Current Press & Events

September 24, 2014


James Elkins
How to Use Your Eyes
Tuesday, October 21 at 7PM
Location: Meadow Brook Theater
(adjacent to the art gallery)


This is an informal, speculative lecture. It’s in three parts: first a brief overview of the ways that academics in the humanities study vision and the gaze, using Hitchcock’s “Rear Window” and some Vermeer paintings as examples. The notion is to suggest some limitations in that kind of study. Second: a look at some other kinds of seeing, some taken from the book How to Use Your Eyes. X-Rays, sand, postage stamps, ice halos, and a landscape provide the examples. Third: an open-ended list of animals, showing the way each one of them sees the world. The intention here is to show that our own, human vision is not natural or complete, because by comparison with animals, our vision is very partial and selective. The animals include scallops, bees, deepwater fish, the nautilus octopi, sea slugs, and chitons.

Osman Khan
The day after I learned the world was round
Wednesday, November 12 at 5PM
Location: Oakland University Art Gallery


Osman Khan is an artist interested in constructing artifacts and experiences for social criticism and aesthetic expression. His work plays and subverts the materiality behind themes of identity, home/land, social and public space through participatory & performative installations and site-specific interventions.

Khan was born in Pakistan and grew up in New York City. He received a Bachelor of Science from Columbia University. He completed his MFA at UCLA in 2004. He was previously a Visiting Assistant Professor in the School of Art at Carnegie Mellon University. He is currently an Assistant Professor at the Penny W. Stamps School of Art & Design at the University of Michigan.

His work has been shown at MOCAD, Shanghai Biennale; L.A. Louver; Witte de With, Centre for Contemporary Art; Ars Electronica Center, O.K Center for Contemporary Art; Socrates Sculpture Park. He is a recipient of an Art Matters grant, Ars Electronica’s Prix Ars Award of Distinction and The Arctic Circle 2009 Residency.

in conjunction with the exhibition
October 11 – November 23, 2014

Susan kae Grant
Saturday, October 11 at 5PM
124 Wilson Hall
(Location: one floor below the gallery, prior to the opening reception)

Marie-Jeanne Musiol
Sunday, October 12 at 2PM in the gallery

Michael Flomen
Sunday, November 2 at 2 PM in the gallery

Claude Baillargeon
Wednesday, November 5 at noon in the gallery

Susan kae Grant / Artist Video (2014), 8′ 14″ duration,
Under the Cover of Darkness: The Work of Michael Flomen (2008), 27′ duration
Tuesday, October 28 at noon
124 Wilson Hall
(Location: one floor below the gallery, prior to the opening reception)

September 11, 2014

Lighting Talks, Tuesday, September 23, 5PM


September 9, 2014

Susan E. Evans Artist’s Talk: Kaiho, Wednesday, September 17 at Noon

Kaiho-16-WebKaiho #16, 2013, 54 x 34, permanent inkjet print mounted on Dibond

I have always known I was adopted. My childhood was trauma-free and healthy; however, I never fit in nor lived anywhere long enough to feel grounded. My adoptive father, a wildlife biologist, moved our family from one U.S. national forest to the next. The forest became my constant, my home and my place. Surrounded by trees, there were no people to analyze, critique, categorize or judge. I felt safe there. Due to advancements in genetic science, I was able to learn about my origins. My natural mother’s ancient ancestors settled in Finland before wandering Northern Europe and landing in the United States. For the first time, I had a biological world context that personally anchored me to a history and place that was “of” me. The fact that more than seventy-five percent of Finland is covered in forest, seemed to make this discovery more symbolic.

I was not prepared for Finland — isolated landscapes, clear lakes, primordial forests, and exquisite light. However, the most transformative experience was the flood of overwhelming emotion — the sense of love, connectedness, relief, sadness, loss, grief and nostalgia. The Finnish have a word for this, ‘kaiho.’ Kaiho is an overwhelming state of nostalgic and melancholic longing for something, or someone, which has been lost. With kaiho there is often an unacknowledged or repressed understanding that whatever has been lost will never be found. What is it to long for something — a home, a place, a history — that you have never known, will never possess, and cannot fully understand?

- Susan E. Evans

September 5, 2014

Sally Schluter Tardella Artist’s Talk, Tuesday, September 9 at noon

Screen Shot 2014-09-01 at 10.49.31 AM


Road. 2013
, ink, white-out, color pencil, and photographs of my road, on paper. Artist Book (continuous codex) 27 pages: 8 x 5 inches closed, approximately 8 x 135 inches fully open.

The memory palace is a visualization system used to organize and recall information. The system originates with the story
of the Ancient Greek poet Simonides of Ceos, who was
able to identify bodies of the dead at a banquet when a
building collapsed by visually recalling the banquet’s seating arrangement. In this mnemonic method, data is stored in particular locations in a building — known as stop points — and retrieved when they are visualized. Taking liberties with this model, I am building my own memory palace — an evolving architectural space defined by stop-points that take the form of paintings and books.

- Sally Schluter Tardella

September 3, 2014

Susan E. Evans: Kaiho / Sally Schluter Tardella: Memory Palace Opening Reception, Saturday, September 6, 6-8PM


Oakland University Art Gallery is pleased to announce two exhibitions debuting our 2014-2015 season: Kaiho by photographer and conceptual artist Susan E. Evans and Memory Palace by painter Sally Schluter Tardella; both artists are members of the Oakland University fine art faculty.

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.

Gallery hours are Tuesday to Sunday from noon to 5pm. For images or additional infor-mation, please contact, 248 370 3005.

April 1, 2014

Senior Thesis Exhibition Opening Reception: Friday, April 11, 2014

Oakland University Art Gallery is pleased to announce the Bachelor of Arts Senior Thesis Exhibition in Studio Art and Graphic Design curated by Lynn Fausone Galbreath and Cody Vanderkaay. 


This exhibition 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.


Click here to view the press release from the event.

March 8, 2014

Panel Discussion: What is Contemporary Sculpture?

Department of Art and Art History


What is Contemporary Sculpture?


Panel Discussion


in conjunction with the exhibition


The Body Metonymic


International Contemporary Sculpture


Sunday, March 16 at 3:00PM


Oakland University Art Gallery





Martha Mysko was born in Baltimore, MD, in 1982 and lives and works in Brooklyn, NY.  She has an MFA from Cranbrook Academy of Art, Bloomfield Hills, MI.  Recent exhibitions include: “On Deck,” Marc Straus, New York, 2013, “Down the Pigeon Hole,” with Anne Vieux, Culture Room, New York, NY, 2013, “Peekskill Project V,” Hudson Valley Center for Contemporary Art, Peekskill, NY, 2012, and “New Insights, Art Chicago/NEXT Art Fair, Chicago, IL, 2011.



William Stone lives and works in NYC.  He has had four solo exhibitions at James Fuentes Gallery, New York, NY, the most recent being “Framed,” 2011.  He participated in “Group Exhibition,” curated by Clarissa Dalrymple, C24 Gallery, New York, NY, 2013.  Other recent group exhibitions include: “Alchemy,” Curated by Sabrina Blaichman, Caroline Copley and Genevieve Hudson-Price, 7Eleven Gallery, New York, NY, 2011, “Cinema Poesis,” The Emily Harvey Foundation, New York, NY, 2010, “Beginnings, Middles, and Ends,” curated by Gianni Jetzer, Engholm Engelhorn Galerie, Vienna, Austria, 2009, “State Fair,” Socrates Sculpture Park, Long Island City, NY, 2009.



Johannes VanDerBeek was born in Baltimore, MD, in 1982 and lives and works in New York City.  He has a BFA from Coopers Union School of Art, New York, NY.  Since 2007 he has had four solo exhibitions at Zach Feuer Gallery, New York, NY.  Other recent projects include “A Pinch of Saffron, Dash of Vermouth,” Dodge Gallery, New York, NY, 2013, “Paperless,” Southeastern Center for Contemporary Art, Winston-Salem, NC, 2012, and “Personal Freedom,” Portugal Arte 10 Biennial, Lisbon, Portugal, 2010.



 Moderated by Dick Goody

Associate Professor of Art & Director, Oakland University Art Gallery


February 12, 2014

Curator’s Talk in conjunction with The Body Metonymic, Wednesday, February 19 at 5PM with Dick Goody


Oakland University Art Gallery | 208 Wilson Hall | Rochester, MI 48309 | copyright 2014