Aug 11, 2013 — Aug 11, 2014

Description

Kim Fink – Palimpsest

August 23rd – September 27th, 2013

Opening Reception with Gallery Talk Friday, August 23rd from 12pm to 2pm

Cochenour Gallery

http://www.kimfink.com/

Artist Statement:

My work primarily is an act of exploration and discovery. Conceptually, I develop a visual diary or personal “travelogue”. Images are drawn largely from contemporary mass media and influenced by myth, philosophy, literature and political and social concerns.

It is my goal to create a fusion of cultural realities that explore objective verses subjective visions and develop a synthesis between image and meaning. I develop my work by combining images that are gathered over time and appropriated from various sources such as newspaper, magazines, the Internet and found objects. I attempt to keep application techniques simple and basic, as the building-up process tends to be quick, and I appreciate this improvised intuitive manipulation that is a Jazz -inspired “variations on the theme” – approach to art making. Each piece evolves from it’s predecessor, developing a continuous system of work. I make the best use of process and media to inform and express my ideas and by the use of metaphor, I suggest multiple interpretations – encoded patterns of identity and place. The arrangements attempt to create a resonance between color and objects and the space they occupy, creating a visual poetry.

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“Engram”
Linocut and chine colle’ on dyed paper

 

 

Rusty Wallace – Dialogue

August 30th –October 17th, 2013

Opening Reception with Gallery Talk Friday, August 30th from 4pm to 6pm

Anne Wright Wilson Gallery

http://www.rustywallaceart.com/

Rusty Wallace Artist Statement, 2013

My work converses with the essence of things and of ideas; of precedence and of questioning. Its simplicity, then, is a mere beginning, a luring baited with the deformity of assumption. It is curiosity‘s investment that leads to discernment, tugging in opposition to the ease of the immediate, rendering reductive clarity and overt certainty anathema to my intent. The odyssey is the act of questioning, and through it, and only through it, the viewer’s awareness strips slowly bare the integral and highly complex substructures which scaffold it.

Ideas orbit, collide, complement, antagonize, and point outward in perpetuity. Duality and paradox flow through conceptual strata and the multi-layered references that defy the guise of simplicity. The structure exists to be interrogated. It is built to be indefatigueably unraveled, explored, its intricacies unearthed. Standing in opposition to the confines of smallness and concision, it chooses instead to radiate and reflect outward, redirecting thought and intention across and against new planes of ideas. The ideas are enfolded within a vessel of simplicity with limitless depth and endless unlockings. Discovery becomes a nonlinear traveling, where no concise endpoint exists. The journey is intended to be ever-reaching and expansive, a knowing beyond the you or me of summary, praising the antimyopic with eternal outward stretch. It strives to be the activity of dialogue and illumination, a dynamic play with the faceted nature of symbology and semiotics, with a wink and a nod to deliberate uncomplexity.

In other words, the more you look, the more you see.

Materials, processes, and presence collaborate in service to ideas without reduction, refusing dilution to serve basic comprehension, attentive to and in concert with the inherent structure and strength of those ideas. Each evoke and embody elements that inform the work – buttressing, expanding and serving the idea beneath.

Semiotics playfully, but critically, interacts with Ontology and Art History, forging a syntax between the apparent and the contemplative. They serve as entry points into a realm of ideas – creating a common language from which those ideas can expand – a dialogical touchstone, a methodology of visual communication. By calling on the works of those before me, I am joining an ongoing and eternal dialogue, and, more importantly, questioning the weight of that discussion. I seek the “Hows” and “Whys” of their existence and what their happening means. It is the way by which I can engage the whole of History, teasing out and confronting groups of ideas, treatises, manifestos and trajectories of thought, asking what is important and where does that lead? My work is an arena in which I can spar with problematic ideas, critically using the guise of simplicity to raise questions and interrogate beliefs.
I do not hold art history with white-gloved reverence, nor do I worship at a sepulchre of pristine and untouchable achievement. My work destroys the altar of catechismic rites and rote deference to the canon of the celebrated and the known.

Ultimately, I strive to gesture towards the ineffable; towards ideas with which I am humbled to collaborate.

 

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Installation view from Energy Plan for the Hopeful Man – New Work by Rusty Wallace at Twin Kittens, Atlanta, GA, 2010. Pictured, left to right: Light (Homage to J. Beuys) 2010, Welded Steel, Stainless Steel, 24 kt Gold Leaf, Neon, 34.5″ x 19.5″ x 19.5″ and Into the Black (Homage to K. Malevich) 2010, Acrylite GP, Aluminum, Neon, 41.6875″ x 41.6875″ x 4.125″. Photo by Bob Butler, courtesy of the artist.

 

 

Homecoming Through the Age

Dr. Juilee Decker’s Art 302 Curatorial Studies Class

September 30th – October 17th, 2013

Opening Reception and Discussion Friday, October 11th from 2:15pm to 3:15pm

Cochenour Gallery

 

Winter Graduating Senior Thesis Show

October 18th – November 1st, 2013

Opening Reception and Gallery Talk Friday, October 18th from 4pm to 6pm

Cochenour Gallery

 

State of Sculpture

October 25th – November 27th, 2013

Opening Reception and Panel Discussion, Friday, October 25th from 5pm to 7pm

The Panel Discussion will start at 6pm

Anne Wright Wilson Gallery

 

Christopher Saucedo: Red Cross Blankets

Cochenour Gallery
November 8th – 29th, 2013
Opening Reception and Artist Talk Friday, Nov. 8th, 2013 at 12pm

Chris Saucedo – Sculpture
November 8th – November 29th, 2013
Opening Reception and Gallery Talk Friday, November 8th from 12pm to 2pm
Cochenour Gallery
http://www.saucedostudio.com/

Christopher Saucedo was born (1964) in Brooklyn, New York where he grew up. Saucedo received his BFA from New York’s School of Visual Arts in 1986, and his MFA from the University of Michigan at Ann Arbor in 1988. After attending the Skowhegan School of Painting and Sculpture, he did post-graduate work at the Queens University of Belfast, Northern Ireland. Saucedo retired as Research Professor and Chair of the Department of Fine Arts at the University of New Orleans where he ran the sculpture program for 20 years. Currently he is a member of the faculty at Adelphi University in Garden City, New York.

Red Cross Blankets is a multimedia exhibition with works focused on the imagery of fluid volumes: cups, pints, quarts, and gallons.

Georgetown College Fine Art Galleries is proud to have this accomplished artist as our next visiting artist. Please join us for the opening reception Friday, November 8th, 2013 in the Cochenour starting at 12pm. Enjoy meeting and listening to Mr. Saucedo discuss is work and engaging exhibit.

 

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Fluid Volumes (flooded), 2012, 30 x 30 inches, branded wood panel with gypsum

 

 

Heather Freeman – Talk to me a Story

December 6th – February 14th, 2014

Opening Reception and Gallery Talk Friday, December 6th from 12pm to 2pm

Cochenour Gallery

http://epicant.com/home.html

Artist Statement

I was always interested in the language and symbolic forms of science and where these intersect with mythic, religious and popular iconographies. With the birth of my son Quinn in 2008, this interest shifted to the linguistic growth of children. As a two-year-old, my son’s language skills went through a developmental explosion, and I found myself cataloguing his verbal discoveries. I reinterpreted my son’s language-defined worldview by taking his interests (trucks, dinosaurs, owls, playgrounds, etc.) and translating them into my own concerns (sustainable energy, ecological diversity, social justice, etc.) These became portraits of my son’s shifting Weltanschauung.

My son’s language skills metamorphose as he grows. As his ability to express the world matures, so accrue his fascinations, from construction equipment to video games, from monsters to death. As his relationship to a complex society matures, my relationships as a mother also evolve.

I find myself investigating old interests (science, human history, popular culture) through the lens of motherhood, with all its self-doubts, flailing, and absurdity contrasted with deep assurance. My son’s growth constantly re-defines motherhood for me, just as the changing nature of childhood re-shapes my investigations of the non-familial world.

 

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Ow!, archival print on paper, 13″ x 18″, 2010

 

 

Tracy Featherstone – Between me and the Floor

December 6th – January 31st, 2014

Opening Reception and Gallery Talk Friday, December 6th from 4pm to 6pm

Anne Wright Wilson Gallery

http://tracyfeatherstone.com

 

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Wearable Structure: Head Organized, wood and fabric, 2′ x 3′ x 16″, 2010

 

Crystal Wagner – Vestibule

February 7th – March 14th, 2014

Opening Reception and Gallery Talk Friday, February 7th from 4pm to 6pm

Anne Wright Wilson Gallery

http://www.crystalwagner.com/

Crystal Wagner’s Artist Statement:
Vestibule is a conduit. A space somewhere between the plastic and artificial environment of our everyday experiences with man-made materials, consumerism, and technology and the exotic landscapes that occupy the surface of our earth. It explores ideas related to human beings and the increasingly severe divide between themselves and the natural world by growing, as if it were a life form, through the gallery. The exoticization of nature and all things, non-human, make forms that were once familiar, more foreign.  While this dissonance continues to escalate, making more and more of our natural world seem alien to us, there is a strange familiarity and attraction to the forms that people categorize as exotic and even in our attempt to keep the outside, out, plastic plants occupy small corners of peoples homes. I am interested in how these ideas relate to our everyday materials, the accessibility and excess in mass production, and how it affects peoples experience with the world that they live in.

For more information on Crystal Wagner click here.
For more information on the Anne Wright Wilson Fine Arts Gallery click here.

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Tim McCoy – Sanctuary

February 21st – March 28th, 2014
Opening Reception and Gallery Talk Friday, February 21st from 12pm to 2pm
Cochenour Gallery
http://www.timothymccoyphoto.com/

Tim McCoy’s Artist Statement:
Photography involves a radical re-framing of reality. Meaning is often determined as much as by what is “cut” from the framing of the images as it is by those elements that are revealed in detail. I have largely excluded human figures, although humanity is alluded to through the cultural icons and remnants shown. Thus, the focus is on what people leave behind rather than the evanescence of contemporary culture.
In my work, there is always an added dimension beyond concrete reality. Images and their titles do not document reality, but they are landscapes populated by a “forest of symbols.” The symbolic content is meant to be archetypal —presenting some archaic concern embedded in the human psyche. “Sanctuary” is one of those concerns embedded in the “collective unconscious,” a term coined by the psychologist Carl Jung for archaic, archetypal psychic structures inherent in the human mind rather than those based on the experiences of one’s personal life. Sanctuary embodies hope and refuge in response to fear and loss—here seen through the lens of time.

For more information on Tim McCoy click here.
For more information on the Cochenour Gallery click here.

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Devouring Sea (Cliffs of Moher, County Clare, Ireland), Palladium on translucent vellum, 2010, 20″x16″

 

 

Spring Graduating Senior Thesis Show

March 28th – April 18th, 2014

Opening Reception and Gallery Talk Friday, March 28th from 4pm to 6pm

Anne Wright Wilson Gallery

 

ArtLab

Date: April 1st – 25th , 2014

Exhibition Details:

Georgetown College Fine Art Galleries is proud to showcase the work of our students from our studio classes. Each week in April one professor will exhibit the work from their classes. For a complete list of faculty and classes please click here.

Week 1:

Professor Daniel Graham

ART170/FDN112 Puppets and Tattoos
The prints on display were created through traditional methods of carving and printing with traditional tools. They  are made by carving a surface away and printing a layer of color, then carving more material away and printing consecutive layers onto of previous layers to build an image. The images were designed by each student and were based off of the idea of a bestiary. A bestiary is a collection of animals that are used to teach or share a moral lesson.

ART115 Drawing
The drawings displayed on the wall behind you are a selection of drawings covering 2 class periods in which students began to work through drawing elements of the human figure. Students worked in time blocks of 30secs for the gestural works, 5min for value and the full faces were done over a 30min time span.

Week 2:

Instructor Leah Castleman

370 Topics in Studio Art/ Painting Processes

Impasto knife painting and exploring portraiture with arbitrary color: Students used only a palette knife to apply paint and could build up their impasto using a gel medium or other materials such as coffee grounds, pencil shavings, saw dust, etc.

Two alla prima studies and subtractive still life painting using a slow dri blend medium: Students removed paint using toothpicks, q-tips, dry brushes, etc.

Other alla prima studies with limited stroke challenge: Students had 25 brush strokes to render a fruit or vegetable from three different angles.

Grisaille (monochromatic using grays) with black made from burnt umber and yellow oxide: Students explored painting egg shells and tissues.

Color illusion master study: Students broke down a masterpiece into a grid and recreated using the majority of any color seen in that particular grid. This process teaches optical color mixing.

Week 3:

Professor Darrell Kincer

Art 220/ Digital Photography
For this project students turned the camera on ourselves to produce an “authentic” portrait. The purpose is to create images that have a personal investment and purpose, whether they are whimsical or melancholy. In addition, they explored a variety of lighting methods to help illuminate and refine their creative vision.

Art 222/ Film Photography
Students explored the Holga camera for it is a great way to experience medium format photography. For a reasonable cost you can shoot larger negatives and create photographs with an unmistakable look.

Don’t miss out on Professor Darrell Kincer’s images from his visit to Oxford this past fall that are on view in Gallery 108.

 

 

Senior Preview 2015

April 26th through Summer

Cochenour Gallery