bosnia and Herzegovina “Wildness Lost” City Gallery, Bihac, Bosnia and Herzegovina 2015 “Here & After” 20|20 GALLERY, Elizabeth Foundation for the Arts, New York City “Dzenska Republika” Academie Beeldende Kunsten, Ghent, Belgium “Jenny Schmid” Conkling Gallery, Minnesota State University, Mankato, MN 2008 “The Vistas of Gender Utopia” The University of Arizona Museum of Art “Views of Known and Invented Places” The Davidson Galleries, Seattle 2007 “Free Citizens of the DzR” Fairbanks Gallery, Oregon State University, Corvallis “The Five Genders” Carleton College, Northfield, MN 2006 “The Seven Sisters of Sleep” The University of Tulsa 2004 “Fast Girls from America” Palacky University, Olomouc, Czech Republic GROUP EXHIBITIONS 2019 “Telling Tales” Foreman Gallery, Hartwick College, Oneata, NY “National Print Invitational” Juried exhibition, Artspace, Raleigh, NC “A Bohemian Press Retrospective” Larson Gallery, University of Minnesota, Twin Cities 2017 “Lost in the Woods” Winona Art Center, Winona, MN “Publish or Perish” Marcia Wood Gallery, Atlanta, GA “Show Us What You Got” Studio No. 7, Atlanta, GA “Protest Publishing” Wilson Library, University of Minnesota, Minneapolis, MN, 2016 “Exquisite Corpse” Planthouse Gallery, New York, NY “Contemporary American Lithography” Museum of Lithography, Tidahom, Sweden, “Reproducing Death” American Anthropological Association Conference, Minneapolis “Standout Prints” Highpoint Center for Printmaking, Minneapolis, MN “Statements on Nature: A Survey of Printmaking Today”, Schaefer International Gallery, The Maui Arts & Cultural Center, Maui, HI “Convenors”, RedLine, Denver, CO “Re-riding History; From the Southern Plains to the Matanzas Bay” University of Buffalo Art Gallery, Buffalo, NY: March 31 - May 6, 2016, 12th Annual Indigenous and American Studies Storytellers Conference will be held April 14-16, 2016, Museum of the Great Plains, Lawton, OK: Art Museum of Dickinson College Carlisle, PA, International Symposium during the anniversary of the closing of Carlisle Indian Boarding School 2018 2015 “In Our Own Skin: Stacey Davidson and Jenny Schmid” Weeks Gallery, Jamestown, NY Impakt 9 International Printmaking Conference, China Academy of Art, Hangzhou, China “Re-riding History; From the Southern Plains to the Matanzas Bay” Crisp Ellert Art Museum, St. Augustine, FL, Wright Museum of Art, Beloit, WI, The A.D. Gallery, Pembroke, NC, All My Relations Gallery, Minneapolis, MN “Wonder Women” Katherine Nash Gallery, Minneapolis, MN
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2014 “FORTH ESTATE and Friends” FORTH ESTATE, Brooklyn, NY “East Coast National Screenprint Biennial” Arts Center of the Capitol Region, Troy, NY “XXL” Mulowney Studios, San Francisco, CA 2013 “Unbound: 3D Printmaking, Artspace at Untitled” Oklahoma City, OK “Print Profs: Recent Work by MN Faculty” Highpoint Center for Printmaking, Minneapolis, MN 2012 “The Department of Smoke and Mirrors” interactive video installation with Ali Momeni, Davis Museum at Wellesley College, Wellesley, MA “Art School on The Moon” with Michael Krueger and Michael Barnes, The Davidson Galleries, Seattle, MN “Freshly Pressed: Contemporary Prints” ARTspace, Kohler Arts Center, Sheboygan, WI “Minnesota Funk” Katherine Nash Gallery, Minneapolis, MN 2011 “Biennale internationale d’estampe contemporaine de Trois-Rivières” Invitational “Nom de Code” Quebec, Canada “The Satirical Edge in Contemporary Prints and Graphics” Block Museum, Chicago, IL 2010 “Philagrafika 2010: The Graphic Unconscious” The Print Center, Philadelphia, PA 2009 “Multiple x Multiple” The Ewing Gallery of Art, University of Tennessee, Knoxville, TN “Full Deck: A Short History of Skate Art” Bedford Gallery, Walnut Creek, CA, Travelling to; The Gallery at Penn College, Williamsport, PA; Vision Gallery, Chandler, AZ; Rockford Museum of Art in Rockford, IL; South Bend Museum of Art, South Bend, IN “Ce n’ est pas un spectacle de caractères (Translation...This is not a print show.)” Packer-Schopf Gallery, Chicago, IL COLLABORATIVE LIVE ANIMATION PERFORMANCES 2020 “Here Now, Elsewhere After” Installation commissioned by Brown University for the Cohen gallery as part of Brown Arts Inititative in collaboration with Ali Momeni. 2018 “The Sinking” Commissioned by Augsburg University for The Nobel Peace Prize Forum, Minneapolis in collaboration with Ali Momeni. 2017 “La Aventura de Posada”, interactive live animation in collaboration with Ali Momeni. Vertice Festival, Mexico City, Mexico 2015 “Gutless Warrior” Commissioned by The Walker Art Center, Northern Spark, Minneapolis with Ali Momeni 2014 “Gutless Warrior” commissioned performance with Ali Momeni at Artists Image Resource, Pittsburgh as part of Draw! 2014 symposium and “Free Arts Festival” in Lawrence, KS 2013 “Eyesite” Glow in the dark site-specific stencil mural project with accompanying hand-drawn map, Arts on Chicago placemaking grant, 8 locations in South Minneapolis. “Post Fauxpocalypse” Commissioned live animation projection on Northrop Auditorium with Minneapolis Art on Wheels and John Keston as part of Northrop Pop Up series 2012 “nightdemons,” Projection performance with Drew Anderson and Minneapolis Art on Wheels as part of Northern Spark, the Weisman Art Museum, Minneapolis “Department of Smoke & Mirrors,” performance and animation workshop, Davis Museum, Wellesley College 2011 “The Battle of Everyouth” Installation and live performance with Ali Momeni, commissioned by The Minneapolis Institute of Arts as part of Northern Spark and Night at the Museum, with funding from The Joyce Foundation and Northern Spark “Animation de rues,” live animation performance, Trois Rivieres, Quebec, Canada “Imagined Worlds” January 20th Teen projection workshop at the Walker Art Center PUBLIC ART COLLECTIONS
The Library of Congress The Block Museum, Chicago Tweed Museum Duluth KUMU Art Museum, Tallinn, Estonia The University of Arizona Museum of Art Jingdezhen Ceramic Institute University, Jingdezhen, China The Spencer Art Museum The Minneapolis Institute of Arts The Detroit Institute of Arts
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The Museum of Royal Arts, Antwerp, Belgium Centrum voor Grafiek Frans Masereel, Kasterlee, Belgium The Muzeum Narodowe w Poznaniu, National Museum in Poznan, Poland. The Erie Art Museum, Erie, PA The Janet Turner Collection, Chico, CA City of Seattle Arts Commission The Southern Graphics Council
GRANTS AND FELLOWSHIPS 2019 McKnight Foundation Fellowship in Printmaking 2018 Grant in Aid to Artistry and Research, University of Minnesota Imagine Fund Grant, McKnight Foundation 2017 University of Minnesota College of Liberal Arts Sabbatical Supplement 2017-2018 Minnesota State Arts Board Artist Initiative Grant 2015 Imagine Fund Grant, McKnight Foundation 2014 Single Semester Faculty Research Leave, University of Minnesota 2013 Minnesota State Arts Board Artist Initiative Grant Imagine Fund Grant, McKnight Foundation Arts on Chicago Grant 2012 Imagine Fund Grant, McKnight Foundation 2011 Jerome Foundation Film and Video Grant Joyce Foundation Grant with Ali Momeni Grant in Aid to Artistry and Research, University of Minnesota 2009 Institute for Advanced Studies Research Fellowship, University of Minnesota JURIED EXHIBITIONS AND AWARDS 2016 Standout Prints, Highpoint Center for Printmaking Juried Exhibition 2012 Standout Prints, Highpoint Center for Printmaking Juried Exhibition 2011 “Women’s Desert Liberation Front” included in “Washington Project for the Arts 2011 Experimental Media Series”, Smithsonian Institution Washington, D.C., and Ibrahim Theater@ International House, Philadelphia, juried by dj Spooky, final selections by Kelly Gordon, Hirshhorn Associate Curator, Hirshhorn Museum and Sculpture Garden, BOOKS, ARTICLES, INTERVIEWS AND REVIEWS 2020 Sanders, Phil, “Prints & Their Makers” (forthcoming), published by Princeton Architectural Press, and distributed by Chronicle Books 2018 Earenfight, Phillip, Arthur, Emily, Begaye, Marwin, Hitchcock John and Mithlo, Nancy Marie, “Re-riding History; From the Southern Plains to the Matanzas Bay” The Trout Gallery, Carlisle, PA, 2018 2015 Rooney, Ashley and Standish, Stephanie, “Contemporary American Printmakers” Schiffer Publishing, Ltd 2012 Berger, Jamie and Berger, Jamie, “PUSH Print” Lark Crafts Egan, Matthew, Ehlbeck, Michael and Muise, Heather, “A Survey of Contemporary Printmaking” East Carolina University 2011 Roca, Jose, Perkins, Caitlin and Hirsh, Jennie, “The Graphic Unconscious” Philadelphia, Philagraphika Lanneville, Jo Ann, “Penser, Comprende et Transformer Le Monde,” Art Le Sabord, June, 2011 2010 Armbuster, Jessica “Jenny Schmid: 100 Creatives” City Pages, Mar. 22 2011 2009 Roca, Jose “Interview: Jenny Schmid” http://philagrafika.blogspot.com/ August 25, 2009 “MULTIPLE X MULTIPLE: A Survey of Contemporary Printmaking”, Exhibition Catalog, University of Tennesee, Knoxville Ries, Katie, “Multiple X Multiple at UTK,” November 11th, 2009, Printeresting.org
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2008 Schmid, Jenny and Fischman, Lisa “Jenny Schmid: The Vistas of Gender Utopia University of Arizona Museum of Art, Tucson Fick, Bill and Grabowski, Beth, “Printmaking Handbook” Featured Lithographer: Jenny Schmid, Laurence-King, Abrams to distribute in the U.S.A. RESIDENCIES 2017, 2007, 2005, 2002, 2000, Centrum Frans Masereel in Kasterlee, Belgium 2018 Estalagem da Ponta do Sol Contemporary Music and Electronic Residency in Madeira, Portugal 2009 Institute for Advanced Studies, University of Minnesota TEACHING 2005–
University of Minnesota Twin Cities, Department of Art Professor and Director of Graduate Studies Graduate Faculty Appointment Art MFA Program Moving Image Studies Graduate Minor Faculty Member
VISITING ARTIST LECTURES 2018 2017 2016 2015 2014 2013 2012 2011 2010 2009
The National Gallery, Sarajevo, Bosnia and Herzegovina City Gallery Bihac, Bosnia and Herzegovina Zagreb Art Academy, Zagreb, Croatia The University of Iowa, Iowa City, IA Pratt Fine Art Center, Seattle, WA The University of Minnesota, Duluth, MN Women’s Art Institute Featured Guest Artist, St. Catherine’s University, MN Academie Beeldende Kunsten, Ghent – Belgium Minnesota State University, Mankato The University of Akron Myers School of Art, OH SUNY JCC, Jamestown, NY Palacky University, Olomouc, Czech Republic Pratt Institute, New York City Virginia Commonwealth University, Doha, Qatar University of Indiana, Bloomington Vanderbilt University, TN University of Northern Iowa The University of Georgia, Athens Wellesley College, Wellesley, MA WTAMU, Amarillo, TX Carleton College, MN The University of Michigan, Ann Arbor Rhode Island School of Design Syracuse University, NY University of Tennessee, Knoxville University of California, Long Beach Eastern Carolina University, Greenville, N.C.
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S pe cia l T ha n k You The artist would like to thank Hoofprint Workshop, Mullowney Printing and Watershed Center for Print Media PNCA, Iowa Print Group at the University of Iowa, Frans Masereel Centrum, The Davidson Galleries, CSU Stanislaus Department of Art and University Art Gallery, Wangensteen Historical Library of Biology and Medicine, The University of Minnesota, The Minnesota State Arts Board, The McKnight Foundation and Highpoint Center for Printmaking, Sineenart, Linda and Charles Schmid, Andrew Schmid and Li Hai Wang-Schmid, Elisabeth Workman & John Allen. Photography: Rik Sferra
Message in a Bottle (detail), 19.5� x 35� Etching, 2018
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Ackn ow le dge m en 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
Depar tment of Ar t
Dr. Carmen Robbin, Chair, Professor
Dean De Cocker, Professor
Martin Azevedo, Assistant Professor
Tricia Cooper, Lecturer
James Deitz, Lecturer
Daniel Edwards, Associate Professor
Jessica Gomula-Kruzic, Professor
Daniel Heskamp, Lecturer
Chad Hunter, Lecturer
David Olivant, Professor
Patrica Eshagh, Lecturer
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 Ar t Galler y
Dean De Cocker, Director
Leon Bach, Gallery Assistant
School of the Ar ts
Brad Peatross, Graphic Specialist II
Jenny Schmid - Momento Mare September 3–October 11, 2019 | University Art Gallery, California State University, Stanislaus | One University Drive, Turlock, CA 95382 300 copies printed. Copyright © 2019 California State University, Stanislaus • ISBN: 978-1-940753-46-1 All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher. This exhibition and catalog have been funded by Associated Students Instructionally Related Activities, California State University, Stanislaus.
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