GoggleWorks Center for the Arts Addendum Summer 2018

GoggleWorks Center for the Arts

ADDENDUM Summer 2018

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2-4 / IN THE GALLERIES Bewitching the Dybbuks, Arielle Stien in the Schmidt Gallery through August 5 Permanent Residency, The Clay Studio, The Center for Art in Wood, & Arrowmont School of Craft in the Cohen Gallery through August 26

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5 -9 / MEET OUR SUMMER ARTIST-IN-RESIDENTS Karina Mago Bartosz Beda Joseph Cavalieri

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10 -11 / VISITING ARTIST WORKSHOPS Superheroes in Glass with Joseph Cavalieri Cross Stitch Pattern Making with Anne Mills, The Stitch Mill

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12 / UNCONSTRAINED CRAFT, GALLERY TALKS, & RECEPTION A symposium on artist residencies in the Cohen Gallery, followed by gallery talks and farewell reception with Karina Mago, Bartosz Beda, and Joseph Cavalieri in the Schmidt Gallery on August 10, starting at 5:30pm

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13-14 / DO IT YOURSELF! Enjoy this exclusive cross stitch pattern courtesy of Anne Mills, The Stitch Mill (cover) Dustin Farnsworth, The Reinvention of Saints, 2018. Arrowmont School of Craft, past resident artist. credit: Chris Kendig Photography. (above, right page) credit: Chris Kendig Photography.

ON VIEW THROUGH AUGUST 5

Bewitching the Dybbuks by artist Arielle Stien will be on view in the Schmidt Gallery through August 5. Born in 1990 in New Jersey, Arielle received her B.F.A. from New York University in 2014. Arielle has spent time as an artist-in-residence at the Stony Point Center (2016) and Art Kibbutz (2015). She has shown her work in New York and Germany, and has been featured in Triangle House Review, HCE Review and Barbed Magazine. She is a recipient of the Studio Formichetti Arts Grant, and recently received a Mechon Hadar microgrant to illustrate a Torah through the female gaze. Arielle lives and works in Brooklyn, New York.

“I’m interested in female and nonnormative bodies. I wonder about the power these bodies have, and are believed to have, materially and mythologically. I am also fascinated with monsters,and the relationship of these ideas to the sacred and profane.

My work is an expression of cultural and religious heritage, seeking within personal and communal identity. I am directly influenced by and engaged with Talmudic text, midrash and feminist thought, mining these texts for those things eclipsed by patriarchy. Depicting a universe of the “othered”, I reckon with sex, physicality and taboo, using the body and the monster as sites of confrontation.”

Arielle Stein, Rebekah. Oil on canvas.

IN THE GALLERIES / 2

ON VIEW THROUGH AUGUST 26

Any work of art is made arguably more beautiful by the stories that surround it. At GoggleWorks Center for the Arts, we strive to create experiences that allow visitors to both discover high quality art and connect to the broader story of its making, its maker, or its context. Permanent Residency is a collaboration with The Center for Art in Wood, The Clay Studio, and Arrowmont School of Arts and Crafts. The exhibition features work from these organizations’ permanent collections and made by national or international artists who have participated in their respective artist-inresidence programs.

With support from the John and Robyn Horn Foundation, GoggleWorks selected these three venerable organizations because they have developed residency programs of widespread acclaim. Each organization curated work of exceptional quality that demonstrates the unique

3 / IN THE GALLERIES

and collective values of their program— collaboration, experimentation, crossdisciplinary making, and academic research are among the key concepts.

The exhibition highlights each collection as a unique history, a singular achievement. Yet the broader exhibition of work also collectively explores the efficacy and outcomes of resident artist programs within and among intersecting fields of fine craft. Residencies are conceivably the most defined narrative regarding artists working without conventional constraints to their creativity.

The respective stories of these three residency programs comprise, in many ways, the broader story of artists, concepts, processes, and trends in various studio craft movements across decades.

(top left) Ren Wood, Unravelled, 2015. Hand embroidery on silk. Arrowmont School of Craft, past resident artist. (middle left) Lauren Mabry, Cylinder, 2017. The Clay Studio Permanent Collection. (bottom left) Michael Brolly, Dancing Tryclopes, 1996. The Center for Art in Wood Museum Collection. (above) Richard James, The Matador, 2017. Arrowmont School of Crafts, past resident artist. credit: Chris Kendig Photography. (left page) credit: Chris Kendig Photography.

Funding provided by: John and Robyn Horn Foundation Exhibition Design: Erika Brask and Dan Saal, Wonderfull Design IN THE GALLERIES / 4

ARTIST-INRESIDENCY PROGRAM Permanent Residency also contextualizes the launch of GoggleWorks’ own residency program.

Created to infuse new, creative energy to the GoggleWorks community, there is also an emphasis on facilitating crossdisciplinary experimentation.

The 10-week residency, from June 4 through August 10, provides personal studio space and access to GoggleWorks’ seven communal studios (ceramics, warm glass, hot glass, photography, printmaking, metalsmithing, and wood) to complete a project or body of work. The call for proposals attracted over 50 applicants including several international artists.

The following three were chosen.

KARINA MAGO

Karina Mago is a Venezuelan artist currently traveling throughout the United States. Raised in Caracas, then promptly transplanted to South Florida, she crafts images that are inspired by an immigrant’s sense of displacement.

She received her B.F.A. from Florida State University with concentrations in ceramics, painting and printmaking.

“My work is informed by my experiences as a Venezuelan immigrant; one who, like many, has lost the ability to both physically and emotionally return to her place of origin because she no longer belongs there. An individual whose fate was sealed by a decaying government that has ignored the needs of its citizens, while feasting on unceremoniously earned riches. I make in order to cope with that sense of loss of place, but also to celebrate the fact that I was lucky enough to escape.

I am currently infatuated with the word assemblage; a combination of objects that at first seem unrelated, yet when placed within “order” in a space, they create a functioning balance. Like memories themselves, these objects can exist singularly, but only when assembled together do they reveal a larger, layered narrative. I seek to fully integrate the mediums of print and ceramics within a body of work, creating a number of installations that will speak of not just my experiences and memories as an immigrant, but encompass the ideas of displaced, shifting, fractured landscapes and their effects on any individual as a whole.”

(left page) Karina Mago, Las Dos Venezuelas, 2017. Red ethenware, black tubing, gold luster wire. (above) credit: Chris Kendig Photography.

ARTIST-IN-RESIDENT / 6

BARTOSZ BEDA

Born in Poland in 1984, Bartosz Beda relocated to the UK in 2008 to study at the Manchester School of Art. After graduating in 2012 with a M.A. in Fine Art, Beda was selected for the 2012 Catlin Art Guide as the most promising emerging artist in the UK. He was also short-listed for the Title Art Prize, the Door Prize, and selected for The Saatchi New Sensations 2012 group exhibition in London for most exciting graduate students in the UK. He has been widely interviewed and his art has been featured in Studio International, Expose Art Magazine, Creative Times, Radcliffe Times, A-N Magazine, BuzzFeed, The Guardian, and The Telegraph. He now lives and works in the United States.

“I want to believe that my paintings reveal on the canvas a kind of intellectualizing of the internal human conflict of reality and hope; and of my conflict as well. I would hope that they

draw the viewer into a consideration of fear, love, anguish, and other human emotions in conflict, and because the conflict is ongoing, there can be no successful end to the search for comfort, no matter how much we might hope for it. Ultimately, the futility of the search is an absurdity, or so I think these paintings discover. Who we essentially are in the world is not who we would be. Always the conflict—I feel it when I paint.”

I would like to focus my work on the issues of the immigration in European countries that has been allowed since 2005, as well as the immigration of Mexicans trying to enter the United States illegally. The work I plan to make will symbolize their unheard voices.”

(above) credit: Chris Kendig Photography.

7 / ARTIST-IN-RESIDENT

$7.25 PROJECT

During my summer residency at GoggleWorks, I have decided to engage with the issues and challenges that minimum wage workers face every day.

After researching about Reading, PA prior my arrival to residency, I decided to focus on immigrants from Mexico, Central, and South America who’s population is growing in Reading; as well as represent in this project a struggle of all people who need to meet the demands of daily needs by getting a position that often is minimum wage.

In many cases, the language barrier limits an individual’s capability to get a job in the profession they were trained, resulting in them being underemployed in low-paid positions.

I decided to produce one painting in one hour per day throughout my residency at GoggleWorks. Each day, the resulting painting will be offered for sale at $7.25, or Pennsylvania’s minimum wage.

Bartosz Beda, Atom I, 2017. Oil on canvas, 175x133cm..

A new painting will be displayed and available for sale each morning in the GoggleWorks lobby starting at 9am.

Learn more at bartoszbeda.com/ 7-25-project, where images of each day’s paintings will be posted. You can also follow along on Instagram using #minimumwageproject #bartoszbeda.

Bartosz Beda, $7.25 project, 2018. Oil on canvas, 10x7.5cm.

Bartosz Beda, Atom II, 2017. Oil on canvas, 175x133cm.

ARTIST-IN-RESIDENT / 8

JOSEPH CAVALIERI

In 2010 Joseph Cavalieri established CAVAglass, a glass studio in the East Village of New York City. His focus is on making private and public commissions, teaching private classes, and making one of a kind glass art, using methods created by Medieval stained glass artists.

Joseph’s work can be seen in the permanent collection of the Museum of Arts and Design, the Italian American Museum, the Leslie-Lohman Museum, the Stax Museum, in the collections of two Simpson’s writers in Los Angeles, and on the Our Lady of Sorrow Church in Itaparica, Brazil. His teaching credentials include over 30 workshops in the USA, South America and Europe, including Corning Glass, Berlin Glas and Penland School of Craft.

“The technique I use has a powerful tradition. It was originally created by Medieval stained glass artists, and uses

enamel paints made of ground glass, metals and pigment that are applied to glass, then kiln fired at a temperature of 1300 degrees Fahrenheit (700 degrees Celsius). Once cooled, the glass is soldered together. I update this historic process by incorporating silk screening and airbrushing techniques, along with hand painting. My finished art is set into wall hung light boxes with internal LED lighting. I work full-time creating art for commissions and public art projects, and also teach these techniques here in the U.S. and internationally. I describe my work as “pop” stained glass. I have done collaborations with R. Crumb, and have used Simpson’s images in my work.

During my 10 weeks, I will make four highly illustrative stained glass panels based on the book ‘Alice in Wonderland’.

I have illustrated many Grimm and Aesop Fables in the past, and Alice has always been of great interest.” (above) credit: Chris Kendig Photography.

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(above) Joseph Cavalieri, For Whom the Bell Tolls, 2015. Silk-screened, kiln-fired enamels on stained glass, 28” x 38 1/4”. (right) Joseph Cavalieri, Dive, 2015. Silk-screened enamels on stained glass, 30 1/4” x 40 1/2”.

AUGUST 11-12 //

VISITING ARTIST WORKSHOP

In Superheroes in Glass, a two-day, weekend workshop, create two 6x6 inch, multiple layered stained glass panels as you learn different processes to add images onto glass. Joseph will teach several techniques include painting, air-brushing (using an atomizer), ‘penand-ink drawing’ (using a crow-quill pen) sandblasting & oil paint process. Also, learn how to silkscreen using existing silkscreens Joseph will bring. Once all the images are fired onto the glass, learn how secure the glass together using copper foil, like a colorful multilayered glass sandwich. Cavalieri will also demonstrate how to solder, frame and light a more elaborate finished stained glass panel. All skill levels welcome, no experience required. >> Register at goggleworks.org/classes.

VISITING ARTIST WORKSHOP / 10

AUGUST 4 //

VISITING ARTIST WORKSHOP

On Saturday, August 4, from 12-4 pm, join visiting artist Anne Mills and learn Cross Stitch Pattern Making! In this one-day workshop, you’ll master crossstitch basics and learn how to make your own pattern, read and work from a cross stitch pattern chart, and explore what types of fabric, embroidery floss, needles, hoops and other tools are needed to cross stich like a pro. You’ll leave with the know-how to tackle more cross stitch projects on your own. All skill levels welcome, no experience required. >> Register at goggleworks.org/classes.

Anne Mills is a Vermont based visual artist and the owner/designer at The Stitch Mill. She received a BFA from New York State College of Ceramics at Alfred University with a focus on painting and printmaking. Anne also received an MSOT from Ithaca College and is a practicing occupational therapist working with children with physical and

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cognitive disabilities. Anne believes that making and craft can influence ones health/well being, and that making should be accessible to all. >> Do-It-Yourself!

Check out the Tools Cross Stitch Pattern

by The Stitch Mill on the following spread; available exclusively for Addendum readers. Happy stitching!

august 10

Unconstrained Craft a symposium on artist residencies 5:30-7:00pm

featuring Albert LeCoff, Emeritus Executive Director, The Center for Art in Wood Jennifer Navva-Milliken, Artistic Director, The Center for Art in Wood Jennifer Zwilling, Curator of Artistic Programs, The Clay Studio Bill May, Executive Director, Arrowmont School of Arts and Crafts Levi Landis, Executive Director, GoggleWorks Center for the Arts with artists Amy Forsyth, Charles Brolly, and Roberta Massuch

summer artist-in-residents reception & gallery talks 7:00-8:00pm featuring Karina Mago Bartosz Beda Joseph Cavalieri

AUGUST 10 //

SYMPOSIUM, ARTIST TALKS, RECEPTION

Residencies are conceivably the most defined narrative regarding artists working without conventional constraints to their creativity. The most respected programs comprise, in many ways, the broader story of artists, concepts, processes, and trends in various studio craft and art movements across decades.

Sponsored by the John and Robin Horn Foundation, Unconstrained Craft: A Symposium on Artist Residencies will converge artists and industry leaders who have designed, developed, participated in, or shaped prominent residency programs around the world.

At the conclusion of Unconstrained Craft: A Symposium on Artist Residencies, join GoggleWorks’ three summer artist-in-residence upstairs in the Schmidt Gallery. There, an exhibition of the work completed during their residency will be on display. Guests can meet and mingle with the artists and hear more about their experiences in a series of informal gallery talks by Karina Mago, Bartosz Beda, and Joseph Cavalieri from 7:15-8pm.

Free admission and parking. Light refreshments and cash bar provided by Belly Kitchen and Drinkery.

From 5:30-7:00pm, a keynote address and panel discussion will center on dialogue about the role and efficacy of residencies in shaping various art fields.

SYMPOSIUM / 12

THE STITCH MILL VISITING ARTIST ANNE MILLS

CONTEMPORARY CROSS STITCH PATTERNS

YOU CAN CROSS STITCH THIS!

WWW.THESTITCHMILL.COM

#THESTITCHMILL

TOOLS CROSS STITCH PATTERN BY THE STITCH MILL EXCLUSIVE FOR GOGGLEWORKS

MATERIALS NEEDED

INSTRUCTIONS

7 INCH EMBROIDERY HOOP 18 COUNT AIDA CLOTH TAPESTRY NEEDLE-SIZE 28 DMC THREADS LISTED BELOW

Make X style stitch for each symbol on pattern DMC threads come in 6 strands, use 2 when stitching.

Start stitching in the middle of your fabric, arrows on the edge of the chart point to the middle.

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