2014 - 2015 exhibitions
September 11 - October 11, 2015
Opening Reception: Friday, September 11 5-7PM
Curated by: Dick Goody
Meaghan Barry, Susan E. Evans, Lynn Galbreath Fausone, Dick Goody, Colleen Ludwig, Sally Schluter Tardella, Cody VanderKaay,and Vagner M. Whitehead
Curated by Dick Goody
Employees Only features the work of Oakland University’s Department of Art and Art History full-time studio art and graphic design faculty.
Meaghan Barry and Colleen Ludwig, the department’s newest faculty, are debuting their work at the Oakland University Art Gallery for the first time. Ludwig, an Assistant Professor of New Media, is exhibiting a cluster five feet high of kinetic sculptures entitled Pod.Field, which interact with the proximity and movement of the viewer. Barry, an Assistant Professor of Graphic Design, is showing Absence of Tongues a series of watercolor and ink works on paper depicting amorphous figures drawn from her imagination.
Recently tenured Associate Professor, Cody VanderKaay, is exhibiting macro and micro works, including his large imposing undulating monolithic floor sculpture entitled Field Study, and several maquette-inflected intimate gray painted basswood constructions such as The Pickle Joint.
Veteran painter and Associate Professor Sally Schluter Tardella is making a new departure with work fabricated by a 3D-printer, but in a sense her codex/books already possess a decisive sculptural quality; these works are shown with several monochromatic large scale drawings.
Everything is Just Ducky is one of a series of mixed media works created by Adjunct Assistant Professor, Lynn Galbreath Fausone, who until this past summer was the director and co-initiator of the four-year-old graphic design program. As both a designer and painter, in this instance, Galbreath has chosen to make exuberant drawings, constructions and paintings for this exhibition.
Susan E. Evans’ conceptual sculptures appear with the intriguing title: Poems The Trees Gave Me / Like Moonlight On The Waters / White Clouds in the Ether / One ‘Morrow Among Many. Her stacks of exposed, light sensitive photographic paper operate as metaphors for our relationship with environmental degradation.
Associate Professor and painter, Dick Goody, is showing a series of intimate still lifes, and department chair, Associate Professor Vagner M. Whitehead, is integrating his lens-based laser etchings with drawing and painting.
Employees Only illustrates the diversity, range and productivity of the studio art faculty.
MMXV Senior Thesis Exhibition
April 17 - May 17, 2015
Opening Reception: Friday, April 17 Friday, April 17, 5-7PM
The Fortress: Steven Kuypers & Steven McShane
March 7 - April 5, 2015
Opening Reception: Saturday, March 7 6-8PM
Curated by: Dick Goody
The Fortress is a complex of workshops and residency studio spaces in North End, Detroit, which has been operated by artists Steven Kuypers and Steven McShane for almost a decade. This exhibition explores their collaborative partnership. Their work encompasses the use traditional and experimental materials and techniques and the aesthetics of social and relational sculptural practices. The Fortress is a nexus for contemporary art in Detroit and the values of labor, craftsmanship, community involvement and the production it supports.
Susan Goethel Campbell: FIELD GUIDE
January 10 - February 22, 2015
Opening Reception: Saturday, January 10 Saturday, January 10, 6-8PM
Curated by: Dick Goody
Field Guide explores Susan Goethel Campbell’s work from 2005 to 2015, revealing the trajectory of her expansive interests made manifest in her various oeuvres. These bodies of work emerge, populate and overlap one another. In common, they are each fields or organized visual systems. Each field begins as an idea, an agenda to process objects/phenomenon by means of handmade or mechanical procedures and interventions.
Campbell’s studio practice is embedded in the realm of printmaking. She began as a print-based artist, but her impressions these days are multifarious and one of a kind. Each imprint/object is unique, but dependent upon (for its very existence) the fact of its conscription to a field of like-minded works, which comprise a whole, yet the individual “cells” that define each field possess a personality. These cells do not make the body, but rather they collaborate to build the system.
Field Guide, and its 120-page catalogue, with an essay by John J. Corso PH.D, serves as a record of these many endeavors, contextualizing Campbell’s prolific activities over the last decade.
Gallery hours are Tuesday to Sunday from noon to 5pm. For images or additional information, please contact email@example.com, 248 370 3005.
Senior Thesis Exhibition MMXIV
December 5 - December 14, 2014
Opening Reception: Friday, December 5 Friday, December 5, 5-7PM
SENIOR THESIS FALL 2014 * Graphic Design * Studio Art
*Maddi Rose Gagen
Shadows of the Invisible
October 11 - November 23, 2014
Opening Reception: Saturday, October 11 6-8PM
Curated by: Claude Baillargeon
Featuring: Michael Flomen, David Maisel, Marie-Jeanne Musiol, Susan kae Grant, Shimpei Takeda, Amy Theiss Giese and Chrysanne Stathacos
The ability of photography to reveal what is invisible to the naked eye has a rich history dating back to the advent of the medium. Often typifying the conflation of science and art characterizing early photography, the pursuit of the invisible by means of light-sensitive emulsions remains a compelling source of fascination for contemporary image-makers and their audience. Within the realm of art, this preoccupation with the unseen manifests itself in remarkable fashions ranging from the poetics of evocation to the dread of the unknown.
Bringing together the intriguing work of seven international photo-based artists, Shadows of the Invisible casts light upon a spectrum of energy fields, emanations, perceptual imaginings, and subconscious imaging rendered tangible by photographic technologies.
Susan Evans: Kaiho/Sally Schluter Tardella: Memory Palace
September 7 - October 6, 2014
Opening Reception: Sunday, September 7 6-8PM
Curated by: Dick Goody
Kaiho features photographer and conceptual artist Susan E. Evans and Memory Palace, painter Sally Schluter Tardella.
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 three bodies of work. In “film” 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. In her “Kaiho” landscape photographs she skillfully renders the Finnish countryside without seeming to enter into it, keeping us slightly at a distance from the intimacy of actually being there, making her images all the more like lamentations for a place recently reclaimed from a tangled history. In her panoramic “line” series, she creates an amalgam of all the hues and tones that conceptually resonate in her Kaiho landscapes. History, identity, memory and place are authentic catalysts, which in these new parallel bodies of work legitimize Evans’ emotionally wrought, reflexive vistas, which have become embodiments of her identity.
In Memory Palace, Schluter Tardella’s paintings and codices concretize the conceptual practice of recording a collection of memories. Her paintings are reminiscent of floor plans from an archeological dig and they are built up 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.