2013 - 2014 exhibitions
Susan Evans: Kaiho & Sally Schluter Tardella: Memory Palace
September 6 - October 5, 2014
Opening Reception: Saturday, September 6 6-8PM
Curated by: Dick Goody
Susan E. Evans: Kaiho
Kaiho is a Finnish word evoking a feeling of melancholia for a lost paradise. In her photographs, Susan E. Evans explores identity retrospectively and contemporaneously through images made in Finland after discovering that her maternal ancestors originated there. These images reveal the Finnish landscape accumulatively and poetically; they also explore deeper memories using the very earth itself as a metaphor for identity.
Kaiho includes four bodies of work. In Luonnonkaunis Suomi, she buried rolls of 120 Kodak film in rural sites around Finland, documenting their location and then later disinterring the moldering film rolls as evidence of the effects of earth of her origins on the materiel of her trade.
The Kaiho landscape photographs skillfully render the Finnish countryside without seeming to enter into it completely, keeping us slightly at a distance from the intimacy of actually being there, making her images all the more like lamentations for a remembered place recently reclaimed from a tangled history.
Evans’ panoramic Maisema series are an amalgam of all the hues and tones that conceptually resonate in the Kaiho landscapes.
Rounding off the Kaiho oeuvre, the fourth body of work, Ylevä, comprises a series of videos, which focus (and un-focus) meditatively on singular vistas.
History, identity, memory and place are authentic catalysts that in these new parallel bodies of work legitimize Evans’ emotionally wrought, reflexive vistas, which have become embodiments of her identity.
Sally Schluter Tardella: Memory Palace
Memory Palace, comprised of paintings and codices, concretizes the conceptual practice of recording and archiving a selected collection of memories. Sally Schluter Tardella’s paintings are reminiscent of floor plans from an archeological dig, but they are accumulations rather than subtractions, being built up over time until the final layer of paint cures.
Schluter Tardella offers two versions of memory. The paintings are declarative and convey a one-time version of events – an ossuary of recollections rendered down into a primary painterly structure. Her books, on the other hand, are more open-ended, their catacomb-like progress being labyrinthine, serpentine and sequential.
The rooms, antechambers and passageways of Memory Palace map the territory of memory in subtle configurations of earth tones, grays and ochers with occasional flourishes of color. These taut surfaces of metaphorical accumulations are formalistically rendered in a language, which is idiosyncratic, universal and engaging.
MIX Senior Thesis Exhibition
April 11 - May 18, 2014
Opening Reception: Friday, April 11 5-7PM
Curated by: Lynn Fausone Galbreath & Cody VanderKaay
The Bachelor of Arts Senior Thesis Exhibition in Studio Art and Graphic Design includes drawing, painting, photography, new media and graphic design, and features the work of Meghan Bray, Sarah Dominik, Shelby Drapinski, Brian Ellsworth, Austin Fabinski, Alexandra Gaduski, Amanda Grzadziel, Kera Hoover, Cristina Iacopelli, Jerry Kern, Amanda Kiviniemi, Joseph Laskowski, Frank Lepkowski, Niza McManus, Kayleigh McWhinnie, Kayla Neeley, Glen Neville, Rachel Oakley, Meghan O’Bryan, Elyse Peterson , Caryn Rochfort, Alexander Schwalbe, Rebecca Serota, Neil Tasker, Melissa Valenti, Adam Wilson, and Ashlee Wood.
The Body Metonymic: International Contemporary Sculpture
January 11 - March 30, 2014
Opening Reception: Saturday, January 11 6-8PM
Curated by: Dick Goody
Oakland University Art Gallery is delighted to announce The Body Metonymic, an exhibition of contemporary sculpture by twelve international artists: David Altmejd, Folkert de Jong, Lonnie Holley, Chris Jones, Fabienne Lasserre, Martin McMurray, Matthew Monahan, Martha Mysko, Michelle Segre, Shinique Smith, William Stone, and Johannes VanDerBeek.
Contemporary sculpture has an unexpectedly raw integrity, fueled by an unabashed use of non-tradition materials and an overt conceptuality. Asserting itself viscerally, in ways that mediated art forms like painting cannot, each object’s signification is direct and metonymic.
Never mere replicas of depicted subject matter, the works in this exhibition embody a schema, a reformation, or a reconstruction of their subject. Distilled figures, structures or physiques, they stand for the conceptual intent of using a compound number of objects to create a whole, singular work.
The Body Metonymic personifies the idea of a short-cut equivalency, that is to say, the presence of a more direct or rapid entry point to each work’s ideological position – this in comparison, say, to mimetic realism. The “body” aspect is relational and refers to the human scale of the work.
Elementally, these artists dissect the subtleties of mass and volume and stand diametrically opposed to pomp and circumstance of epic monolithic sculpture. Their powerful metonymic forms take us directly to the heart of each artist’s emotional and intellectual intent, in works that are democratizing, unembellished, and universally engaging.
Gallery hours are Tuesday to Sunday from noon to 5pm.
December 6 - December 15, 2013
Opening Reception: Friday, December 6 5-7PM
Curated by: Dick Goody
BA in Studio Art Senior Thesis Exhibition
Yesnomaybe demonstrates our senior thesis students’ commitment to the exploration of contemporary context in art making in the areas painting, drawing, photography, video/performance art and installation art.
Gilda Snowden: A Retrospective, 1977-2010
October 26 - November 24, 2013
Opening Reception: Saturday, October 26 6-8PM
Curated by: Dick Goody
Oakland University Art Gallery is delighted to announce the opening of Gilda Snowden – Album: A Retrospective, 1977-2010. This exhibition, with its archivist-inflected title, Album, is a look back at a varied and impressive oeuvre, almost forty years in the making. It is also a reflection on Gilda Snowden’s extensive career and community presence as an artist, activist, teacher, peacemaker and doyenne of the visual arts in Detroit. Thirty-three works (paintings, drawings, reliefs, sculpture, encaustics and embedded photographs) create a compelling narrative from Snowden’s student days in the mid-seventies up to 2010, where she looks far back to her ancestral roots, bringing her work up to date with her present family. The artist states: The definition of painting is expanding and continually flexing its muscles. When I was in school I never thought that I would be using the media that I use now. It seems that the older I get, the more radical I am in my own visual practices. This is an outgrowth of my early experiences as a young artist in school, observations and immersion in the Cass Corridor community, and a constant study of art history. To be radical is required for forward progression. A full-color catalogue accompanies this retrospective. Included in it is an interview with the artist and a timeline of the thirty-six years covered by this survey; all works on view are reproduced in the fifty-page publication.
Gilda Snowden will give an artist’s talk at the gallery on Thursday, November 7 at 5PM.