(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
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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
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And The Mollie Ruprecht Visiting Artists and Critics Lecture Series
Present a lecture by:
John Newman
Wednesday, April 10
5:30 p.m.
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
Lisa Hamilton
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
PRESS CONTACT
Mildred Beltre
347-489-0202
mildredbeltre@uvm.edu
Providencia
Hamilton
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Instructor: Steve Budington
Featuring:
BROGAN AUSTIN
MELANIE BOULEY
ERIN BURKE
MACKENZIE DOYLE
SARAH GIBBS
AMANDA MACHAMER
CASEY McDANIEL
VARENA NELSON
EVA OKRENT
MAX SHEFTE-JACOBS
JENNIFER SIGNORELLA
JULIAN SMITH
EMILY STEVENS
JACSON TUPPER
CORRINE YONCE
SYDNEY ZEFF
COLBURN GALLERY
NOVEMBER 26 – 30
Nina Bovasso, lighting the way through dark passage.., 2012, 84 x 88 inches, acrylic, ink and w/c on paper(diptych)
The Mollie Ruprecht Fund for Visiting Artists and Scholars presents:
Nina Bovasso
Traveling in a Wider Circumference
Wednesday, November 28
5:30
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.
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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.
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Howard Singerman
Monday, October 8, 2012
5:30 p.m.
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.
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Wednesday, September 12
5:30 pm
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: artdept@uvm.edu, or 802.656.2014
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Sabreen Abed-Rabbo,
“The Expressionistic Use of Illumination in Safavid Manuscripts”
Jesse Keefe,
“Memory and Expectation Within Persian Miniatures”
Hannah Cohn,
“Archaism Within the Gigantomachy Frieze at Pergamon”
Lauryn Schrom,
“Messages in the Della Rovere Polyptych”
Mateus Teixeira,
“Reading Parallel Universes: Irony and Sincerity in Contemporary Art”
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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:
Joshua Abelow
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: pamela.fraser@uvm.edu
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 pamela.fraser@uvm.edu
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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.
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(29), 2011 acrylic and acrylic gouache on canvas, 24×24″
Pamela Fraser
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.
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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
Leah Arnold
Samantha Burns
Staci Chin
Maggie Eshbaugh
Ashley Fisoli
Katherine Goodrich
Sopia Isaak
Caitlin Jagodzinski
Peter Kaminski
Phoebe Low
Avery McIntosh
LeAnne Paisted
Stephanie Slocum
Katherine Woodcome
Brian Zagar
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Sebastiaan Bremer
Wednesday, November 30
5:30 PM
301 Williams Hall
Department of Art and Art History
The University of Vermont
‘Egmont # 11′ 2011, inks and acrylic on c-print
Sebastiaan Bremer has developed a unique process that involves the direct manipulation of photographs, while they alternatively alter, transform and elevate specific familial imagery. A veteran of over twenty solo exhibitions, his work has been exhibited in many prominent museums and galleries including Air de Paris in Paris, France, and LACMA in Los Angeles, California. His work has been featured in publications including October, Harpers, and Artforum. Bremer hails from Amsterdam, the Netherlands, but has been based in New York since 1992.
]]>The Mollie Ruprecht Fund for Visiting Artists and Scholars presents:
Fred Tomaselli
Wednesday, November 16
5:30
301 Williams Hall
Department of Art and Art History
The University of Vermont
Fred Tomaselli is best known for his meticulous, seductive paintings made with unorthodox materials suspended in thick layers of clear, epoxy resin. These materials have included medicinal herbs, prescription pills and hallucinogenic plants, and images cut from books and magazines: flowers, birds, butterflies, arms, legs and noses, and are arranged in busy, carefully-crafted mosaic-type patterns. Tomaselli sees his paintings and their compendium of data as windows into a surreal, hallucinatory universe, “It is my ultimate aim”, he says, “to seduce and transport the viewer into space of these pictures while simultaneously revealing the mechanics of that seduction.” Recently he has also written that his investigations may be seen as an “inquiry into utopia/dystopia – framed by artifice but motivated by the desire for the real – (which) has turned out to be the primary subject of my work”. He is represented by the White Cube gallery in the UK and the James Cohan Gallery in the USA. His paintings have been the subject of museum and gallery exhibitions world-wide.
Echo, Wow and Flutter 2000; leaves, pills, photocollage, acrylic, resin on wood panel
Collection: Albright-Knox Art Gallery, Buffalo
Copyright the artist/Courtesy James Cohan Gallery, New York/Shanghai
Exhibit open from November 9th through November 11th, 2011 ]]>
]]>Jonathan Kline, Professor at Bennington College, will talk about his recent work on Monday, October 17th at 5:30 p.m in the Colburn Gallery. Kline’s exhibition of salt prints using film exposed in pinhole cameras will run from the 17th thru November 4th.
Ecliptics
Working with long intervals of time to photograph the sun overhead offers the opportunity to trace its path across the sky, hinting at the rotating earth beneath us. Each photograph becomes the direct, physical evidence of one lived day.
With the help of an amazing sculptor at Bennington College, John Umphlett, I designed and built a variety of portable/collapsible 20×24 inch pinhole cameras and travelled with them around North America between 2003 and 2007. Art residencies in California, Colorado, Wyoming, and New Mexico, as well as at my own residence in Vermont, provided the time to make daily recordings of the sun in a wide variety of conditions and seasons.
The pinhole, unlike a lens, offers a distortion-free recording of the sun’s path across the sky. The earliest surviving European illustration of a pinhole observation of a solar eclipse was drawn by Reinerus Gemma-Frisius in 1545. The interior of a darkened room, the camera obscura, was ideal for observing the progress of the eclipse. My own cameras were outfitted with neutral density filters mounted behind the pinhole to reduce the sun’s brilliance over these eight-hour exposures. The sun’s path was recorded on large sheets of 20×24 inch black and white film.
This series of 17 prints was made using the salted paper process, one of the first photographic printing processes from the mid-19th century, discovered by the British scientist and scholar, William Henry Fox Talbot. The 100% cotton sheets of paper are first floated on a two percent salt solution and hung to dry. This is followed by a second floatation on a twelve percent solution of silver nitrate that then makes the salted paper light sensitive. After this is hung to dry in the dark, the paper is ready to be loaded into a large 20×24 contact print frame sandwiched along with the pinhole negative and exposed to daylight for several hours. The salted, silvered pieces of paper require exposure only to daylight in order to become visible; no subsequent developer is necessary. The longer the sensitized paper is left in the sun, the darker it visibly becomes. Processing the exposed paper involves a lengthy and thorough washing, followed by gold toning, fixation, and a final wash. The entire printing process takes about a day per print, which is about the time it took to expose each negative in the camera.
In this project, process and content coincide: the sun was photographed continuously over the course of one day via pinhole, and printed out in the same amount of time with the sun as the source of exposure.
Jonathan Kline
September 2011
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THE TWELFTH ANNUAL ROLAND BATTEN MEMORIAL LECTUREon Architecture and Design
“LINE, FORM, TEXTURE” a brief survey of recent works by H. Keith Wagner Partnership
Speaker: H. Keith Wagner Principal/Landscape Architect with H. Keith Wagner Partnership of Burlington, Vermont
Wednesday, October 26th 2011 at 6:00 P.M.
301 WILLIAMS HALL at The University of Vermont
The presented projects will show recent examples of the firm’s design approach and collaborative strategies working with architects, engineers, artists and, other design professionals.
HKWP was founded on the belief that landscape architecture is the intersection of art, nature and mankind. They approach landscape architecture as an applied art form and, work to craft landscape spaces for live, work and play. Their design combines an artistic approach to material and detailing, regional sensitivity and a refined, almost minimal contemporary aesthetic.
The firm’s reputation comes from designing innovative and sensitive environments in a wide variety of campus, corporate, residential, resort and urban design projects. Geographically, these projects range from New England, New York, Pennsylvania and the Eastern seaboard.
ABOUT H. KEITH WAGNER
Keith is a landscape architect, artist and founder of H. Keith Wagner Partnership. He received a Bachelor of Landscape Architecture from Syracuse University/ SUNY-ESF in 1985. After working in Boston with William Pressley Associates, where he was project designer on a broad range of projects, he established his own practice in 1988 in Burlington, VT.
Keith is active as a visiting professor, design juror and frequent lecturer. Keith has been named the 2011 William Kennedy Visiting Scholar at Syracuse/SUNY Department of Landscape Architecture.
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.
]]>Advanced Sculpture class (instructor: Nancy Dwyer)
October 10th – October 14th
Colburn Gallery, Williams Hall at UVM
Think about what you have – by Maggie Eshbaugh
&
Chalkboard Gallery – by Nadia Westcott
With help from: Jon Black, Heather Daigle, Matt Darling, Dan Guley, Sam Hoffman, Sophia Howat, Maire Lenihan, Anna Macijeski, Danya Mavor, Caitlin Moriarty, Valerie Russell, Henry Webb.
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