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Paho Mann


table of contents

narrative summary 4 curriculum vitae 6 teaching assignments 15 professional work evaluation criteria

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solo and two-person exhibitions

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selected group exhibitions 39 exhibition catalogs 55 work appearing in professional journals and publications

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public art projects 105 reviews and articles 117 curatorial 147 publicity 155


Narrative Summary Thank you for your time and consideration of the following document highlighting my creative and professional activities as an Assistant Professor of Art at the University of North Texas. I joined the faculty in 2007 and have established a focused and successful creative practice with an emphasis on the cultural and personal impacts of consumption and the effect of that consumption on our built and natural environments. My artwork has been recognized nationally and internationally. I have participated in number-here competitive and number-here invitational group exhibitions in locations including Seoul, South Korea; Juarez, Mexico; New York, NY; Los Angeles, CA; and Minneapolis MN. My artwork has been exhibited in prestigious venues including the Walker Art Center, the Los Angeles Center for Digital Art, and the Jen Bekman Gallery among others. I am honored to have had prestigious jurors select my work for competitive exhibitions, the equivalent of peer-review in the visual arts, including Toby Kamp, Curator of Modern and Contemporary Art at the Menil Collection; Nancy Meyer, Assistant Curator of Contemporary Art, L.A. County Museum of Art; and Tracy Myers, Curator of Architecture Carnegie Museum of Art among others. From 2008 through 2010 my work was included in Worlds Away: New Suburban Landscapes, a jointly organized traveling exhibition between the Walker Art Center and the Carnegie Museum of Art. This exhibition allowed me to take part in the growing conversation about the role of art in Suburban America alongside internationally renowned artists, architects and writers including Coen+Partners Architectural Firm, Robert Venturi, and Edward Ruscha. In 2010 my work was included in Locating Landscapes, a traveling exhibition between the Sam Lee Gallery, Las Angels and the Center for Creative Photography, Tucson. The exhibition included artists using contemporary technology to identify their subjects paired with some of the most important historical figures in photography including Robert Adams and Lewis Baltz. In addition to exhibiting in galleries and museums, I have completed a two-part major public art project for the City of Phoenix. I was commissioned to create photographic works for a new recycling transfer station. For this project I took photographic samples of nearly 6,000 recycled objects from the over 100,000 tons of recyclable waste that passes through Phoenix each year. The images were entered into a database and given keywords based on visual, conceptual, and material qualities. The database functions as an image-bank from which I create large scale prints of selected image groups. The keywords used to generate these groups are chosen to create visual impact and highlight consumer choices. Based on the success of this project, the city of Phoenix commissioned me to create an interactive web-based public art project and a touch screen kiosk. Each year over 25,000 visitors see the print installation, and the web-based work in seen by thousands more. The project’s impact has been extended through educational material and billboards seen throughout Phoenix. From 2007 – 2012 my work has been included in three two-person exhibitions and six solo exhibitions in national venues. These exhibitions allowed me to show larger amounts of creative research nationally. Venues for these exhibitions included the University of Nevada Reno, the University of Texas, San Antonio, and Bellevue College, Washington. 4

narrative summary


With the increased visibility gained through exhibitions of my work, I have been invited to have images published in print and online magazines. Some of the most exciting of these are Yvi Magazine, a contemporary photography magazine published in the Netherlands, and Places, an online interdisciplinary journal of contemporary architecture, landscape, and urbanism. Additionally my work has become a part of the permanent collections of the Tucson Museum of Art, the Nerman Museum of Contemporary Art and various private collections. Along with my colleagues in Photography, I conceived and proposed a successful $25,000 Research Infrastructure Grant for a digital imaging studio. This studio facilitates our photography program’s continued excellence in teaching and creative practice by giving access to students and faculty to current digital technologies. Since my appointment at UNT, I have taught twenty-nine sections of nine different studio classes, all with new course preparations. I have served on six graduate committees, chairing three. During this time I have received excellent scores on my teaching evaluations. I serve as the Photography Area coordinator and participate in College and University-wide committees. I have also served on search committees for four faculty members, chairing one. I am honored to be a member of the faculty at UNT and proud of my many accomplishments. I am confident that the trajectory of my career will continue its upward momentum.

narrative summary

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Curriculum Vitae Education 2007

MFA, Photography, School of Art, Arizona State University

2001

BFA, Photography, Department of Art, University of New Mexico

(Summa Cum Laude)

Academic Appointments 2007 – Cnt.

Assistant Professor of Photography, College of Visual Art and Design,

University of North Texas, Denton, TX

2007

Faculty Associate, Herberger Institute for Design and the Arts, Arizona

State University, Tempe, AZ 2005 – 2007 Instructor of Record, Teaching Assistantship, Herberger Institute for

Design and the Arts, Arizona State University, Tempe, AZ

2005 – 2006 Guest Instructor, Phoenix Art Center, Phoenix, AZ Solo and Two-Person Exhibitions 2013

Upcoming, TBA (solo), Tony Hungerford Gallery, College of Southern

Maryland, La Plata, MD

Upcoming, TBA, Hardee Center for the Arts, Madison, FL 2012

Upcoming, Paho Mann: New Work (solo), Studio Gallery, Brookhaven

College, Dallas, TX Consumed (solo), Bellevue College Gallery Space, Bellevue, WA 2011

Stuff (solo), East Central College Gallery, Union, MO

Paho Mann (solo), Memorial Hall Gallery, Chadron State College, Chadron, NE 2010

Scatter and Heap, Paho Mann and Lauren DiCioccio, Sheppard Fine

Arts Gallery, Reno, NV

2009

Stuff (solo), Grand Rapids Community Collage, Grand Rapids, MI

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curriculum vitae


Building Vernacular Imaginations: Paho Mann and Libby Rowe,

University of Texas San Antonio, Satellite Space, San Antonio, TX

Curated by Scott A. Sherer, PhD Assistant Professor of Art History,

UTSA Paho Mann and Matthew Litteken, 1078 Gallery, Chico, CA 2007

Assortment (solo), Harry Wood Gallery, School of Art, Arizona State

University, Tempe, AZ 2001

Same Difference (solo), John Sommers Gallery, Department of Art,

University of New Mexico, Albuquerque, NM

Stored, Albuquerque Contemporary Art Center, Albuquerque, NM Public Art and Commissions 2012

New Freedom History Project (collaborative with Leigh Merrill), Cultural

Alliance of York County and New Freedom Heritage, touch screen

kiosk and rephotography project, New Freedom, PA

2010

Digital Touch Screen Kiosk Project / http://phoenixrecyclingproject.org/,

commissioned by the Phoenix Office of Public Art, Phoenix, AZ

2008

North Transfer Station Public Art Project, commissioned by the Phoenix

Office of Public Art, Phoenix, AZ

2006

7th Ave Streetscape Art Panel, Phoenix Office of Public Art, Phoenix,

AZ Selected Group Exhibitions 2012

Global Positions, Main Gallery, Visual Arts Building, the University of

Texas at Dallas, Dallas, TX. Curators: Marilyn Waligore, Professor of

Aesthetic Studies/Photography at UT Dallas and Danielle Avram,

Independent Curator and manager of the Power Station, Dallas, TX

Petroleum Paradox, Women’s Caucus for Art, Denise Bibro Fine Art,

New York, NY. Juror: Eleanor Heartney, Contributing Editor to Art in

America and Artpress Where We Are: Tectonic Shifts and the Dissolution of Boundaries, De

Luce Gallery at Northwest Missouri State University, Maryville, MO curriculum vitae

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LACDA 2012, Los Angeles Center for Digital Art, Los Angeles, CA

Jurors: Nancy Meyer, Assistant Curator of Contemporary Art, L.A

County Museum of Art and Rex Bruce, Director and Senior Curator,

L.A. Center for Digital Art

Viewpoints, Studio Montclair at William Patterson University Galleries,

Ben Shahn Center for the Visual Arts, Wayne, NJ. Juror: Alexandra

Schwartz, Curator of Contemporary Art at the Montclair Art Museum

2011

Sustainability and The Built Environment, St. Louis Artists’ Guild and

Galleries, St. Louis, MO. Juror: Chris Jordan, Artist

Where in the World, MPLS Photo Center, Minneapolis, MN. Juror:

Toby Kamp, Curator of Modern and Contemporary Art at the Menil

Collection, Houston, TX 8th Annual International Juried Exhibition, The Shore Institute of the

Contemporary Arts, Long Branch, NJ

Southern Appalachian Artist Guild National Juried Show, Richard Low

Evans Gallery at the Art Center, Blue Ridge, Georgia. Juror John

Cram 2010

The Chinese Encyclopedia, Cuchifitos Gallery, New York, NY Curated by

Susan Thompson Border Art Biennial 2010, the El Paso Museum of Art and the Museo

de Arte de Ciudad Juarez. Jurors: Rita Gonzalez, Assistant Curator

in the Department of Contemporary Art at the Los Angeles

County Museum of Art, and Itala Schmelz, Director at the Museo de

Arte Carrillo Gil in Mexico City

Faraway Nearby, Nerman Museum of Contemporary Art, Overland

Park, KS. Curated by Bruce Hartman, Executive Director, Nerman

Museum of Contemporary Art

All or Nothing, the Denler Art Gallery, Northwestern College, St. Paul, MN Land Use Survey, Jen Bekman Gallery, New York, NY. Curated by

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Jeffrey Teuton Associate Director, Jen Bekman Gallery, New York, NY

curriculum vitae


2009

Locating Landscapes: New Strategies, New Technologies, Sam Lee

Gallery, Los Angeles, CA. Curator Kate Palmer Albers, Ph.D. Assistant

Professor of Art History, Arizona State University

Material Afterlife, Urban Institute for Contemporary Arts, Grand Rapids, MI 2008

Worlds Away: New Suburban Landscapes, A traveling exhibition shown

at: Walker Art Center, Minneapolis, MN and Carnegie Museum of Art,

Pittsburgh, PA. Curators: Andrew Blauvelt, Design Director and

Curator, Walker Art Center and Tracy Myers, Curator of Architecture

Carnegie Museum of Art update the dates.

The Circular Exhibition, Hun Gallery, A traveling exhibition shown at:

New York, NY and Gallery Ho, Seoul, South Korea

Digital Art L.A, Los Angeles Center for Digital Art, Los Angeles, CA.

Jurors: Peter Frank, Art Critic, Riverside Art Museum, and Howard N.

Fox, Curator of Contemporary Art, Los Angeles County Museum of Art.

Art at The X, Xavier University Art Gallery, Cincinnati, OH The Edge, Armory Art Center, West Palm Beach, FL All Media Exhibition, Palos Verdes Art Center, Ranchos Palos Verdes,

CA. Juror: Barry Krammes, Professor of Art, Biola University

Digital Visions, Artlink: Contemporary Art Gallery, Fort Wayne, IN Toledo Friends of Photography, University of Toledo, Center for the

Visual Arts, Toledo, OH. Juror: Todd Hido, Artist

2007

Arizona Biennial ’07, Tucson Museum of Art, Tucson, AZ. Curator:

Dianne Vanderlip, Curator of Modern and Contemporary Art Denver

Museum of Art Accordion, John Sommers Gallery, University of New Mexico, Albuquerque, NM 2006

New American City: Artists Look Forward, Arizona State University Art

Museum, Tempe, AZ. Curators: Heather Lineberry, Senior Curator and

John Spiak, Curator ASU Art Museum

Interactive, Orange County Art Center, Orange County, CA. Do It: participatory art, York Arts Center, York, PA curriculum vitae

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Air-Conditioned, Shemer Art Center and Museum, Phoenix, AZ Antiphon, Northlight Gallery, School or Art, Arizona State University, Tempe, AZ 2005

Wake, Step Gallery, School of Art, Arizona State University, Tempe, AZ.

Curator: Billy Howard, owner of Howard House Gallery, Seattle WA

I Knew I Should’ve Taken That Left Turn at Albuquerque II, Studio C, Phoenix, AZ 2004

New Graduate Group Show, Harry Wood Art Gallery, School of Art,

Arizona State University, Tempe, AZ

Serial, Flatfile Photography Gallery, Chicago, IL 2003

Abstract, Flatfile Photography Gallery, Chicago, IL

2002

Politically Incorrect, Flatfile Photography Gallery, Chicago, IL

I Knew I Should’ve Taken That Left Turn at Albuquerque, Space 101, Bloomington, IN 2001

Scene Unseen, Runnels Gallery, Eastern New Mexico University,

Portales, NM. Juror: Ellen J. Landis, Curator of Art Albuquerque

Museum 1996

Focus, Albuquerque Museum, Albuquerque NM

Curatorial 2008

Keywords, Universities Center at Dallas, Dallas, TX. Exhibited Artists:

Brad Kuhl, Nora Herting, Jonathan Harris, Penelope Umbrico, Sep

Kamvar, and Jim Bumgardner

Grants 2008

Research Initiation Grant, University of North Texas

Research Infrastructure Grant ($25,000), Funding for Digital Imaging and

Output Studio, Co-Recipient with Dornith Doherty and Brent Phelps

Awards 2012 10

Second Place, LACDA 2012, Juried Competition, Los Angeles, CA

curriculum vitae


2008

First Place, Digital Visions, Artlink: Contemporary Art Gallery, Fort

Wayne, IN Second Place, LACDA Juried Competition, Los Angeles, CA The Circle Award, 2008 Juried All-Media Show, Palos Verdes Art

Center, Ranchos Palos Verdes, CA

2007

Contemporary Art Society Award of Excellence, Arizona Biennial ‘07

Public Lectures/ Gallery Talks 2010

Artist Lecture, University of Nevada, Reno, Reno Nevada

Data as Referent: Image Mosaics, Interactivity, Geo-Tagging and Video

Mash-ups in Contemporary Photographic Practice, at the

2010 SECAC/ MACAA Conference meeting in Richmond, VA

2009

Stuff, Grand Rapids Community College, Grand Rapids, MI

Exhibition Talk, 1078 Gallery, Chico, CA 2007

Assortment, South Central Society for Photographic Education,

University of Texas Arlington, Arlington, TX.

Sorted, Booker T. Washington High School, Dallas Texas. 2006

Artist talk, Glendale Community Collage, Glendale, AZ.

Artist talk, Mesa Community Collage, Mesa, AZ. Artist talk, New Mexico State University, Las Cruces, NM. 2005

Visiting Artist for Professor Muriel Magenta, Arizona State University,

Tempe, AZ. 2001

Same Difference, Artist talk, John Sommers Gallery, University of New

Mexico, Albuquerque, NM Collections and Editions Nerman Museum of Contemporary Art, permanent collection, Overland Park, KS 20x200.com, A Jen Bekman Project, New York, NY Northlight Gallery, permanent collection, School of Art, Arizona State University, Tempe, AZ Tucson Museum of Art, permanent collection, Tucson Museum of Art, Tucson, AZ

curriculum vitae

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Publications and Catalogs 2012

Consumed. Solo Exhibition Catalog. Bellevue WA, Bellevue College Gallery

Space, 2012 Petroleum Paradox. Group Exhibition Catalog. Denise Bibro Fine Art, New

York, NY, 2012

Abstract Expressions. Group Exhibition Catalog. PhotoPlace, Gallery,

Middlebury, VT, 2012

2011

Where in the World. Group Exhibition Catalog. MPLS Photo Center,

Minneapolis, MN, 2011

2010

Border Art Biennial 2010. Group Exhibition Catalog. The El Paso Museum

of Art, El Paso, TX, 2010

2009

North Transfer Station Public Art Project. Post Card Book. Phoenix

Office of Arts and Culture, Phoenix, AZ, 2009

“Re-inhabited Circle Ks” Places, October 2009: http://places. designobserver.com/ “Paho Mann” Black Warrior Review, October 2009 “Junk Drawers”, Yvi Magazine: Modern Explorers, Spring 2009 2008

“Locate/Navigate: exercises in mapping” Review, March 2008

2007

Worlds Away: New Suburban Landscapes. Group Exhibition Catalog.

Walker Art Center, Minneapolis, MN, 2007

2006

New American City: Artists Look Forward. Group Exhibition Catalog.

Arizona State University Art Museum, Tempe, AZ, 2006

2005

Wake. Group Exhibition Catalog with introduction by William Jenkins. Step

Gallery, Tempe, AZ, 2005 2001

Scene Unseen. Group Exhibition Catalog. Eastern New Mexico University,

Portales, NM, 2001

1999

Scribendi: University of New Mexico arts and literature magazine, 1999

Selected Reviews 2009

LaPado, Christine G.K. “Saying it with pictures.” Chico News & Review,

March 26, 2009: p. 26

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curriculum vitae


2008

Blauvelt, Andrew, and Tracy Myers. “Suburban Subversion.” Dwell

Magazine Dec-Jan. 2008: p. 173-80

2007

Margaret Regan. “Reflection and Glimpses”. Tucson Weekly, May 31,

2007, Review of work in the Arizona Biennial ‘07’

2006

Lenngel, Kerry. “Who is Phoenix? Exhibit Weighs City’s Character”.

Arizona Republic, September 10, 2006, p. E1

2002

Adrienne Ball, “Space 101 Features New Mexico Artists”, Indiana Daily

Student July 1, 2002, p.11

Professional Service 2012 Peer reviewer for Presentation Selection Committee, Society for Photographic

Education, National Conference

Portfolio reviewer, Society for Photographic Education, National Conference

2010 Portfolio reviewer, Society for Photographic Education, National Conference 2009 Portfolio reviewer, Society for Photographic Education, National Conference 2007 Workshop Leader, Introduction to Website Construction, Society for Photographic

Education, South-Central Conference, 2007

2006 Portfolio reviewer, Society for Photographic Education, National Conference Service to The College and University 2011

Chair, Photography Faculty search committee, College of Visual Art

and Design, University of North Texas.

Committee member, Academic Committee, College of Visual Art and

Design, University of North Texas.

2010

Committee member, Academic Committee, College of Visual Art and

Design, University of North Texas.

2009

Committee member, Executive Committee, College of Visual Art and

Design, University of North Texas.

Chair, Federation Committee, University of North Texas. 2008

Committee member, Gallery/Visiting Artists Committee, College of

Visual Art and Design, University of North Texas. 13


Chair, Federation Committee, University of North Texas. Committee member, New Media search committee, College of Visual Art and Design, University of North Texas.

2007

Committee member, Communication Design search committee,

College of Visual Art and Design, University of North Texas.

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Teaching Assignments Fall 2012

ASTU 2255, Photography II (20 students)

ASTU 2255, Photography II (20 students)

Spring 2012

ASTU 5250, Photography Studio (7 students)

ASTU 4250, Photography Studio (19 students)

Fall 2011

ASTU 4260, Photography and the Web (20 students)

ASTU 4290, Topics in Photography (18 students)

ART 4900, Special Problems (2 students)

ASTU 5015, Creative Project (2 students)

Spring 2011

ASTU 3250, Photography III (15 students)

ASTU 4250, Photography Studio (19 students)

ASTU 4260, Photography and the Web (20 students)

ART 4450, Professional Internship (2 students)

ASTU 5900, Special Problems (2 students)

Fall 2010

ASTU 4260, Photography and the Web (20 students)

ASTU 5250, Photography Studio (7 students)

ART 4450, Professional Internship (2 student)

Summer 2010

ASTU 4280 Advanced Lighting (17 Students)

Spring 2010

ASTU 4260, Photography and the Web (15 students)

ASTU 4250, Photography Studio (22 students)

ASTU 3250, Photography III (18 students)

ART 4900, Special Problems (1 students)

ART 5900, Special Problems (4 students)

ART 4450, Professional Internship (1 student)

Fall 2009

ASTU 4260.501, Photography and the Web (14 students)

ASTU 4260.502, Photography and the Web (16 students)

ART 4900 & 5900, Special Problems (2 students)

Spring 2009

ASTU 4260, Advanced Digital Imaging (17 students) teaching assignments

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ASTU 4250, Photography Studio (22 students)

ASTU 3260, Digital Photographic Imaging (15 students)

ART 4900, Special Problems (2 students)

ART 4450, Professional Internship (1 student)

Fall 2008

ASTU 3250, Color Photography (22 students)

ASTU 4270, Alternative Photographic Process (17 students)

Spring 2008

ART 4172, Photographic Digital Imaging (17 students)

ART 4806, Photography Studio (15 students)

ART 4824, Introduction to Digital Imaging (22 students)

Fall 2007

ART 4825/5815, Photography and the Web (16 students)

ART 4600, Alternative Photographic Process (18 students)

ART 4650, Advanced Lighting (19 students)

teaching assignments


Professional Work Evaluation Criteria Department of Studio Art The academic disciplines of the Department of Studio Art assert the importance of professional development as a vital element for effective teaching. The Department enthusiastically supports the university guidelines for promotion and tenure as stated in the policy manual, article 15.0.04. Artistic/Scholarly achievements must be rated excellent and must demonstrate a trend toward continual growth toward a national reputation. The granting of tenure requires excellence in the functions of teaching, scholarly/creative activities, and professional service.

Most Valued Level I Solo Exhibitions in major museums and galleries. Single authored books. Level II Major commissions. Inclusion of work in exhibitions of a national/international nature. Workshops, presentations at major universities, museums, conferences. Co-authored books. Authored articles, reviews, critical writings in publications of national/international exposure. Critical reviews, photographs of work in publications with national/international exposure. Serving as elected officer, board member, panelist in national/international organizations, events. Curatorial responsibilities of national/international exhibitions, panels, symposiums. Purchase of work by public collections. External federal or foundation funding received. Other professional activities bringing national,international exposure. Valued Level I Solo Exhibitions in regionally recognized museums and galleries. Inclusion of work in exhibitions of a regional or statewide nature. professional work evaluation criteria

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Workshops,presentations at small junior colleges, public schools, local events. Serving as elected officer, board member, panelist in state, regional organizations, events. Minor commissions. Curatorial responsibilities for statewide, regional exhibitions, panels, symposiums. Serving as juror, panelist, for national/international exhibitions, events. National/ International honors and awards. Purchase of work by corporate or private collections. Level II Critical reviews, photographs of work in local, regional publications. Authored articles, critical writings in local, regional publications. Reviewing, editing material for publication. Honors and awards received at the state level. Other professional activities of a statewide or regional nature. Somewhat Valued Local Denton and campus wide exhibitions. Jurying local art exhibitions, presentations for local schools, organizations. Internal funding received. Local honors and awards received. Consulting work. Work done in studio not resulting in sales or exhibitions. Other professional activities of a local nature

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professional work evaluation criteria


professional work evaluation criteria

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solo and two-person exhibitions

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solo and two-person exhibitions

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exhibition announcement (front), solo exhibition at Bellevue College, 2012


solo and two-person exhibitions

exhibition announcement (back), solo exhibition at Bellevue College, 2012

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solo and two-person exhibitions

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exhibition announcement (front and back), solo exhibition at Chadron State College, 2011


solo and two-person exhibitions

exhibition announcement (front and back), solo exhibition at East Central College, 2011

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solo and two-person exhibitions

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gallery publication (cover), two-person exhibition, University of Nevada Reno, 2010


solo and two-person exhibitions

gallery publication (inside), two-person exhibition, University of Nevada Reno, 2010

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solo and two-person exhibitions

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gallery publication (back), two-person exhibition, University of Nevada Reno, 2010


solo and two-person exhibitions

gallery publication (cover), solo exhibition at Collins Art Gallery, Grand Rapids, MI, 2010

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solo and two-person exhibitions

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gallery publication (inside), solo exhibition at Collins Art Gallery, Grand Rapids, MI, 2010


solo and two-person exhibitions

exhibition announcement (front and back), solo exhibition at Collins Art Gallery, Grand Rapids, MI, 2010

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solo and two-person exhibitions

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gallery publication, two-person exhibition, University of Texas San Antonio Satellite gallery, 2009


solo and two-person exhibitions

exhibition announcement (front), two-person exhibition at the University of Texas San Antonio Satellite gallery, 2009

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solo and two-person exhibitions

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exhibition announcement (back), two-person exhibition at the University of Texas San Antonio Satellite gallery, 2009


solo and two-person exhibitions

exhibition announcement (front and back), two-person exhibition at the 1078 gallery, Chico, CA, 2009

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solo and two-person exhibitions

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exhibition announcement (front and back), solo exhibition at Harry Wood Gallery, 2007


selected group exhibitions

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selected group exhibitions

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exhibition publication, (cover), “Global Positions” at the University of Texas Dallas, 2012


selected group exhibitions

exhibition publication, (inside), “Global Positions” at the University of Texas Dallas, 2012

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selected group exhibitions

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exhibition publication, (inside), “Global Positions” at the University of Texas Dallas, 2012


selected group exhibitions

exhibition publication, (back), “Global Positions” at the University of Texas Dallas, 2012

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selected group exhibitions

The El Paso Museum of Art Announces Border Art Biennial - Bienal Fronteriza de Arte 2010 Please join us at the El Paso Museum of Art on

Friday, November 19, 2010 6:30 p.m.

for a Members' and Artists' private preview of Border Art Biennial/Bienal Fronteriza de Arte 2010 Cocktail reception with hors d'oeuvres and live entertainment An RSVP is requested by November 15, 2010 by calling Barbara Read, Development Marketing Assistant at (915) 532-1707 or by e-mailing ReadBG@elpasotexas.gov Parking is available at the Abraham Chavez Parking Garage or at the Camino Real Hotel for a small fee Free parking is available at the City Hall Parking lot on Santa Fe Street The exhibition opens to the public on Saturday, November 20, 2010

Featured Artist:

Itzel Aguilera, Ciudad Juarez, Chihuahua, Mexico Julie Anand and Damon Sauer, Phoenix, Arizona Tania Anchondo, Chihuahua, Chihuahua, Mexico Jesus Barraza, San Leandro, California Camp Bosworth, Marfa, Texas Maureen Burdock, Santa Fe, New Mexico Camilo Cruz, Los Angeles, California Alejandro Cartagena, Monterrey, Nuevo Leon, Mexico Vic De La Rosa, San Francisco, California Sergio De La Torre, San Francisco, California Leticia Diaz Moreno, Ciudad Juarez, Chihuahua, Mexico Justin Gainan, Oakland, California Matt Gainer, Toluca Lake, California Joseph Gerges, La Mirada, California Ed Gomez, Long Beach, California Erendira Gonzalez, Tijuana, Baja California Norte, Mexico Alexandra Grant, Los Angeles, California Luis Hernandez, Los Angeles, California Yvianna Hernandez, El Paso, Texas Farah Karapetian, Los Angeles, California Julia Landois, San Antonio, Texas Anthony Lazorko, Mesilla, New Mexico Nery Gabriel Lemus, Pasadena, California Paho Mann, Dallas, Texas Mayra Martell, Chihuahua, Chihuahua, Mexico Shane Mecklenburger, Dallas, Texas Hector Mendoza, Oakland, California Dominic Miller, Phoenix, Arizona Jeffrey Miranda, Allen, Texas Noe Montes, Los Angeles, California Oscar Moya, El Paso, Texas Michelle Murillo, Dallas, Texas Brenda Perry, El Paso, Texas Gregory Phillipy, Las Cruces, New Mexico Kerianne Quick, Pasadena, California Tim Roberts, Fort Davis, Texas Humberto Saenz, Spring, Texas Rocio Saenz, Chihuahua, Chihuahua, Mexico Marian Salinas, McAllen, Texas Shawn Skabelund, Flagstaff, Arizona David Taylor, Las Cruces, New Mexico Rogelio Valenzuela Colomo, Ciudad Juarez, Chihuahua, Mexico Cathy Wysocki, Corrales, New Mexico

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exhibition announcement, “Border Art Biennial - Bienal Fronteriza de Arte 2010�, El Paso, TX, 2010


selected group exhibitions past exhibits

http://www.aai-nyc.org/cuchifritos/Exhibits/The Chinese Encyc...

CUCHIFRITOS art gallery/project space

PAST EXHIBIT:

The Chinese Encyclopedia Jennifer Dalton, Mike Estabrook, Chad Hagen and Paho Mann Curated by Susan Thompson Exhibition Dates: November 6 – December 4, 2010 Opening Reception: Saturday, November 6th, 4 – 6.30pm For more information and visuals, please contact the curator: Susan Thompson susanthompson1@gmail.com A character in a Borges story finds an old Chinese encyclopedia that presents a strange taxonomy of animals, dividing them into the following categories: (a) belonging to the Emperor (b) embalmed (c) tame (d) suckling pigs 1 of 3

1/6/11 10:35 AM

exhibition announcement, “The Chinese Encyclopedia” at the Cuchifritos Gallery, New York, NY, 2010

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selected group exhibitions past exhibits

http://www.aai-nyc.org/cuchifritos/Exhibits/The Chinese Encyc...

(e) sirens (f) fabulous (g) stray dogs (h) included in the present classification (i) frenzied (j) innumerable (k) drawn with a very fine camelhair brush (l) et cetera (m) having just broken the water pitcher (n) that from a long way off look like flies This bizarre classification system, or rather the amusement evoked when reading it, was the inspiration for Michel Foucault’s The Order of Things, a work that indicts accepted systems of organizing, classifying, and arranging, ultimately concluding that all organizational systems are just as ridiculous as the list given above. Such arbitrary criteria and absurdly limited categories highlight the ways in which meaning is constructed within traditional categorical systems and ask us to question the meanings that inhere to these accepted systems of thought. This show calls attention to the various ways in which objects and information are given meaning through association and representation. The artists are interested in how information is filtered and presented. They formulate new structural systems, undermine pre-existing structures, or simply reveal the absurdity of the very concept of structure. They allow for the possibility of new categories to rise amongst the old and fill in the gaps of the excluded by forging new associational axes. Mike Estabrook illustrates words as they are defined by their Google Images results. “What does “disaster” look like?” he asks, though the answer he presents has been processed through algorithms. Paho Mann allows the viewer to sift through his belongings electronically by making selections within a database. A possible grouping produced by this system might include all items that are the size of a toaster oven and located in the linen closet. The slickly-designed infographics of Chad Hagen seem to make easy sense out of what must be complex data. Only after a few moments does the viewer realize that the colorful shapes don’t actually refer to anything outside themselves. There is order without content. In a game of “would you rather,” Jennifer Dalton makes the viewer self-define by selecting from severely limited (and less-than-ideal) options. Elsewhere, she illustrates the disparity of success between men and women in the art world, giving form to discouraging data. Susan Thompson lives in New York and works as a Curatorial Research Assistant at the Solomon R. Guggenheim Museum in addition to developing her own independent curatorial projects. She received her Masters degree in Modern Art, Curatorial and Critical Studies from Columbia University and was the recipient of the 2009-2010 Hilla Rebay Fellowship from the Solomon R. Guggenheim Foundation. Image: Chad Hagen Nonsensical Infographic #1 2009 Courtesy of the artist and Cuchifritos gallery and project space

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1/6/11 10:35 AM

exhibition announcement, “The Chinese Encyclopedia” at the Cuchifritos Gallery, New York, NY, 2010


selected group exhibitions

exhibition announcement, “Faraway Nearby” at the Nerman Museum of Contemporary Art, 2010

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selected group exhibitions

said Bruce Hartman, executive director of the Nerman Museum.

More Americans now live in suburban areas than in central cities and rural areas

combined. However, despite its scale and influence (physically, economically and socially), suburbia is a relatively under-examined power in shaping America’s cultural life.

The suburbs have served as an arena for conjuring images of both the best and the

worst of contemporary social life. Alternately stereotyped as either a domestic utopia or a haven of conformity, these stereotypes disguise a more realistic interpretation

of contemporary suburbia. Many of the artists in Faraway Nearby address popular,

preconceived notions (real or otherwise) to challenge, emphasize or re-invent them.

“The exhibition features artists who have turned their imaginations to suburbia

– for inspiration, to provoke discussion, and to acknowledge (both appreciatively and

critically) an environment which makes up an ever-increasing portion of our world,” said Hartman.

Artists included in the exhibition:

Chris Ballantyne, b. 1972, Mobile, Ala.; lives and works in New York

Sheila Pree Bright, b. 1967, Waycross, GA; lives and works in Atlanta Don Lambert, b. 1972, Cincinnati; lives and works in Miami

Paho Mann, b. 1978 in Snowflake, Ariz.; lives and works in Denton, Texas

Matthew Moore, b. 1976, in San Jose, Calif.; lives and works in Goodyear, Ariz.

Amy Stein, b. 1970, raised in Washington D.C. and Karachi, Pakistan; lives and works in New York

Greg Stimac, b. 1976 in Euclid, Ohio; lives and works in Chicago Brian Tolle, b. 1964 in Queens; lives and works in New York

Michael Vahrenwald, b. 1977 in Davenport, Iowa; lives and works in New York

The Nerman Museum is open 10 a.m. to 5 p.m. Tuesday, Wednesday, Thursday

and Saturday; 10 a.m. to 9 p.m. Friday; and noon to 5 p.m. Sunday. The museum is closed Monday and all JCCC holidays.

For more information, call 913-469-3000 or visit www.nermanmuseum.org. Admission and parking are free.

48

###

exhibition announcement, “Faraway Nearby” at the Nerman Museum of Contemporary Art, 2010


selected group exhibitions 4/23/12

Land Use Survey @ jen bekman

Jen Bekman Gallery

20×200

Hey, Hot Shot!

6 spring street new york city 10012 tel: 212.219.0166 info@jenbekman.com

artists

upcoming exhibitions

past exhibitions

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images | bios | press release | press mentions

press release :: Land Use Survey NEW YORK – Jen Bekman Gallery is pleased to present Land Use Survey, a group exhibition featuring photographs, paintings and works on paper by twenty-seven artists. An opening reception will be held on Wednesday, June 30, 2010, from 6:00 to 8:00 p.m. Land Use Survey will be on view Thursday, July 1 through Sunday, August 14, 2010 at Jen Bekman Gallery, located at 6 Spring Street, New York, New York. Land Use Survey functions as a critical appraisal of land use across the country, as a document of the changing landscape vernacular, and as a celebration of the artists who take diverse approaches to capturing this genre. The show opens with a series of landscapes that remain untouched by man. Slowly, signs of human intrusion begin to appear: car tracks, empty bottles, a retaining wall and piles of dirt. As one progresses through the exhibition, both in the gallery space and within the areas described by the works, increasingly more land turns over to commercial and residential development, before finally giving way to the dizzying geometries of the modern metropolis. The exhibition features work by Ian Baguskas, Chris Ballantyne, Beth Dow, Christoph Gielen, Todd Hido, Liz Kuball, Nick Lamia, Scott Lawrence, Michael Lundgren, Alex MacLean, David Maisel, Paho Mann, Louisa McElwain, Sarah McKenzie, Joel Meyerowitz, Dana Miller, Brad Moore, Matthew Moore, Michelle Muldrow, Justin Newhall, Ross Racine, Tyson Anthony Roberts, Andrew Scott Ross / Scott Lawrence, Aili Schmeltz, Bryan Schutmaat, Alec Soth and William Wegman. Jen Bekman Projects Jen Bekman Projects comprises three businesses: 20x200 offers curated, limited-edition prints at ridiculously affordable prices. Hey, Hot Shot! is a critically-acclaimed international photography competition which discovers, recognizes and promotes photographers at all stages of their careers. Jen Bekman Gallery, the flagship of JBP, exhibits photography, works on paper, paintings, and mixed media. Land Use Survey is at: Jen Bekman Gallery, 6 Spring Street, New York, New York. Hours: Wednesday–Saturday, noon – 6 p.m. or by private appointment For additional information and images, email press@jenbekman.com or phone 212.219.0166.

www.jenbekman.com/shows/land-use-survey/press-release/

gallery website announcement, “Land Use Survey” at the Jen Bekman Gallery, New York, NY, 2010

1/1

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selected group exhibitions 4/23/12

Sam Lee | Gallery : Locating Landscape

Paho Mann Carniceria Cuerrero, Phoenix, Arizona, 2006 From the series, Re­inhabited Circle K

LEWIS

Image Size: 16 x 20 inches

BALTZ CHRISTIANA CARO

Paper Size: 20 x 24 inches Edition of 20

ANDREW FREEMAN FRANK GOHLKE MARGOT ANNE KELLEY MARK

samleegallery.com/htmls/LocatingLandscape.htm

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gallery website announcement, “Locating Landscapes” at the Sam Lee Gallery, Los Angeles, CA, 2010

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selected group exhibitions

The Center for Creative Photography 2010 [back]

Locating Landscape: New Strategies, New Technologies The Center for Creative Photography Tucson, Arizona June 5 to August 1, 2010 The Center for Creative Photography is pleased to announce the exhibition, Locating Landscape: New Strategies, New Technologies, highlighting some of the most interesting young artists at work in Los Angeles and the Southwest today. Guest-curated by University of Arizona photography historian Kate Palmer Albers, this exhibition includes work by Christiana Caro, Andrew Freeman, Frank Gohlke, Margot Anne Kelley, Mark Klett, Paho Mann, Adam Thorman, and Byron Wolfe. Inspired by the recent revival of the influential and critically acclaimed New Topographics exhibition from 1975, shown at the Center and continuing its national and international tour, Locating Landscape links a new generation of photographers with the New Topographics movement that so greatly influenced them. Margot Anne Kelley and Christiana Caro studied with Frank Gohlke; Andrew Freeman studied with Lewis Baltz; and Paho Mann and Adam Thorman studied with Mark Klett as well as Bill Jenkins, the original curator of New Topographics at George Eastman House in Rochester, New York.

“New Topographics was a watershed moment in the history of landscape photography,” says Albers, “It‘s been a major undercurrent in photographic practice for more than forty years, and now—especially with the rapid growth and ready availability of networked mapping and locational technologies—we‘re seeing an explosion of new work that‘s taking landscape in a new direction.”

These new landscapes incorporate novel methods to connect with the world they represent while drawing on the visual vocabulary developed by earlier generations of landscape photographers. Where the New Topographics photographers worked in black and white and made relatively small prints, Locating Landscape reflects the contemporary engagement with large scale and lush color. Likewise, if both beauty and politics were slightly submerged in the landscapes of the 1970s, today, the lyric and poetic comfortably coexist with cultural and political concern.

  gallery website announcement, “Locating Landscapes” at the Center for Creative Photography, Tucson, AZ, 2010

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selected group exhibitions

52

exhibition announcement, “The Circular Exhibition” at the Hun Gallery, New York, NY and the Gallery Ho, Seoul, South Korea, 2008


exhibition catalogs

55


catalogs

56

exhibition catalog (cover), solo exhibition at Bellevue College, 54 pages including interview, forward, and X color plates, 2012


catalogs

exhibition catalog (interview), solo exhibition at Bellevue College, 54 pages including interview, forward, and color plates, 2012

57


catalogs

58

exhibition catalog (interview), solo exhibition at Bellevue College, 54 pages including interview, forward, and color plates, 2012


catalogs

exhibition catalog (interview), solo exhibition at Bellevue College, 54 pages including interview, forward, and color plates, 2012

59


catalogs

60

exhibition catalog (interview), solo exhibition at Bellevue College, 54 pages including interview, forward, and color plates, 2012


catalogs

exhibition catalog (interview), solo exhibition at Bellevue College, 54 pages including interview, forward, and color plates, 2012

61


catalogs

62

exhibition catalog (cover), Where in the World Exhibition at Minneapolis Photo Center, 2011


catalogs

exhibition catalog (inside), Where in the World Exhibition at Minneapolis Photo Center, 2011

63


catalogs

64

exhibition catalog (cover), Border Art Biennial / Bienal Fronteriza de Arte at the El Paso Museum of Art and the Museo de Art de Ciudad Juarez, 2010


catalogs

exhibition catalog (inside), Border Art Biennial / Bienal Fronteriza de Arte at the El Paso Museum of Art and the Museo de Art de Ciudad Juarez, 2010

65


catalogs

66

exhibition catalog (inside), Border Art Biennial / Bienal Fronteriza de Arte at the El Paso Museum of Art and the Museo de Art de Ciudad Juarez, 2010


catalogs

postcard book (front and back of same page), North Transfer Station Public Art Project, 2009

67


catalogs

68

postcard book (front and back of same page), North Transfer Station Public Art Project, 2009


catalogs

postcard book (front and back of same page), North Transfer Station Public Art Project, 2009

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catalogs

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postcard book (front and back of same page), North Transfer Station Public Art Project, 2009


catalogs

postcard book (front and back of same page), North Transfer Station Public Art Project, 2009

71


catalogs

72

postcard book (front and back of same page), North Transfer Station Public Art Project, 2009


catalogs

postcard book (front and back of same page), North Transfer Station Public Art Project, 2009

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catalogs

74

exhibition catalog (cover), The Circular Exhibition at Hun Gallery, New York, NY and Gallery Ho, Seoul, South Korea, 2008


catalogs

exhibition catalog (cover), The Circular Exhibition at Hun Gallery, New York, NY and Gallery Ho, Seoul, South Korea, 2008

75


catalogs

76

exhibition catalog (cover), Worlds Away: New Suburban Landscapes Exhibition at the Walker Art Center, 2008


catalogs

exhibition catalog (inside), Worlds Away: New Suburban Landscapes Exhibition at the Walker Art Center, 2008

77


catalogs

78

exhibition catalog (inside), Worlds Away: New Suburban Landscapes Exhibition at the Walker Art Center, 2008


catalogs

exhibition catalog (inside), Worlds Away: New Suburban Landscapes Exhibition at the Walker Art Center, 2008

79


catalogs

80

exhibition catalog (cover), New American City Exhibition at Arizona State University Art Museum, 2007


catalogs

exhibition catalog (inside pages), New American City Exhibition at Arizona State University Art Museum, 2007

81


work appearing in professional journals and publications

83


work appearing in professional journals and publications

84

literary magazine (cover), Black Warrior Review, University of Alabama, October 2009


work appearing in professional journals and publications

literary magazine (inside), Black Warrior Review, University of Alabama, October 2009

85


work appearing in professional catalogsjournals and publications

86

literary magazine (inside), Black Warrior Review, University of Alabama, October 2009


work appearing in professional catalogsjournals and publications

literary magazine (inside), Black Warrior Review, University of Alabama, October 2009

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work appearing in professional journals and publications

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literary magazine (inside), Black Warrior Review, University of Alabama, October 2009


work appearing in professional journals and publications

literary magazine (inside), Black Warrior Review, University of Alabama, October 2009

89


work appearing in professional journals and publications

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literary magazine (inside), Black Warrior Review, University of Alabama, October 2009


work appearing in professional journals and publications

literary magazine (inside), Black Warrior Review, University of Alabama, October 2009

91


work appearing in professional journals and publications

92

visual art journal (cover), “Locate/Navigate: exercises in mapping“ in Review, 2008


work appearing in professional journals and publications

visual art journal (cover), “Locate/Navigate: exercises in mapping“ in Review, 2008

93


work appearing in professional journals and publications

94

visual art journal (cover), “Locate/Navigate: exercises in mapping“ in Review, 2008


work appearing in professional journals and publications

visual art journal (cover), “Locate/Navigate: exercises in mapping“ in Review, 2008

95


work appearing in professional journals and publications

96

visual art journal (cover), “Locate/Navigate: exercises in mapping“ in Review, 2008


work appearing in professional journals and publications

art magazine (cover), Yvi Magazine: Modern Explores 2009

97


work appearing in professional journals and publications

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art magazine (inside), Yvi Magazine: Modern Explores 2009


work appearing in professional journals and publications

art magazine (inside), Yvi Magazine: Modern Explores 2009

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work appearing in professional journals and publications

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art magazine (inside), Yvi Magazine: Modern Explores 2009


work appearing in professional journals and publications

art magazine (inside), Yvi Magazine: Modern Explores 2009

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work appearing in professional journals and publications

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art magazine (inside), Yvi Magazine: Modern Explores 2009


public art projects

105


public art projects

106

screen shot, Interactive Website (http://phoenixrecyclingproject.org/) commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, 2011


public art projects

screen shot, Interactive Website (http://phoenixrecyclingproject.org/) commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, 2011

107


public art projects

108

screen shot, Interactive Website (http://phoenixrecyclingproject.org/) commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, 2011


public art projects

screen shot, Interactive Website (http://phoenixrecyclingproject.org/) commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, 2011

109


public art projects

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refrigerator magnets, educational material, Phoenix Recycling Project, magnets created by the Phoenix Office of Arts and Culture’s Public Art Program, 2011


public art projects

billboard, Phoenix Recycling Project commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, Phoenix, AZ 2011

111


public art projects

112

billboard, Phoenix Recycling Project commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, Phoenix, AZ 2011


public art projects

6-15.

Paho Mann

1.

Phoenix North Transfer Station Recycling Public Art Project

About The images in the North Gateway Transfer Station Project are made from nearly 6000 photographs of individual recyclables made at a sold waste transfer and material recovery station in Phoenix, Arizona. Incoming recyclables are sorted and bailed by workers using heavy equipment before being shipped to offsite locations for reuse. The objects were selected at random from the contents of arriving recycling trucks and photographed isolated against a black background in an on-site lighting studio. Central to my understanding of this project is that looking at what we own and consume reveals something about our identity, and that this examination underlines the importance of making thoughtful choices in what we do with these objects. The images from the North Gateway Transfer Station were entered into a database and given keywords from categories including material, color, and use. The database functions as an image-bank from which I create prints of selected image groups. The keywords used to generate these groups are chosen to create visual impact and highlight consumer choices. By sampling a relatively small amount of waste (5824 objects from the over 100,000 tons of recycling processed in Phoenix each year) and further narrowing the selection with keywords, consumer choices become more specific. The resulting images attempt to show particular water bottles, not the abstract understanding of the 60 million water bottles a day are used in the United States. The photographs are displayed as grids with accompanying image overlays. The overlays are created by stacking and averaging the color and tone of all the individual photographs from each group. The resulting prints offer two alternative visual entries into the objects displayed. The images will be printed as archival inkjet prints on Colorado Fiber Gloss Paper, an acid and lignin free fiber based paper, by the Moab Paper Company. The frames will be custom made by Green House Framing, an ecologically sustainable company in Portland Organ. All of the lumber used for the frames has been reclaimed from a prior use. The stains use are made from easily renewable resources, and obtained by fair trade practices.

16.

2.

17.

3.

18.

4.

19.

Image List

1. Paper by Color, 24 x 24 inches

2. Water Bottles, 30 x 24 inches

3. Action Figures, 10 x30 inches

4. Gifting, 19 x 24 inches

5. Metal by Color, 16 x 24 inches

6. Red Plastic, 16 x 35 inches

7. Orange Plastic, 16 x 26 inches

8. Yellow Plastic, 16 x 23.5 inches

9. Green Plastic, 16 x 28.5 inches

10. Blue Plastic, 16 x 51.5 inches

13. Black Plastic, 16 x 19 inches

12. Pink Plastic, 16 x 19 inches

11. Purple Plastic, 16 x 19 inches

14. Brown Plastic, 16 x 18 inches

15. White Plastic, 16 x 26 inches

16. Straws, 16 x 16 inches

17. Newspaper, 24 x 27 inches

18. Children’s Drawings and Homework, 16 x 16 inches

19. Mailers and Newspaper Inserts, 24 x 30 inches

20. Hearts, 16 x 16 inches

20.

5.

113

design diagram, North Transfer Station Project commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, 2009


public art projects

114

installation views, 7th Avenue Art Panel commissioned by the Phoenix Office of Arts and Culture’s Public Art Program, Phoenix, AZ, 2007


reviews and articles

117


reviews and articles

118

article, Arizona Republic, “Old-style Circle K stores get new life� December 4, 2009


reviews and articles

article, Arizona Republic, “Old-style Circle K stores get new life� December 4, 2009

119


reviews and articles

120

review, Los Angeles Times, “Locating Landscape at Sam Lee Gallery.” November 6, 2009 (Web)


reviews and articles

review, Los Angeles Times, “Locating Landscape at Sam Lee Gallery.” November 6, 2009 (Web)

121


reviews and articles

122

review, Los Angeles Times, “Locating Landscape at Sam Lee Gallery.” November 6, 2009 (Print)


reviews and articles Re‐Inhabited
Circle‐Ks
 
 It’s
what
you
might
call
a
classic
low‐commitment
landscape
—
the
wide
arterials
of
Phoenix,
Arizona,
 engineered
to
move
cars
quickly,
many
with
six,
seven,
sometimes
even
eight
lanes
of
traffic,
including
 what
transportation
planners
call
“two‐way
left
turn
lanes”
and
what
the
rest
of
us
call
the
suicide
 lanes.
The
rights‐of‐way
can
stretch
out
one
hundred
feet
or
more,
and
they’re
wider
still
when
you
 add
in
the
parking
lots
for
the
strip
malls
that
line
them
(the
six‐foot
sidewalks
hardly
count).
The
 roads
are
treeless,
too,
because
trees
would
block
the
big
signs
—
for
the
fast‐food
drive‐ins,
big
box
 discounters,
payday
loans,
etc.
—
which
are
critical
when
your
customers
are
clipping
past
at
40
mph.

 
 Photographer
Paho
Mann
began
to
learn
from
this
landscape
a
decade
ago,
when
he
was
a
student
at
 the
University
of
New
Mexico,
commuting
across
Albuquerque
from
home
to
campus.
Mann
—
who
 wasn’t
yet
born
when
Robert
Venturi
and
Denise
Scott
Brown
took
their
Yale
studio
west
and
did
the
 research
distilled
into
Learning
from
Las
Vegas
—
paid
special
attention
to
the
Circle
Ks,
a
national
 chain
of
convenience
stores
founded
in
1951
in
El
Paso.
But
what
actually
attracted
him
were
 “reinhabited”
Circle
Ks
—
the
diverse
small
businesses
that
had
set
up
shop
in
locations
that
the
 corporation
had
abandoned
in
the
past
two
decades,
largely
due
to
changes
in
business
strategy
and
 identity
(including
a
bankruptcy
restructuring
and
series
of
acquisitions)
that
emphasized
fewer
but
 more
profitable
locations.
 
 Mann
continued
his
drive‐by
research
when
he
moved
to
Phoenix
to
go
to
graduate
school
at
Arizona
 State
University.
“The
shells
left
by
this
migration
were
filled
by
dozens
of
small
businesses,
each
 inhabiting
a
practically
identical
structure,”
he
writes.
“The
new
occupants
would
paint,
put
up
a
new
 signs
and
modify
windows
and
doors.”
To
make
his
study
more
systematic,
Mann
used
old
 phonebooks
(from
the
‘70s
and
‘80s)
and
Google
Earth
to
create
a
database
of
existing
and
former
 Circle
Ks
and
map
their
locations
(You
can
see
the
map
on
Mann’s
website).
He
discovered
that
new
 owners
had
found
diverse
uses
for
old
Circle
K
franchises,
including
a
drycleaners,
a
couple
of
florist
 shops,
a
tattoo
parlor,
a
tuxedo
rental,
several
mini‐marts
and
dollar
stores,
and
Bridgett’s
Last
Laugh
 Karaoke
and
Fish
Fry.
In
the
process
they
injected
into
the
strip
a
welcome
dose
of
local
commitment.
 
 Play
Slideshow
>>>
 
 Nancy
Levinson
 Director,
Phoenix
Urban
Research
Laboratory
 Professor
of
Practice,
School
of
Architecture
+
Landscape
Architecture
 Editor,
Places
Journal


article, Places, “Re-inhabited Circle Ks“ (Editor’s Text), September 27, 2009

123


reviews and articles

124

article, Places, “Re-inhabited Circle Ks“, September 27, 2009


reviews and articles

review, Chico News and Review, “Saying it with pictures�, March 26, 2009

125


reviews and articles

126

article, Places, “The Art of Solid Waste” , April 22, 2010


reviews and articles

article, Places, “The Art of Solid Waste” , April 22, 2010

127


reviews and articles

128

article, Places, “The Art of Solid Waste” , April 22, 2010


reviews and articles

review, Dwell, “Suburban Subversion“ (Cover), Dec-Jan 2008

129


reviews and articles

130

review, Dwell, “Suburban Subversion“, Dec-Jan 2008


reviews and articles

review, Dwell, “Suburban Subversion“, Dec-Jan 2008

131


reviews and articles

132

review, Dwell, “Suburban Subversion“, Dec-Jan 2008


reviews and articles

review, Dwell, “Suburban Subversion“, Dec-Jan 2008

133


reviews and articles

134

review, Dwell, “Suburban Subversion“, Dec-Jan 2008


reviews and articles

review, Arizona Republic, “Who is Phoenix? Exhibit Weighs City’s Character”, September 10, 2006

135


reviews and articles

136

review, Tucson Weekly, “Reflection and Glimpses”, May 31, 2007


reviews and articles

review, San Antonio Current, September 23, 2009

137


reviews and articles

138

review, Pittsburgh Tribune, “Carnegie Exhibit Examines why Suburbia Exists�, October 5, 2009


reviews and articles

review, Pittsburgh Tribune, “Carnegie Exhibit Examines why Suburbia Exists�, October 5, 2009

139


reviews and articles

140

review, Pittsburgh Tribune, “Carnegie Exhibit Examines why Suburbia Exists�, October 5, 2009


reviews and articles

review, Pittsburgh Post-Gazette, “The Suburbs as a Museum Piece.”, October 5, 2009

141


reviews and articles

142

review, Pittsburgh Post-Gazette, “The Suburbs as a Museum Piece.”, October 5, 2009


reviews and articles

New Topographics | 151

“New Topographics”: Locating Epistemological Concerns in the American Landscape Wendy Cheng

New Topographics: Photographs of a Man-Altered Landscape. Organized by the Center for Creative Photography, University of Arizona, and the George Eastman House International Museum of Photography and Film. George Eastman House, Rochester, New York, June 13–September 27, 2009; Los Angeles County Museum of Art (LACMA), October 25, 2009–January 3, 2010; Center for Creative Photography, University of Arizona, February 19–May 16, 2010; San Francisco Museum of Modern Art, July 17–October 3, 2010; Landesgalerie Linz, Austria, November 10, 2010–January 8, 2011; Die Photographische Sammlung/SK, Stiftung Kultur, Cologne, January 27–April 3, 2011; Netherlands Fotomuseum, Rotterdam, June 25–September 11, 2011; Bilbao Fine Arts Museum, Spain, October 17, 2011–January 8, 2012. Exhibition at LACMA curated by Edward Robinson. Also curated by Alison Nordstrom and Britt Salvesen. Locating Landscape: New Strategies, New Technologies. Sam Lee Gallery, Los Angeles. October 30–December 5, 2009. In 1975, a show opened at the George Eastman House in Rochester, New York, that would cause a significant stir in the established art world. The ten young photographers whose work was featured described themselves as landscape photographers, but they rejected the picturesque, romanticizing, and purportedly human-free landscapes of their immediate forebears, epitomized by the work of Ansel Adams. Instead they photographed everything that had previously been cropped out of American landscape photographs: the “spaces in between,” such as parking lots, industrial buildings, grain elevators, tract developments, shopping malls, freeway underpasses, and the like. Curator William Jenkins named the show “New Topographics: Photographs of a ManAltered Landscape,” and the group of photographers became known, too, as the New Topographics.

©2011 The American Studies Association

review, The American Studies Association, “‘New Topographics’: Locating Epistemological Concerns in the American Landscape”, 2011

143


reviews and articles

160 | American Quarterly

Christiana Caro, in 10 Miles North, South, East, West and Points in Between (2001–2002), used a GPS to locate and photograph, in 360-degree panoramas, these points extending from her apartment in Boston. The only piece on view depicts a series of square color images of spindly, wintertime New England woods photographed with large aperture settings and focused close in, as if to emphasize the limitations of the imposed arbitrariness of her exercise. Paho Mann’s nine color photographs from his Reinhabited Circle Ks project depict—in uniform composition—vacated Circle K stores in Phoenix, Arizona, that have been repurposed for new commercial uses, from a Mexican market to a tuxedo shop to a check-cashing business. Similarly, Andrew Freeman’s [Manzanar] Architectural Double tracks and photographs repurposed architectural structures, in this case barracks from the former “internment” camp at Manzanar, California, one of ten camps in which Japanese Americans were incarcerated during World War II, which were sold after the war and scattered throughout the state. Mann and especially Freeman’s works are exciting in their direct engagement with social and political content, Mann in showing the creative reappropriation of corporate homogeneity by locally based entrepreneurship, and Freeman by making visible the material history of racist state practices in the most mundane of landscapes (fig. 4). These works lift the veil of opacity—the self-professed claim of neutrality or objectivity—which characterized the earlier generation’s work, and perhaps ultimately limited their reach to more muted strands of cultural and intellectual discourse. The images from the original show itself remain valuable, however, not in spite of, but because of that very opacity (not to say “neutrality” or “objectivity”): a good number of them still resist easy categorization, and in so doing denaturalize still prevalent notions of which landscapes constitute proper objects of study and analysis, and which do not. They still push their viewers to reinvent their own notions of landscape and, if one looks closely, to accept the implicit challenge to engage the visual as a tool for critical inquiry. The curators’ framing of their own restaging misses to a large degree this key epistemological impetus, adhering too closely to the letter of the original catalog, which many of the photographers themselves disavowed from the beginning. Work like Andrew Freeman’s and that of the burgeoning number of artists and thinkers working at the intersections of art and critical geography, however, find intellectual and political passion and purpose in the desentimentalization of the American landscape. In doing so they participate in the New Topographics photographers’ desire to affirm the importance of everyday landscapes as not merely sentiment or fetish, but as significant sites of intellectual and philo-

144

review, The American Studies Association, “‘New Topographics’: Locating Epistemological Concerns in the American Landscape”, 2011


curatorial

147


curatorial

148

curatorial statement and artist bios, “Keywords” published on KERA Public Radio “Art & Seek”, June, 2008


curatorial

curatorial statement and artist bios, “Keywords” published on KERA Public Radio “Art & Seek”, June, 2008

149


curatorial

150

curatorial statement and artist bios, “Keywords” published on KERA Public Radio “Art & Seek”, June, 2008


curatorial

curatorial statement and artist bios, “Keywords” published on KERA Public Radio “Art & Seek”, June, 2008

151


curatorial

152

curatorial statement and artist bios, “Keywords” published on KERA Public Radio “Art & Seek”, June, 2008


publicity

155


publicity

156

blog, Tectonica, January 8, 2011 blog, core77, January 4, 2011


publicity

blog, Spacelnvading, January 4, 2011 blog, Art and Seek, June 3, 2010

157


publicity

158

full page image advertising the Phoenix Office of Arts and Culture, in Public Art Review, Issue 41, Fall/Winter, 2009


publicity

blog, Mammoth, November 2, 2009 blog, Foto Septiembre USA, SAFOTO Blog, September 8, 2009

159


publicity

160

blog, Apartment Therapy, March 19, 2009 blog, Tiny Windows, November 7, 2008


publicity

blog, I heart Photograph, November 6, 2008

161


publicity

162

blog, I D commune, October 10, 2008 blog, DesignWorks, October 1, 2008


publicity

blog, Muse-Ings, February 20, 2008 blog, MinnPost, February 15, 2008

163


selected group exhibitions 4/23/12

Gmail - deluce gallery

Paho Mann <paho.mann@gmail.com>

deluce gallery kukkee@nwmissouri.edu <kukkee@nwmissouri.edu> To: pahomann@pahomann.com

Thu, Dec 15, 2011 at 9:41 PM

Hey Paho!  Congratulations! Your work has been accepted into Where We Are: Tectonic Shifts and the Dissolution of Boundaries, the national juried exhibition at the DeLuce Gallery of Northwest Missouri State University. Your piece(s)that were accepted into the exhibition are: Phoenixrecyclingproject.org Out of 181 pieces submitted to the competition, 27 pieces were selected.  Our Juror, Dr. Elaine A. King, art critic, curator and professor of art history at Carnegie Mellon University, carefully selected 27 works to be included in the exhibition.  The competition was strong, the work was rigorous, and we are happy to invite you to participate in the exhibition! Exhibitions dates are: January 17th to February 18th.  Please be prepared to ship or Deliver your work to the DeLuce Gallery at Northwest Missouri State University during the week of January 2­6th.  Shipping details, and more information will be coming soon.  Please keep an eye out for it!  Please note that the cost of shipping and return shipping are the responsibility of the artist. Again, congratulations, the work looks wonderful, and we look forward to working with you! Laura Kukkee Associate Professor of Art ­ Ceramics Gallery Director, DeLuce Gallery Northwest Missouri State University 800 University Drive Maryville, MO     64468

https://mail.google.com/mail/u/0/?ui=2&ik=cf7387bb38&view=pt&q=Northwest Missouri State University…

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letter of acceptance, “Where We Are” at DeLuce Gallery, 2012

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Gmail - LACDA 2012 Juried Competition Winners!

Paho Mann <paho.mann@gmail.com>

LACDA 2012 Juried Competition Winners! Rex Bruce <rexbruce@lacda.com> To: pahomann@pahomann.com

Mon, Apr 2, 2012 at 2:14 PM

Hi, Congratulations to all of our entrants to the LACDA Juried Competition! You have all made excellent contributions to the pioneering field of digital art and have made art history by participating in a new area of creativity and a new kind of exhibition. There were so many outstanding artists of all kinds from around the globe that it was very difficult to choose our winners. We endeavored to select winners that each represented the best of a variety of disciplines, cultures and geographical locations. We will continue to maintain a schedule of calls for artists in the future, so we encourage artists to enter again as many are sure to be selected. Images and information on selected artists will be posted to our website soon.   Our first place winner is:  Mei Xian Qiu Our second place winners are:   Steven Porter Robert Trempe Paho Mann Kristin Skees Mark G. Williams Kate MacDonald Stephan Larson Wanda Boudreaux Chang Kyun Kim Jerzy Pietruczuk

 

All winners should contact LACDA to discuss arrangements for sending files and exhibiting their work. Our most sincere thanks to all for contributing to the success of digital art! Yours, Rex Bruce Director Los Angeles Center for Digital Art 102 West Fifth Street Los Angeles, CA 90013 http://www.lacda.com https://mail.google.com/mail/u/0/?ui=2&ik=cf7387bb38&view=pt&q=LACDA&qs=true&search=query&m…

letter of acceptance, “LACDA Juried Competition” at the Las Angeles Center for Digital Art, 2012

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letter of acceptance, â&#x20AC;&#x153;Viewpointsâ&#x20AC;? at William Paterson University Galleries, 2012


selected group exhibitions

Paho Mann <paho.mann@gmail.com>

Sustainability and the Built Environment Gina Alvarez <galvarez@stlouisartistsguild.org> To: pahomann@pahomann.com

Wed, Sep 28, 2011 at 2:29 PM

Dear Phao , Congratulations! Our juror Chris Jordan has selected the following to be included in our upcoming exhibition Sustainability and The Built Environment of St. Louis:

Childrenʼs Drawings and Homework Archival Inkjet Print 16” x 16” 2009 $1000

 

Please double check that the title information is accurate and let me know if anything needs to be changed.  

 

I will need you to drop off your work ready to hang/install by October 24th, 2011. We are open Monday - Friday 9:30-4:30. Please contact me if you are not able to bring your work in during these hours.

 

The exhibition opens November 11th with a reception from 6-9pm. The show runs through January 7, 2012. You are responsible for the shipping of your work to and from the Guild. Please include return shipping in your box. Thank you and I can't wait to see your work.

Gina Alvarez St. Louis Artists' Guild and Galleries Gallery and Education Director Two Oak Knoll Park St. Louis, MO 63105 314-727-6266 galvarez@stlouisartistsguild.org www.stlouisartistsguild.org  

letter of acceptance, “Sustainability and the Built Environment at the St. Louis Artists Guild, 2012

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selected group exhibitions 4/23/12

Gmail - Material Afterlife Finalist

Paho Mann <paho.mann@gmail.com>

Material Afterlife Finalist Visual Art Preparator <visualart@uica.org> To: pahomann@pahomann.com

Mon, Feb 2, 2009 at 3:43 PM

Dear Paho, Congratulations! You have been chosen by UICA's Visual Arts Committee to be in the Material Afterlife Exhibition from April 10 ­ August 9, 2009. This was a very competitive call for proposals since only 30 artists were selected out of over 160 proposals that came in from all over the world. The title of your selected artwork is: "Plastic by Color.² Material Afterlife opens on April 10th with a reception from 6 ​  9 PM. We hope that you can join us at this time. Accepted work must be received no later than April 2, 2009. You will be receiving by mail a contract to sign as well as a Loaned Item Addendum Form that will need to be filled out and returned to us with the work. Congratulations again! We look forward to having your artwork in this exhibition. Sincerely, Visual Arts Committee UICA E­mail: visualart@uica.org Phone: (616) 454­7000 Ext. 29

https://mail.google.com/mail/u/0/?ui=2&ik=cf7387bb38&view=pt&q=Material Afterlife&qs=true&search=q…

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letter of acceptance, “Material Afterlife” at the Urban Institute for Contemporary Arts, 2009

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announcement, 7th Avenue Art Panel commissioned by the Phoenix Office of Arts and Cultureâ&#x20AC;&#x2122;s Public Art Program, Phoenix, AZ, 2007

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reviews and articles

Published: May 30, 2008 3:00 a.m. Hide photos

Art enters the digital age By Steve Penhollow

The Journal Gazette

Digital art used to mean anything made with a computer. Now that almost everything is made with a computer, it’s harder to define what makes digital art art (and sometimes what makes digital art digital ). Well, Artlink director Deb Washler has defined it, and if you want to see her conclusions, you’ve got to come to Artlink tonight (or before July 9). Digital Visions Computer Art Show opens with a reception at 5:30 p.m. today. It features 51 pieces by 18 artists from nine states, and if you don’t know what digital art is by the time you leave Artlink, well … you can’t really be blamed. Because digital art is a wide-open field and it’s getting even wider, more open and more fieldy. Maybe not that last one. There’s a hearing-impaired video installation artist in this show named Dan Dienelt whose short films about his gradual hearing loss as an adult are a riot of image and sound; a Texan named Paho Mann whose artful Web site is an exhaustive catalog of every item he owns; a videographer named Elizabeth Sher whose screen captures are illuminated by light boxes and augmented with recorded interviews; a Floridian named Christopher Weeks whose giant comic book covers express his political anger; and Maryland resident Julie Simon, who paints with light in ways Thomas Kinkade never dreamed possible.

Zelda Zinn’s “Bird house” is among the creations on display at the Digital Visions Computer Art Show.

If you go What: Digital Visions Computer Art Show Where: Artlink, 437 E. Berry St. When: Today through July 9 Admission and gallery hours: Free for members, $2 for non-members; noon to 5 p.m. Tuesday through Thursday, noon to 9 p.m. Friday and Saturday, 1 to 5 p.m. Sunday Special event: There will be an opening reception at 5:30 p.m. today.

Some artists, like Russ Revock, mix traditional and digital techniques. Revock is a printmaker who sometimes applies classic printmaking techniques to things he created digitally and sometimes takes a classic print and digitizes it. Unlike most Artlink exhibits, the Digital Visions Computer Art Show delves into a question many art supporters and onlookers probably ask themselves (often futilely), “How’d they do that?” “A lot of this show is about how they arrived at the final pieces,” Washler says. “We wanted all the work to go a little further than the usual 2-D piece. “We asked for proposals, so we have a lot of background information,” Washler says. “So most of the pieces will have information about the process.” spen@jg.net Copyright © 2009 The Journal Gazette. All rights reserved. News service copy is used with permission. The information contained in the report may not be published, broadcast, rewritten or redistributed without the prior written authority of The Journal Gazette or granting news service.

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review, The Journal Gazette, “Art Enters the Digital Age.” May 30, 2008


reviews and articles

review, Arizona Republic, “Who is Phoenix? Exhibit Weighs City’s Character”, September 10, 2006

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reviews and articles

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review, Azure: Design Architecture, Art, “Rethinking the ‘Burbs’.”, February 12, 2008


reviews and articles

press, UNT Research, New Faculty Bio, 2008

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publicity

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blog, ArtCat, November, 2010


publicity

Grand Rapids Community College/Collins Art Gallery 143 Bostwick NE Grand Rapids, MI 49503 616.234.3544

Monday-Thursday 10am-2pm & 4pm-8pm Friday 12pm-3pm

www.grcc.edu

Exhibition Schedule 2009-2010 Faculty Exhibition August 31-September 25, 2009 Reception: September 9, 6-8pm Paho Mann Photo Exhibition October 5-October 30, 2009 Reception: October 5, 6-8pm Ron Pederson Sculpture Exhibition November 9-December 11, 2009 Reception: November 18, 6-8pm GRCC Photo Exhibition January 4-January 29, 2010 Reception: January 13, 6–8pm Bill Hosterman Exhibition, GVSU Print Maker February 8-March 12, 2010 Reception: February 17, 6–8pm Student Exhibition March 29-April 23, 2010 Reception: March 31 6-8pm

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Top: Paho Mann, “Everything in our apartment” Right: Bill Hosterman, “Ladder” (detail)

exhibition listing, Grand Rapids Gallery Guide, 2009

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