Running From Dec 5 – Dec 18th
Reception Dec 11, 5-8pm
Von Bargen’s is partnering with The University of Vermont Art and Art History Department in order to display the work of retiring Fine Metals teacher Laurie Peters and of her colleagues and former students. We welcome you to join us December 11th for the reception where the artists will be present.
Laurie Peters has been a teacher at the University of Vermont for 45 years and has been influential in the careers and lives of many who have studied under her or had the privilege of working alongside her.
On display with Laurie Peters will be the work of Don Friedlich, Etienne Perret, Chris Curtis, Jacob Albee, Timothy Grannis, Tonya Ferraro, Jon Black, Kathryn Montross, Nancy Weber, Harrison Mccandless, Caitlyn Jagodzinski, Lynne Bond and Tom Douglas.”
Exhibit at Von Bargens, 131 Church Street, Burlington Vermont
Here is an article about the show:
Lisa Crossman: Digital photography, New Media and Bio Art of Argentine Artists Andrea Juan, Joaquín Fargas and Grupo Proyecto Biopus
Wednesday, November 13th at 5:30 p.m.
301 Williams Hall
This lecture examines the digital photography, new media and bio art of Argentine artists Andrea Juan, Joaquín Fargas and Grupo Proyecto Biopus produced since 2000. It focuses on how these artists respond to global environmental problems, exploring their emphasis on the potential of discovery (articulated through processes of research and travel), creative adaptations and invention in their work.Their art encourages the viewer to access their responsibility as a member of a global system, while finding a sense of pleasure in the unknown.
Lisa A. Crossman (a native of Vermont) holds a Ph.D. in Art History and Latin American Studies from Tulane University, specializing in the history of modern and contemporary art of Latin America. She completed her dissertation “Contemporary Argentine Art and Ecological Crises” in June 2013. Her recent work has focused on art and the environment.
Elliott KatzOctober 22nd – November 8th, 2013
Opening Reception: Wednesday, October 30th
Artist Lecture: 5:30 PM
University of Vermont
72 University Place
Wednesday OCTOBER 23 rd at 5:30 P.M. in
301 WILLIAMS HALL at The University of Vermont.
The lecture is sponsored by the Roland Batten Memorial Fund, Truex/Cullens and Partners Architects, and The University of Vermont’s Visiting Artists, Art Critics and Art Historians Lecture Series.
The events are free and open to the public.
For more information about the lecture, please
call the UVM Art Department at 802 656-2014 or email@example.com.
*Williams Halls is wheelchair accessible.
Matthys Levy will be speaking on
THE ENGINEERING of ARCHITECTURE
working with the 20th Century’s Iconic Architects ideas- collaboration-execution
The twentieth century stands out as the time when architecture, engineering and art interacted as in no time since the Renaissance. What was unique about this period is that the creative process included an orchestra of specialists working as a team with the architect including structural engineers, mechanical engineers, and often artists. This was a golden age of collaboration that brought us many of the iconic structures we still admire.
When you think of modern architects after FL Wright names including Walter Gropius, Marcel Breuer, Eero Saarinen, Mies van der Rohe, IM Pei, Wally Harrison, Gyo Obata (HOK), Gordon Bunshaft (SOM.) come to mind. Matthys Levy has worked with all of them except for van der Rohe. This was a time when structural expression was the norm and Levy , as a structural engineer, was in a position to influence the final appearance of buildings designed. How these and other architects and artists allowed structural expression to create unique buildings will be the topic of this presentation.
Ideas, collaboration and execution.
Matthys P. Levy is a founding Principal and Chairman Emeritus of Weidlinger Associates, Consulting Engineers. He was born in Switzerland graduated from the City College of New York and Columbia University where he served as an adjunct professor. He is a frequent lecturer at universities, professional conferences and public venues.
Mr. Levy is the recipient of many awards including the ASCE Innovation in Civil Engineering Award and the Egleston medal from Columbia University. He has published numerous papers in the field of structures, computer analysis, aesthetics and building systems design, has illustrated two books and is the co-author of Why Buildings Fall Dow, Structural Design in Architecture, Why the Earth Quakes, Earthquakes, Volcanoes & Tsunamis, and Engineering the City. His most recent book, Why the Wind Blows, a history of weather and global warming,, was published in 2007.
Levy is a member of the National Academy of Engineering, a Fellow of the Institution of Civil Engineers and the American Society of Civil Engineers and other professional societies. He is also a founding director of the Salvadori Center that serves youngsters by teaching mathematics and science through motivating hands-on learning about the built environment.
Projects for which he was the principal designer include the Rose Center for Earth and Space at the American Museum of Natural History; the Javits Convention Center and the Marriott Marquis Hotel in New York; the Georgia Dome in Atlanta and the La Plata Stadium in Argentina that feature his patented Tenstar Dome. Mr. Levy has also served as an expert in forensic investigations including the World Trade Center Collapses in New York]]>
Looking Through Glass Darkly:
Exhibition Projects and Sculpture
Wednesday, September 18
Reception 5:00 in Colburn Gallery (outside lecture hall)
Lecture 5:30 in 301 Williams Hall
72 University Place
The University of Vermont
Fred Wilson will present his museum installations of the past 25 years which infiltrate museum structures and art historical canons through the medium of display. He will also show his recent sculpture in bronze and glass, which investigate the symbolism and meaning of the color black. In these works, inspired by historic design, art, and literature, Wilson creates both baroque and simple forms that speak to contemporary times.
Fred Wilson is a conceptual artist whose work explores the relationship between museums, individual works of art and collections of other kinds. He is a 1999 MacArthur Fellow and represented the United States at the 2003 Venice Biennale. Since 2001, he has explored making sculpture in glass, among other media. His work can be found in several public collections, including The San Francisco Museum of Modern Art, The Tate Modern in London, The Museum of Modern Art in New York and the Whitney Museum of American Art.
The Mollie Ruprecht Visiting Artists and Critics Lecture Series
are pleased to present
Jonathan Gitelson – Halfway between Somewhere and Nowhere
Visiting Artist Exhibit in the Francis Colburn Gallery:
Wednesday, September 11 – Friday, September 27th
Wednesday, September 11 at 5:30 301 Williams Hall followed by a small reception
“My work is about every day experience. It’s about humor. It’s about trying to make sense of the world, one discarded advertising flyer at a time. I work in discrete projects and each project has its own statement but all of my work involves exploring the commonplace minutiae of daily life, and the attempt to find order in the disorderly chaos of the modern world. My projects utilize a variety of mediums ranging from photography to book arts, video, installation and web-based projects.”]]>
“Ghiberti, Materials, and an Image of Transport”
Amy R. Bloch, Assistant Professor, SUNY Albany
“The High Altar at the Santo: Materials, Movement, and Meaning”
Sarah Blake McHam, Professor, Rutgers University
“Camillo Mariani and the Nobility of Stucco”
C. D. Dickerson III, Curator of European Art, Kimbell Museum of Art, Fort Worth
“Alessandro Vittoria and the Art of Marble Carving”
Victoria Avery, Keeper, Applied Arts, Fitzwilliam Museum, Cambridge, UK
‘The Sculptural Stones of Venice: the selection, supply and cost of marble and stone in the sixteenth century”
Emma Jones, PhD candidate, Department of History of Art, University of Cambridge
“Francesco Mochi, Stone and Scale”
Michael Cole, Columbia University
“An Impossible Task”
William E. Wallace, Washington University
“Passage: Shaping Stone in Modern Times”
Richard Erdman, sculptor
The symposium has been organized by Prof. Kelley Helmstutler Di Dio, Associate Professor of Art History, University of Vermont, and generously funded by the Mollie Ruprecht Fund for the Visual Arts, the Lattie F. Coor Award in the Humanities and Fine Arts, and a History of Art grant from the Samuel H. Kress Foundation.
The event is open to the public, but registration is required. Please register by sending your name and contact information to firstname.lastname@example.org, by September 25, 2013.
(behind Conant Metal and Light)
April 22nd- April 27th
Reception Thursday, April 25, 5-7 pm
Straight Outta Compton’s:
A full set of 1952 Compton’s Encyclopedia that have been altered,
manipulated and otherwise visited upon by
Blair Borax, Eliza Carver, Morgan Fog, Erica Hawley,
Charles Hudson, Amr Kashmiri, Jeffrey Lemieux, Noah Radding,
Gregory Radi, Nate Steiner and Shera Weintraub
Part 2 of an exhibition by the Senior Seminar class featuring work by:
Brogan Austin, Mel Bouley, Noah Lagle, Calypso Martin, Althea Neri, Julian Smith, and Jackson Tupper
OPENING RECEPTION: WEDNESDAY, APRIL 24th 5 – 7 pm
Exhibition on display until Thursday, April 25th at 4:30pm.
Gallery Hours: Monday – Friday 9:00 am – 4:30 pm
Colburn Gallery, 3rd Floor, Williams Hall, Department of Art and Art History, 72 University Place, Burlington, VT 05401]]>
Part 1 of an exhibition by the Senior Seminar class featuring work by:
Sam Allen, Anneke Beard, Josh Hammond, Vincent Marksohn, Beth McGinn, Christopher Rubin, and Corrine Yonce
OPENING RECEPTION: WEDNESDAY, APRIL 17th 5 – 7 pm
Exhibition on display until Friday, April 19th at 4:30pm.
Gallery Hours: Monday – Friday 9:00 am – 4:30 pm
Colburn Gallery, 3rd Floor, Williams Hall, Department of Art and Art History, 72 University Place, Burlington, VT 05401
Department of Art and Art History
And The Mollie Ruprecht Visiting Artists and Critics Lecture Series
Present a lecture by:
Wednesday, April 10
301 Williams Hall
John Newman has had over 50 one-person shows and participated in numerous group exhibitions in galleries and museums throughout The United States, Europe and Asia. His sculpture, drawings and prints are represented in numerous public collections including The Museum of Modern Art, The Metropolitan Museum, The Whitney Museum, and The Tate, among many others. His work is represented by the Tibor de Nagy Gallery in NYC and his website is:www.johnnewmanstudio.com
Maria Providencia Casanovas and Lisa Hamilton
Show Runs: March 25th-April 13th
Opening Reception: Monday March 25th, 5-7pm
Gallery Talk with the Artists: 5:30pm March 25th
The Colburn Gallery is located on the third floor of Williams Hall, 72 University Place, Burlington, VT 05405, on the campus of the University of Vermont.
About the Artists:
Maria Providencia Casanovas
Inspired by the most immediate experiences and activities of daily life, Providencia Casanovas creates images from the relationship she establishes with her living and working space to explore issues related to how we build identity with regard to others. It addresses the dichotomy of you/me, and the negotiations that we establish between them in order to build our sense of uniqueness. In this project she focuses in the area of workspace – The Studio –exploring primarily The Studio as a private and intimate space for experimentation to internalize and find refuge from outside interferences.
Casanovas graduated from Belles Arts, Barcelona University, Spain, with printmaking as a major, and obtained an MFA in Photography from Rochester Institute of Technology, Rochester NY. She has participated in exhibitions in locations such as Barcelona, Madrid, New York and Chicago. Awarded residencies include MacDowell Colony, NH, and Frans Masereel Centrum, Belgium. She has been awarded three times By CONCA and an EADC Art Grant in Spain. She lives and works in New York City.
Maria Providencia’s website can be found at: www.mariaprovidenciacasanovas.com
Using simple tools and materials commonly found in a painter’s studio, artist Lisa Hamilton constructs images, sculptures and short videos that question the limits of perception, the transmission of meaning and the relationship between the spectator and the visual object. In recent investigations, she engages the formal language of abstraction, color theory and the psychological dynamics of seeing to examine the point where observation and participation meet. Here, she proposes, is the critical site where form yields content. In her work, experiments in perception, intellectual inquiry, emotion and material invention converge to generate meaning through the experience of looking. In her search to articulate ideas in concrete form, Hamilton has invigorated and expanded the contemporary discourse on abstraction.
Trained formally as a painter at Cooper Union (BFA, 1996) and Hunter College (MFA, 2003) Hamilton has been the recipient of a Fellowship in Painting from the New York Foundation for the Arts, a fellow at the MacDowell Colony, Yaddo, Art Action Kyoto and The Atlantic Center for the Arts. She has had solo exhibitions in New York and Kyoto, exhibited her work at the National Academy Museum, the Kyoto Municipal Museum of Art, and in exhibitions in Tokyo, Berlin, Atlanta, Los Angeles and Mexico City amongst other locations. Hamilton’s work as been reviewed in Art in America, The New York Times and The Brooklyn Rail. Originally from Atlanta, GA., Hamilton has lived and worked in New York City since 1992.
Lisa’s web site can be found at: www.lisahamilton.net
Instructor: Steve Budington
NOVEMBER 26 – 30
The Mollie Ruprecht Fund for Visiting Artists and Scholars presents:
Traveling in a Wider Circumference
Wednesday, November 28
301 Williams Hall
Extremely animated, and often hilarious; Nina Bovasso’s labyrinthine artwork connects the practice of abstraction to everyday life. Her cartoon sensibility, absorption in popular culture, and keen design sense immerse viewers into the dizzying compositions of her paintings, drawings, and sculptures.
New York City born and bred, Bovasso earned her B.F.A. from The San Francisco Art Institute, and her M.F.A. from Bard College. She has been exhibiting regularly since the early nineties, where she got her start while still an undergrad. Her numerous group and solo shows include The Museum of Contemporary Art, Cleveland, OH; Atlanta Contemporary Art Center; BravinLee programs, NY; Diana Stigler, Amsterdam; Clementine Gallery, New York, NY; Richard Heller Gallery, Santa Monica, CA; and Vedanta Gallery, Chicago, IL. Her work is in many public collections, including MoMA, The New Museum, and The Whitney Museum. She has been a visiting artist at The University of Tennessee, California College of Arts & Crafts, and at The University of Virginia; and she has been the recipient of may awards and fellowships including a Guggenheim, a New York Foundation for the Arts Grant, and a Marie Walsh Sharpe Foundation Grant. For the past five years, Bovasso divides her time between New York City and Amsterdam., The Netherlands.
ROLAND BATTEN MEMORIAL LECTURE
on Architecture and Design
speaker- Louis Mannie Lionni
Heresies : Cultural Criticism in the context of the Commercialization, Privatization and Militarization of a small New England City. A shaggy dog story.
Wednesday, October 17 th 2012 at 6:00 P.M. 301 WILLIAMS HALL at The University of Vermont
Architecture can be thought of as a sub-set of the great synthesizing categories : art, science, politics, sociology, philosophy. But architecture, in its built form, ultimately gives material being to all of these, and preserves and expresses their conflicts and contradictions over time.
Architectural criticism attempts to describe the relationship of the built environment to the existential environment. In formal terms ; in functional terms.
The subject of architectural criticism can range from the structure of poetry to the poetry of structure, from graphic design to urban and regional planning.
05401TM ostensibly deals with architecture, planning, food and romance in Burlington, Vermont, on the east coast of Lake Champlain. The thing about it is that I often meet friends who tell me how much they enjoyed (liked) the most recent issue and then ask me without a trace of sarcasm what it’s about. I find that puzzling.
In any case, it would be irresponsible to overlook – in this context – the militarization of our environment, its privatization and commercialization, the F35 controversy and PlanBTV.
Louis Mannie Lionni is the Editor and Publisher of 05401TM.
The lecture and reception are sponsored by the Roland Batten Memorial Fund, TruexCullins Architecture & Interior Design, and The University of Vermont’s Visiting Artists, Art Critics and Art Historian’s Lecture Series. The events are free and open to the public.
Monday, October 8, 2012
The University of Vermont
301 Williams Hall
This lecture is sponsored by the Mollie Ruprecht Fund for Visiting Artists and Scholars
Howard Singerman’s lecture A Reserve Army of Intellectuals developed as a response to a 2009 School of the Art Institute of Chicago seminar entitled What Do Artists Know. It will advance ideas he that explored in his influential 1999 Art Subjects: Making Artists in the American University. In addition to examining the role of art schools in art production, Singerman will look at issues that include the globalization of the art school model, and the question of “deskilling.” The lecture takes its title from a poster designed by the artist Dennis Balk for Proof and Perjury, a 1985 exhibition of young artists just out of CalArts and UCLA, held at the now-defunct Los Angeles Institute of Contemporary Art.
Howard Singerman began writing on contemporary art in the late 1970s, publishing regularly from southern California in Artweek and, later, Artforum. He was museum editor for the Museum of Contemporary Art in Los Angeles from 1985 to 1988, and has contributed to numerous exhibition catalogues for contemporary exhibitions nationally and internationally; among them are A Forest of Signs: Art in the Crisis of Representation (1989) and Public Offerings (2001), and retrospective catalogues for Los Angeles-based artists Chris Burden, Mike Kelley, Pat O’Neill, and Allen Ruppersberg. His ongoing research interests have included the institutions in which modern and contemporary artists have been trained and professionalized—the subject of his aforementioned book Art Subjects: Making Artists in the American University (1999), and a number of subsequent essays; painting in the 1960s; and the relationship of art and criticism in the 1980s. Essays on these topics have appeared in the past few years in the Oxford Art Journal, La Part de l’Oeil, X-tra, and as a chapter in Blackwell Companion to Contemporary Art since 1945 (2006).
His current book project is tentatively entitled Art History After Sherrie Levine, a wide-ranging examination of one of the signal artists of the past quarter century. The book is envisioned not as a traditional monograph but as a test of theory in relation to art practice that addresses various aspects of her work—repetition, the copy, genre and reproduction—through models of the relation of image or object and language provided by psychoanalysis, structuralism, aesthetic theory, critical historiography, and the social history of art. Portions of the text have appeared in October and Res.
Mr. Singerman regularly teaches large undergraduate lecture surveys on art since 1945 and the New York School, and has recently introduced an undergraduate course entitled Art Now, that begins in the 1980s. He has led undergraduate seminars on feminism and art history, postmodernism and photography, the professional education of artists, and other topics. His recent graduate seminars have included Jackson Pollock, the 1960s, and Painting and Theory. He also works closely with advanced students in studio art.
Singerman is an Associate Professor of Contemporary Art and Theory at The University of Virginia.
Wednesday, September 12
Williams Hall 301
The artist will discuss his work and upcoming BCA Center Exhibition, “Untitled Projects: Seasonal Economies,” opening Friday, September 14th, from 5-8 pm. More information: http://www.burlingtoncityarts.org/BCACenter/Exhibition.aspx?e=p&id=5872
About Conrad Bakker and “Untitled Projects: Seasonal Economies”:
For the last 15 years, artist Conrad Bakker has been working on a series of “Untitled Projects” that complicate, reflect on, and celebrate the life of objects. Bakker creates hand-carved and painted facsimiles of familiar objects, from mid-century modernist furniture to garage-sale collectibles. The artist then inserts these painted, wooden “decoys” into real markets, from eBay auctions and mail-order catalogues, to pyramid schemes and spam sales websites. For “Untitled Project: Seasonal Economies,” Bakker responds to Vermont’s seasonal and local marketplaces. Here, maple sugaring, fall foliage tour packages, and vintage Vermont collectibles are considered in relation to other markets, from barter systems to dollar stores. Conrad Bakker has exhibited his work nationally and internationally at Tate Modern (London), Galerie Analix Forever (Geneva), the New Museum of Contemporary Art (New York), and many other venues. Artist and UVM Professor Steve Budington guest curates this exhibition.
Williams Hall is located at 72 University Place, Burlington, VT 05405.
For more information contact: email@example.com, or 802.656.2014]]>
“The Expressionistic Use of Illumination in Safavid Manuscripts”
“Memory and Expectation Within Persian Miniatures”
“Archaism Within the Gigantomachy Frieze at Pergamon”
“Messages in the Della Rovere Polyptych”
“Reading Parallel Universes: Irony and Sincerity in Contemporary Art”]]>
Speaker: Jennifer Johung, associate professor of art history, and director of the Art History Gallery at the University of Wisconsin, Milwaukee
”Joshua Abelow, Self-Portrait, 12×9″, 2010
Office Hours is pleased to announce its debut exhibition:
March 26, May 11, 2012
Opening Monday, March 26, 9:00 a.m.-1:35 p.m.
Refreshments will be served.
Open Mondays and Wednesdays 9:00-9:35 / 11:25-11:45,
and by appointment: firstname.lastname@example.org
Joshua Abelow was born in 1976 in Frederick, Maryland. He earned his BFA from the Rhode Island School of Design in 1998 and his MFA from the Cranbrook Academy of Art in 2008. He has had solo shows in New York at James Fuentes and in Toronto at Tomorrow Gallery. Abelow has an upcoming solo exhibition at Sorry We’re Closed in Brussels, Belgium. His work has been included in numerous group shows including “Tailgates & Substitutes” at Thierry Goldberg, New York City, “Go Figure” at Dodge Gallery, New York City, “Behind the Curtain, A Lock of Hair Falling” at Gallery Diet in Miami, and “Color Me Bad” at Nudashank, Baltimore. During the summer of 2011 Abelow oversaw a series of curatorial projects at “ART BLOG ART BLOG” a gallery space he conceived in the Chelsea studio of his friend and former employer Ross Bleckner. In the fall of 2011, he published a memoir “Painter’s Journal” about his adventures as a burgeoning young artist in New York City in the late 1990s. The book will be widely released in concurrence with Abelow’s solo booth with James Fuentes at the first ever Frieze New York, in May of 2012. You can find Abelow online at ART BLOG ART BLOG; http://joshuaabelow.blogspot.com/
Office Hours is an art exhibition space in an informal setting, the university office of Professor Pamela Fraser.
The University of Vermont, 211 Williams Hall, 72 University Place, Burlington, VT. For more information and this terms hours, please email email@example.com]]>
Exhibit dates: March 12- March 30, 2012
Opening reception: March 21, 2012 5:30-7:00pm
Gallery Talk: 6:00 pm
In this current body of work on paper: clothing patterns, ink, pencil, paint, crayon, printed shelf liner and other faux surfaces are used to create minimal geometric constructions of structures, landscapes and angular human forms to explore ideas related to man and the surroundings that can define him.
Architectural processes and their different presentation strategies are important in the work; floor plans, elevation sections, visual renderings and the constructed object act as various developmental states and approaches and serve as a comparative investigation into the physical construction of the figure. Learning functions as both subject and object in this work, which derive from impressionable experiences associated with iconography from American culture, educational television programming, and the institutional critique in contemporary art. Shedding light on persuasive, performative and often duplicitous identities, as well as on architectural objects and iconography, the work investigates the relationship between man and monument as they coexist in the landscape as representations of one another.
Derrick Adams is a multidisciplinary New York–based artist. His practice is rooted in deconstructivist philosophies and the formation and perception of ideals attached to objects, colors, textures, symbols and ideologies. His work focuses on the fragmentation and manipulation of structure and surface while exploring the shape-shifting force of popular culture in our lives. He received his MFA from Columbia University, a BFA from Pratt Institute, and is both a Skowhegan and a Marie Walsh Sharpe alumnus. His exhibition and performance highlights include: MoMA PS1, PERFORMA 05, Brooklyn Museum, and The Kitchen. He is a recipient of a 2009 Louis Comfort Tiffany Award, and is an honored finalist for the 2011 William H. Johnson Prize. He is currently in the centennial exhibition The Bearden Project at the Studio Museum in Harlem, and has a solo exhibition, Deconstruction Worker, at Jack Tilton Gallery. Upcoming exhibitions include the Boston Center for the Arts this summer, and a four-night performance in BAM’s new Fisher Theater in September of 2012.]]>
Francis Colburn Gallery, February 1–18th
Opening Reception: February 8th, 5–7pm
Gallery talk at 5:30pm
Best known for her sparse use of bright colors in otherwise empty black or white backgrounds, American artist Pamela Fraser takes color as her main subject and tests the logic of established color systems. Featuring efflorescent colors in arrangements that reference industrial paint-chip samples, color wheels and linear diagrams, Fraser’s newest work is inspired by her research in comparative color theory (from philosophy to design to everyday use). The work reflects a particular interest in Ludwig Wittgenstein’s Remarks on Color, which pokes holes in the logical understanding of color. With her resistance to the authority of any single convention, style, or visual code, Fraser examines the various ways that color operates and is operated on. She utilizes heavily imprinted color codes such as a funky Pucci pattern or the Ohio State University football team colors as well as less traditional color combinations. Both approaches explore the indefinable quality of color when it becomes detached from its meaning(s) and inherited logic.
Pamela Fraser is an artist, writer, and curator. In 1988 she received her BFA from the School of Visual Arts in New York and in 1992 she earned her MFA at the University of California, Los Angeles. Solo shows include: Golden, Chicago (2010); and 1K Projectspace, Amsterdam (2010); Casey Kaplan, New York (1996, 1998, 2000, and 2007); and Galerie Schmidt Maczollek, Cologne (2005 and 2011). Recent group shows include: Pairings: Pamela Fraser, David Wilson, Downtown Gallery, University of Tennessee, Knoxville, Power to the People, Feature, New York, Don’t Piss on Me and Tell Me it’s Raining, Apex Art, New York, Nostalgia,” Averill & Bernard Leviton A + D Gallery, Columbia College, Chicago, and New Icon, Loyola University Museum of the Arts, Chicago. Her upcoming shows include Spectral Landscape (with Viewing Stations), at Gallery 400 in Chicago, which she is co-curating with artist John Neff; and a solo exhibition at The Blaffer Museum at The university of Houston in Houston, Texas.]]>
Closing Reception is on Weds. 1/25/2012 at 6:30pm
Music by percussionist Andrew Mallon
Instructor: Steve Budington
Opening reception: THURSDAY, DECEMBER 1, 5-7pm
Exhibition: Tuesday November 29 – Friday, December 2