Thurs Sept. 5, 5:00 - 7:00, Boyden Gallery
Opening Reception for Object Lessons
Weds Sept. 11, 4:30 - 6:00, Boyden Gallery
Meet and Greet Art Majors/ Minors
Thurs Sept. 19, 4:30- 5:45, Boyden Gallery
Mina Cheon: Artist Talk
Carrie Patterson, Chair
Associate Professor of Art
Phone: (240) 895-4252
Office Staff: (240) 895-4225
Alumni Where are they now?
Matthew Fishel (studio art, 2001) completed an MFA at Maryland Institute College of Art in 2010. Originally interested in painting, Matthew has expanded his practice to include animation, video, installation, and digital imaging. He is a frequent contributor to RedStarKGB, an ongoing collaboration of filmmakers in Baltimore. His own film, "A Short Film Regarding Possibilities", was selected by the Maryland Film Festival in 2006. See his work at http://www.matthewfishel.com
"There are historical and psychological references in the subject and techniques of these paintings that have a strong connection and resonance. Finlator employs the tradition of panel painting in the minute detail prevalent in early painting. Her figures have a seriousness and strength of character..." - Caroline Greener
Hannah Finlator studied fine art at the Corcoran College of Art + Design in Washington D.C., receiving a BFA in 2000 and continued her studies at the University of Newcastle upon Tyne UK, where she was awarded an MFA with merit in painting. In Washington she combined studio and academic pursuits through research within the collections of the Corcoran Gallery, Smithsonian Museums and National Museum of Women in the Arts. Through direct access to works in the archives she began to apply an interpretation of classical painting also giving rise to her principal source of reference: women painters of the 16th century. This later formed the basis of her Masters thesis and became the foundation for her current research into Antwerp painter Katerina de Hemessen (1528-1587). Finlator's studio practice references historic techniques with paintings carried out on wood panels using layers of oil pigments over preliminary drawings and rough under-painting. Her works have been widely exhibited internationally including: Künstlerateliers Im Speicher II, Ist Offen‘06 Münster Germany; Royal Society of Portrait Painters Annual Exhibition, Hatton Gallery. UK; Artist in Residence Batuz Foundation Sachsen, Germany; Société Imaginaire touring exhibition Germany, Poland, Uruguay, US; Research Residency Saint Bavo's Cathedral Ghent, Belgium; Queen's Hall, Hexham UK; Myles Meehan Gallery, Darlington UK; Corcoran Museum of Art, Washington DC.
Finlator moved to Newcastle at a time when the region began vast cultural regeneration through flagship developments like Baltic Centre for Contemporary Art, Norman Foster's Sage Symphony Hall, and revival of disused former industrial areas, bringing a surge in artist-led initiatives; the ideal setting for expansion of her practice after graduation. In 2005 she was invited to the Shipley Gallery in Gateshead, UK to produce a series of works influenced by study of the archives. Finlator was awarded an Individual Artist Grant in 2004 and Artist Development Grant in 2006 by Arts Council England. Finlator has contributed texts in several publications including: National Holocaust Memorial Day (ISIS Arts) Newcastle, UK 2006; VAD Festival Internacional de Video y Artes Digitales de Girona, Spain 2006; World is a Safer Place exhibition catalogue, Globe City Gallery, UK 2005; Space Between Us exhibition catalogue, Holland 2003. Finlator has developed and led painting workshops at a variety of colleges in Britain and recently coordinated a community workshop on the theme of social cohesion for Newcastle City Council, introducing portraiture in the context of cultural diversity. At higher education level she is a regular instructor in painting to graduate and post-graduate students introducing fundamental principles of oil painting and key artists who expanded traditional glazing methods. She is currently delivering a drawing and spatial composition module to students of architecture in the School of Arts and Culture, Newcastle upon Tyne University.
"Since the mid 1990s, I have traveled as an artist-in-residence to various places throughout the world to create environmental art installations. Using local materials and taking inspiration from respective areas and their cultures, the installations I create help raise awareness about preservation of natural habitats, global warming and the importance of bio-diversity. My experience as an art teacher and professional artist creates a logical extension to include workshops and collaborative participation with children, senior citizens, college students, scientists, artists and adults from all walks of life. Working collaboratively is something of a risk in that you individually don't have total control over the outcome, but it is also very possible that something greater, bigger and better will come out of it when you take the risk and challenge yourself to work in a different way with new people. Rather than attempting to achieve a state of permanence, my installations collaborate with the forces of nature. Materials include paper pulp created from local plants, natural string and non-toxic dyes and food coloring, as well as fallen branches, renewable plant resources and recycled materials. Mixing wildflower seeds into the paper pulp serves to attract and feed birds and create new life. These sculptural structures evolve with time, producing ever-varied images and something new for the viewers in every season. They last for many years and eventually return to the earth as compost." - Jane Ingram Allen
Jane Ingram Allen, originally from Alabama and now living in Taiwan, is a sculptor/installation artist and hand papermaker who also teaches art, writes for art magazines and does independent curating. Jane has had solo exhibitions at galleries and museums throughout the USA as well as internationally. Recent exhibitions include "Still Waters" at Tenri Gallery, New York City, in May 2008 and "Made in Tanzania" at Warm Heart Art Tanzania, Arusha, Tanzania, in February 2008. Jane has received awards for artist in residency projects in the US, the Philippines, Japan, Nepal and Brazil. Recent awards include a Fulbright Scholar Award to be an artist in residency in Taiwan and a Lighton International Artists Exchange Program grant for a residency in Tanzania. Jane's artworks are site-specific installations that are inspired by nature and created from materials collected in a particular place and time. Many of her works change over time and are focused on environmental issues. She creates collaborative works and community art projects that involve viewer participation and integrate the process with nature as a partner. For her residency at St. Mary's Artists House Jane will be working on a collaborative installation with writer/performance artist Sharon Wyrrick. Jane and Sharon's work will focus on butterflies inspired by the life and work of Vladimir Nabokov and other butterfly collectors as well as the beauty and diversity of butterflies and all the evocative symbolism of this creature. Jane will be making handmade paper from local plants to create mixed media sculptural forms for the installation and collaborating with Sharon on all aspects of the project.
For more information: www.janeingramallen.com/.
"I pursue artistic work to investigate, discover, and learn about something of which I know little, yet with which I am compelled to interact. While my works have most dominantly found their expression in movement and theater, I have allowed content to lead my choice of palette, and this has lead me to create sound scores, stage scripts, video, stage sets and costumes, and to seek collaborative projects allowing me to work with other artists. I am inspired by the natural world as well as the lives of those engaging in a creative or scientific process with it. My recent work both as an artist and as a community organizer has been around sustainability - sustainable agriculture, sustainable community - all as a part of a larger picture of environmental health." - Sharon Wyrrick
Sharon Wyrrick is an interdisciplinary artist and a community organizer. Her original performance works have been seen nationally in such venues as the Kennedy Center for the Performing Arts, The Dance Place, Dance Theater Workshop, P.S. 122, Jacob's Pillow, Walker Art Center, numerous colleges and universities, and internationally in Mexico, Europe, and South America. She worked as a stage director and choreographer for the Opera-in-the-Chapel - a series devoted to innovative approaches to operatic work in Washington, D.C. - from 1988-2000. Her work has been recognized by awards from The National Endowment for the Arts, The D.C. Commission for the Arts and Humanities, The D.C. Mayor's Art Award for Outstanding Achievement, and The Washington, D.C. Performing Arts Society's Nirenska Award.
Sharon's one-woman show, "Rare Ecstasy": The Search for Barbara McClintock," inspired by the geneticist and Nobel Laureate and presented at the first St. Mary's Women's Studies Colloquium, subsequently toured nationally to numerous colleges and universities. Her full-length play for ensemble, 900 Dreams, is the story of the dream of Soviet scientist Nikolai Vavilov to create a global seed bank for the world's food crops. 900 Dreams was developed at St. Mary's College in a student workshop production in May 2004. Other recent projects include: planning and directing documentation of a story-based initiative to revitalize public participation in the process of shaping the Comprehensive Plan for rural Rappahannock County, Virginia; "The Cultivating Heritage Project" bringing together scientists, farmers, land conservationists, teachers, and the general public in Berkshire County, Massachusetts around issues of preservation of culture, sustainable agriculture, and biodiversity; and the "Moving Images Festival of Dance and Film" featuring original work of Western Massachusetts filmmakers and dance artists.
At the Artist House, Sharon will collaborate with visual artist Jane Ingram Allen on an installation work. Initially inspired by the obsession of famous butterfly collectors, the multi-layered installation will be part biography, part travelogue, part visual and sensory experience of the great beauty and diversity of butterflies, and an extended treatise on evocations of this creature -- flights of the imagination, fragility of life and the environment, Psyche and the soul, and transformation. Sharon's background in the performing arts will bring such elements to the installation as music, sound, movement, video, lighting, and text.
"The imagery found in my current work comes from landscape, still life or an interior space. The intention is not a literal portrayal, but rather a visual translation. A translation based on color, value, and space; formal elements that push and pull in different directions. I want to know, Can I walk into this space? Do I want to? Am I standing on solid ground, being pushed away, or finally stepping through to a new place?" - Kayla Mohammadi
Kayla Mohammadi received her BFA in painting from the University of Washington in 1998 and her MFA in 2002 from Boston University. In 2005 she was awarded the Ludwig Vogelstein Foundation Grant; in 2003 the Blanche E. Colman Award, Mellon Bank; and in 2000-2002 she was the recipient of the Constantin Alajalov Scholarship. Past exhibitions in 2006-2008 include: Painters Who Teach, Greenhut Gallery, Portland, ME; Art Chicago 2007, Chicago, IL; New Work, Dibden Center for Fine Art, Johnson State College, VT; Susan Maasch Fine Art, Portland, ME; Marist College, A Place for the Genuine: 5 Abstract Women Painters; Gallery 170, New Work, Damariscotta, Maine; Center for Maine Contemporary Art, Biennial Juried Exhibition and CMCA's Print Show, Rockport, ME; Rose Art Museum, Spot-On, Brandeis University's Studio Art Faculty Exhibition, Waltham, ME, and Particular Places Exhibition, juror Bernie Chaet, Creative Arts Workshop Group, New Haven, CT. Since 2005 she has been an Art Lecturer at Brandeis University in Waltham, MA. She has also taught at Massachusetts College of Art, the University of Massachusetts in Boston, and The Fogg Art Museum at Harvard University.
Richard Emery Nickolson was born on in 1946 in Washington, DC. He has served as a Professor of Painting, Drawing and Critical Thinking at the Herron School of Art and Design, Indiana University, Indianapolis, Indiana from 1973 to the present; and as an Instructor in Art, Northern Illinois University, Dekalb, Illinois in 1972-1973. He received an MFA from Indiana University in 1972, and a BFA from the Maryland Institute, College of Art in 1968. He attended the Yale University Summer School of Music and Art in 1967. He was assigned to the Office, Chief of Military History and the United States Army Combat Artist Team XI in 1970-1971. He has lectured and exhibited widely: from the Indianapolis Museum of Art to the Pont-Aven School of Art, and from the School of Visual Arts in New York City to Linfield College in McMinnville, Oregon. He is currently represented by the Ruschman Gallery in Indianapolis.
His recent work has drawn from and been heavily influenced by the Breton landscape and "l'architecture industrielle." Nickolson also has had a long-standing interest in the Imagist poets and their relationship to early 20th Century American artists. This interest is at the heart of his work both as an artist and as a teacher. He has previously served as an Artist-in-Residence at: the Milllay Colony, Austerlitz, New York; the Ossabaw Island Project, Savannah, Georgia; Alfred University, Alfred, New York; Vermont Studio Center, Johnson, Vermont; and the Virginia Center for the Creative Arts, Sweet Briar, Virginia.
In December 2000 two solo exhibitions were featured at the Indianapolis Art Center as part of a larger series of exhibitions and programs entitled "The Art of Combat: Artists and the Viet Nam War, Then and Now" in commemoration of the 25th anniversary of the end of the War in Viet Nam. In 1997 he was a recipient of a Herron School of Art and Design Teaching Excellence Recognition Award (TERA), and was named by the Dean of Faculties as a Founding Faculty Member of the University College, IUPUI. In 2002 he was the recipient of an Indiana University Trustees Teaching Award (TTA) and in 2003 he was elected to the Indiana University Faculty Colloquium on Excellence in Teaching (FACET), Indiana University, Indianapolis and Bloomington, Indiana. He was a recipient of a 2005-2006 Creative Renewal Fellowship administered by the Indianapolis Arts Council and sponsored by the Lilly Endowment. He has served as a Visiting Professor of Painting, Drawing and Journaling at the Pont-Aven School of Contemporary Art in the city of Pont-Aven, Brittany, France in the summers of 1995, 1997, 2000, and 2007. In 2008 he was the recipient of the Harry A. Davis Faculty Award for Extraordinary Commitment to the students of the Herron School of Art and Design, Indianapolis, Indiana, presented by the Indiana University Alumni Association.
For more information on the artist, visit his website at: http://www.richardemerynickolson.com/
George Ciscle has mounted groundbreaking exhibitions, created community arts programs, and taught courses in the fine arts and humanities for 40 years. He is currently Curator-in-Residence at MICA, where he consults on the development of community-based and public programming. He also leads the Exhibition Development Seminar, a course he created to provide artists with the opportunity to learn all aspects of the process of producing an exhibition. He is currently introducing a Curatorial Studies Concentration at MICA that will provide additional professional learning opportunities for students at the College. He was also the founder and director of The Contemporary in Baltimore (now The Contemporary Museum). Ciscle organized and/or curated numerous innovative exhibitions at The Contemporary including Mining the Museum, Catfish Dreamin' and Going for Baroque. Recent curatorial experience includes A 15-Year Survey of Baltimore Art (Artscape, Baltimore, Maryland), Delaware Art Museum Biennial and White:White Day, Wedding and Women in Seoul, Korea. He received a bachelor of arts from Loyola College in Maryland and a master's of education from the University of North Carolina.
At MICA Ciscle is continuing a career that has evolved to concentrate particularly on developing new models for connecting art, artists, and audiences. He trained as a sculptor, studying with Isamu Noguchi, and worked for seven years as a studio artist before turning to focus on balancing his interest in educating artists and on creating new models for exhibiting and experiencing art. Teaching art and theater at Baltimore's Cardinal Gibbons High School, he developed an interdisciplinary pilot program that brought together faculty from art, theater, religion, and other fields to teach a course that revealed the connections between art and culture. For ten years, he taught in a program in the Baltimore County schools for emotionally disadvantaged children, which combined classroom study with real-world work experiences.
In 1985, he founded the George Ciscle Gallery, he promoted the careers of young and emerging artists, whom he often scouted by visiting artist's colonies and graduate schools. Working with young artists and students as a gallery director inspired Ciscle to conceive an "un-museum," which would challenge existing conventions for exhibiting art. The Contemporary, the museum Ciscle founded in 1989 and directed until 1996, focused in its exhibitions, educational programming, and community outreach on connecting the artist's work with people's everyday lives through artist residencies, by commissioning new work for temporary non-traditional sites, and by making contextual connections between contemporary art and other disciplines.
Since it began in 1997, the Exhibition Development Seminar's nine exhibitions include: Eyewinkers, Tumbleturds, and Candlebugs: The Art of Elizabeth Talford Scott (MICA, traveling to Smithsonian Institution, New England Quilt Museum, Southeastern Center for Contemporary Art); The Marlborough Art Project (Marlborough Apartments); Subject to Change, Parts I and II: Linda Bills, Jann Rosen-Queralt, Jason Swift (MICA); Joyce J. Scott Kickin' It with the Old Masters (The Baltimore Museum of Art, traveling to 10 museums); Situated Realities: Where Technology and Imagination Intersect (MICA, Art Center College of Design, Minneapolis College of Art & Design, curated by Will Larson); Everlasting: A Multimedia Sound + Video Installation by Ann Fessler (MICA); Comics on the Verge (MICA, curated by Paul Candler); Lawson Oyekan and the spirit of nature (MICA), At Freedom's Door: Challenging Slavery in Maryland (Maryland Historical Society and Reginald F. Lewis African American Museum).
Delilah Montoya came to the University of Houston 2001 after teaching at both Smith College and Hampshire College for three years. She has a MFA from the University of New Mexico. Her work is grounded in the experiences of the Southwest and brings together a multiplicity of syncretic forms and practices from those of Aztec, Mexico and Spain, to cross-border vernacular traditions, all of which are shaded by contemporary American customs and values. In her work she explores the unusual relationships that result from negotiating different strategies of understanding and representing the rich ways of life found in the Southwest.
Montoya's numerous projects investigate cultural phenomena, always addressing and often confronting viewers' assumptions. Women Boxers: The New Warriors, a book project featuring a collection of portraits is such a project. Funded in part by the University of Houston Small Grants Program and Cultural Arts Council of Houston and Harris County and was published though Arte Publico Press. The work was first exhibited during Fotofest 2006 at Project Row House, and later it traveled to Los Angeles, Santa Fe and Dallas where Charles Dee Mitchell for Art in America reviewed it. Montoya's work has traveled with the International Center for Photography exhibition "Only Skin Deep: Changing Visions of the American Self" and "Arte Latino: Treasures from the Smithsonian American Art Museum." Her work is included in the collections of the Los Angeles County Museum of Art, Smithsonian Institute, Museum of Fine Arts, Santa Fe, and Museum of Fine Arts, Houston. Her gallery affiliations are Andrew Smith Gallery, Patricia Correia Gallery, Photographs Do Not Bend and Redbud Gallery. For more information about the artist's work, visit: www.delilahmontoya.com/