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August 12 – September 18, 2010

Imagine Everywhere 4th Annual Art+Design Faculty Exhibition

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On the cover: Louise LeBourgeois, Water #422, oil on panel, 46 x 46 inches

The 4th annual Art + Design faculty exhibition, Imagine Everywhere, addresses concepts and meanings of globalization defined (by Wikipedia of course) as a process by which regional economies, societies, and cultures have become integrated through a global network of communication, transportation, and trade. The complexities inherent in our society’s ability to imagine, communicate, and reach everywhere are what this year’s group of faculty addresses in this diverse display of work with topics including the destruction of native species, human trafficking, and the American Dream. Imagine Everywhere includes Whitney Huber and David Follmer, Louise LeBourgeois, Marlene Lipinski, Marilyn Propp, Arti Sandhu, Miklos P. Simon, and essayist Corey Postiglione. Jennifer Murray, Director, A+D Gallery

Mapping the Global

By Corey Postiglione

The only way to determine the value of globalization is to analyze what has been gained and what has been lost. In order to challenge and bring balance to this global reality, nations should only import what they cannot make or grow themselves. — Michael Royce

Every semester when I am teaching Critical Theory and come to the point in the course that deals with globalization, I always give the students an impromptu assignment: they are asked to draw a map of the world from memory. Some representations are amazingly accurate (at least in a conventional cartographic sense); others are interpretive, even fantastical. My feeling has always been in order to interrogate global discourse we should have some visual sense of what we are imagining.

advances in communication and the rise of the Internet; the proliferation of multinational corporations and the resultant dissolution of national boundaries. A positive feature of this new global reality is the dissemination of heretofore marginalized art through the proliferation of International Biennials in newer venues such as Dakar, Shanghai, as well as the more established Venice, Basel, and Saõ Paolo exhibitions. We are now seeing contemporary work from a more global perspective—from China, Africa, India, and Southeast Asia. Some theorists, however, see many of the conditions noted above as problematic. The point is simply that none of these features of globalization are necessarily benign. Cultural critics from many perspectives see this phenomenon as driven and produced by ideology (I mean this in a larger more Althussarian1 sense) and constructed by cultural, sociopolitical strategies.

The conditions of globalization, which emerged in the late 20th Century, are many faceted, embracing a myriad of complex interconnected disciplines and technologies. These features of the global discourse can include: the shrinking of the world through commerce (outsourcing: Thomas Friedman’s “Flat World” thesis);

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In this last sense of the global and its effect on cultural production, Fredric Jameson, in his prophetic landmark essay of 1984, “Postmodernism, Or, The Cultural Logic of Late Capitalism” (originally published in the New Left Review), proposed a global context and critique of postmodern visual culture, one determined less as a set of stylistic tics than by economic formations. Central to his argument in “Cultural Logic,” is the rise of a global network (remember this was written before the Internet) of multinational capital and all its attendant agencies of technology. If, as he notes, modernism suggested (mythically, of course) that the artist was somehow in control of her production as a centered subject, then conversely the postmodern subject/cultural producer is profoundly de-centered, lost in this labyrinth of a post industrial world of enormous complexity. (This paradigm is similarly theorized by such writers as Jean Baudrillard and his interrogation of the simulacra and the Hyperreal, and from a psychological perspective, Jacques Lacan’s notions of the Other and the Real.)

honestly reveals the present human condition, if we still believe in art’s capacity for some kind of truth or a critique of absolutes? In the last paragraph of “Cultural Logic,” Jameson sets a challenge for the contemporary artist—he calls for “An aesthetic of cognitive mapping....” He explains further his meaning here: “…a pedagogical political culture which seeks to endow the individual subject with some new heightened sense of its place in the global system—will necessarily have to respect this now enormously complex representational dialectic and invent radically new forms in order to do it justice (emphasis mine).”2 The current exhibition Imagine Everywhere represents a response by six Columbia College Chicago faculty to this “complex representational dialectic” of globalization and all its attendant meanings. The artists exhibited here (Whitney Huber and David Follmer, Louise LeBourgeois, Marlene Lipinski, Marilyn Propp, Arti Sandhu, and Miklos Simon) collectively map the Global through a wide range of media and conceptual strategies.

Of course, since the writing of Jameson’s essay, the reality of the global has only expanded and intensified. There doesn’t seem to be any area of the life world that hasn’t been colonized by current media and technology—from cloning to sexual transformation, from global information systems (the Internet) to the saturation of surveillance apparatuses that would include satellite imaging to street cameras (Chicago is one of the most surveilled cities in the world presently). Certainly artists have correspondingly expanded their use of media to critique and problematize many of these new global formations. Today, artists use many of the same technologies that they are critiquing such as video, computers, the internet, digital photography, organic growth systems, sound works, language based media, the physical body, and genetic codes (DNA).

Whitney Huber and David Follmer focus their multi-media project on the explosion of human trafficking exacerbated by globalization’s increasing disparity of wealth, especially in developing countries, and the subsequent vulnerability of those populations, mainly women and children. The artists state: “The sale of human beings remains one of the top three forms of international crime.”

Their visual strategy is to clarify the blizzard of information vis-àvis the Global Technology on this disturbing subject.

Louise LeBourgeois’s paintings of sea and sky recall a sense of the sublime, an apt metaphor for this sense of postmodern dislocation and de-centeredness that Jameson refers to. In these pictures, which are beautifully crafted, there is no sense of a particular place, only a horizon which can be anywhere (and “everywhere”). We have lost our bearings—we are at sea.

So, according to the above, the nagging question for the postmodern artist is: How does one make any claim to creating work that

1 See Louis Althusser, “Ideology and Ideological State Apparatuses,” from Lenin and Philosophy and Other Essays, translated by Ben Brewster (New York and London: Monthly Review Press, 1971.)

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“Postmodernism, or, The Cultural Logic of Late Capitalism,” (Durham, 1991) p.54.

Through a series of intricately designed images in the style of Madhubani folk art, Arti Sandhu foregrounds the rapid global influence of modernization on her native Indian culture, especially in the area of fashion. “The status attached to luxury brands and the influence of Western fashion and lifestyle magazines (like Vogue and Cosmopolitan) in India, Sandhu says, are also central themes in these illustrations.”

The quest for the mythical American Dream is central to Miklos P. Simon’s art. For this exhibition he employs three sculpture/installation/performance pieces from the series that deal thematically with “the everyday reality of the migration of people into the United States who are seeking a better life.” Ultimately, Simon’s work allows the viewer to decide whether the “American Dream” of success and upward mobility is really a possibility or a betrayal.

All the artists in the exhibition Imagine Everywhere approach the controversial subject of globalization from many different and complex perspectives, and through a wide range of media. However, they avoid simplistic reductive solutions to their art. Finally, this is not agitprop, but rather, thoughtful poetic ruminations on a very difficult and contentious subject leaving the viewer a polysemic experience.

Marilyn Propp Construction 1, 2009 found objects (metal, wood, rubber) 12⅝ x 11 x 3 ¾ inches

Marlene Lipinski’s multi-part painting of Douglas fir trees signifies for her the importance of these giant trees in sustaining the complex ecosystem that we, along with all living things, rely on.

Lipinski states, “Trees are the giants of the vegetational world, the great sponges of carbon dioxide, the holders of the soil, the habitat of wildlife, and nature’s original air conditioners.” For a number of interconnected reasons ranging from population growth to exploitation by energy corporations, forests globally are being decimated.

Corey Postiglione is an Associate Professor in the Department of Art and Design at Columbia College Chicago where he currently teaches Art History and Critical Theory as well as studio arts. His critical writing has been published in Artforum, The New Art Examiner, Dialogue, and C-Magazine (Toronto). He has written numerous catalogue essays and continues to curate exhibitions of artists’ work in all media.

Postiglione is also a practicing artist and is currently represented by Thomas Masters Gallery in Chicago, Il and the Brad Cooper Gallery in Tampa, Fl.

Marilyn Propp references in her large globe-like sectional painting “interconnectedness, cross-pollination, a free interchange of ideas, and instant transmission of news and events.” This is not an uncritical display of images (machine parts, domestic objects, exotic artifacts) but rather a critique of multi-national capital’s commodification of everything and everywhere.

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Whitney Huber & David Follmer Human trafficking -- defined as the trade, abduction, or coercion of people for the purposes of forced or exploitative labor, including sexual exploitation -- is one of the oldest forms of trade and abuse of power. Despite the United Nations Conventions Against Transnational Organized Crime established in 2000, trafficking of people is a “widespread and growing” global issue. Trafficking is perpetrated against the most vulnerable members of the world community, particularly women and children.1 The sale of human beings remains one of the top three forms of international crime. Yet, the issue seems largely invisible or remote within developed countries, even while it happens in those same countries. Strategies to educate the public, prevent trafficking and rehabilitate victims are complicated by the lack of clarity and consistency in available information.2 In our globalizing world, communication and information technologies can bring to light undeniable realities. These technologies can also overwhelm, create paralysis, anxiety, or a sense of futility. A Human Trafficking GeoTimeline serves as a visual timeline and interactive housing of information on human trafficking from all kinds of sources. We are gathering and picturing the activity of information, as well as absences and discrepancies, alongside the most current information for what individuals can do. In presenting this information in visually accessible and interactive forms adaptable to contexts within and beyond the space of the gallery, we hope to reach new audiences and create new avenues for discussion, action, and global responsibility.

Any proceeds made from the project will go to organizations promoting awareness and prevention of human trafficking.

1 Kofi A. Annan, Secretary-General of the United Nations, United Nations Convention Against Transnational Organized Crime and The Protocols Thereto, United Nations Office on Drugs and Crime, New York, 2004, p. iv. www.unodc.org/documents/treaties/UNTOC/Publications/TOC%20Convention/TOCebook-e.pdf

Also, see the official website of the United Nations Office on Drugs and Crime (UNODC), part II: www.unodc.org/unodc/en/treaties/CTOC 2 The UNESCO Trafficking Statistics Projects is currently addressing this problem by “conducting a literature review and meta-analysis of existing statements on trafficking.” See www.unescobkk.org/index.php?id=1022.

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Whitney Huber is a sculptor, spatial and performance artist with a background in art history, film theory and criticism. She teaches studio art/design, art history, and interdisciplinary creative practice at Columbia College Chicago. Her artistic and scholarly work addresses perception, iconography, and performance of gender roles. Huber’s most recent work presents symbolic conceptualism derived largely from personal narrative and a contemporary feministic approach.

David Follmer is a database developer and a musician with an academic background in sociology and psychology. He is fluent in database design, data analysis and manipulation. Working as a “data guru” and observing the world through the lens of social science, Follmer enjoys modes of analysis and curiosity that are often underutilized in his work in information technology.

Both parties find great motivation in the possibility of promoting and provoking social awareness and responsibility. Prior to embarking on this collaborative project, Huber and Follmer had numerous discussions about the concept of “data as art” and the intersections of information, aesthetics, social engagement, and visual communication. These conversations laid the foundation for A Human Trafficking GeoTimeline, which is Follmer’s first venture into the world of visual art. Follmer is interested in the power inherent in the act of shaping data and the social efficacy of informational tools that are crafted with integrity, are accessible, vital and compelling.

For Huber, this collaboration facilitates involvement with information technology as a new artistic material, and is an opportunity to apply conceptual and aesthetic concerns to design ideas that may reach beyond typical exhibition venues.

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Whitney Huber and David Follmer Human Trafficking GeoTimeline, 2010 screen capture of data point dimensions variable

Louise LeBourgeois, Water #423, 201, oil on panel, 46 x 46 inches

Louise LeBourgeois Globalization contains many paradoxes. It promises ever-increasing lightness and speed to trade, travel and communication, which in turn can exact a heavy toll on people and the environment. As with all change, we gain something and we lose something. It is not always obvious which is which. There are arguments to be made on all sides.

The horizon is our imperfect perception of the edge of the globe. It is also a paradox, the visible but non-existent straight line describing a curve, the imagined place where planet and sky merge.

Sailors had to confront their own fears about the horizon as our human understanding of the world blossomed from flat to round, from a place in which a ship could fall to oblivion into a place where sailing in a single direction could mean arriving at the same point from which one departed. Christopher Columbus’s 1492 voyage was certainly not the first case of global exploration, but it was one of history’s most significant. Like globalization today, Columbus’s voyage resulted in both discovery and tragedy, enriching some people while destroying others.

My water/sky paintings explore the idea that we are in uncharted territory, propelled towards the unknown by discovery and innovation. It is a philosophical connection rather than a literal one. These works are based upon my ongoing relationship with Lake Michigan, a tangible presence in my life as well as a metaphor, the fictive space where as far as we can see there is yet more to come.

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Louise LeBourgeois has taught in the Art + Design Department at Columbia College Chicago since 1994. She attended the University of WisconsinMadison (BS, 1985), the School of the Art Institute of Chicago (BFA, 1990), and Northwestern University (MFA, 1994). She has exhibited her work throughout Europe and the United States, and is currently represented by Packer Schopf Gallery in Chicago, IL, Dolby Chadwick Gallery in San Francisco, CA, and Gallatin River Gallery in Big Sky, MN. She is an avid swimmer and has long been fascinated with the visual phenomena of waves and water. Living in Florence, Italy, where scientific innovations during the Renaissance revolutionized both art and global navigation, stimulated her interest in pictorial space, perspective and the horizon. Awards include Illinois Art Council Grant, Artadia Grant, and a public commission from the Chicago Department of Cultural Affairs to install her work at the 17th District Police Station. Most recently, she received a Columbia College Chicago Faculty Development Grant to participate in the BAU Institute’s artist’s residency program in Otranto, Italy in June, 2010.

Marlene Lipinski Trees are the giants of the vegetational world, the great sponges of carbon dioxide, the holders of the soil, the habitat of wildlife, and nature’s original air conditioners. Trees grow in valleys, mountains, jungles, deserts, and plains. In the beginning, the world was covered with trees, and trees have been holding the world together ever since.

Humans have been taking the world apart. As world cultures moved from a hunt- and-forge to an agriculture-and-settlement society, forested land had to be cleared. Over centuries, as more land needed to be cleared, methods for felling trees became more efficient, and, of course, trees became the number one provider of building material for homes, furnishings, stores, and factories. When Europeans arrived in the Americas, opportunities for trade, settlements, and growing economies via the vast amount of resources the land held became evident. Europeans had already decimated their own forests and were in need of a new source of lumber. One major source was the virgin forest covering New England. It took only a few years before the white pine forests were completely decimated.

Once these forests disappeared, the lumber barons moved through the upper Midwest where complete pine forests were razed within 3 years. Slowly but surely, forests were decimated across the continent.

As other cultures compete for their share of the world market, more land is being cleared for expanded agricultural and industrial economic opportunity. Indonesia, Mexico, Central and South America and China are countries that have come under criticism for their attempts to join the world economies by clearing large portions of rainforest for alternative land use. And yet this practice of economic development has been well established in Western culture for centuries. The problem of expansionism versus containment of land resources has become a global problem. Sustainability, replacing a twenty-ton tree that maintains large amounts of carbon in its root system with a small seedling that will not achieve the same growth for many decades, is not an even trade. Second generation trees must be preserved if our air and land are to be preserved.

My recent work has investigated the trees that have fueled Western growth and expansion: the white pine, the Douglas fir, and varieties of oaks. These trees have served human kind’s needs because of their strength, straightness, and durability, as well as accessibility. A few honorable champions, around 800 in all, are registered for their height,

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weight and age and are preserved under state or federal protection within the United States. Interestingly enough, residential trees are often more protected than trees in rural areas and forests.

These residential trees are often secondgeneration trees, which have been deliberately planted or grew randomly around 50 years ago.

Marlene Lipinski is an Associate Professor in the Art + Design Department at Columbia College Chicago and served as the Coordinator of Graphic Design and Advertising programs from 1978-2000. She earned her MFA from the University of Wisconsin, Milwaukee, in Painting and Drawing and has published, designed, illustrated and printed Memory Effects, a limited edition set of Roald Hoffmann poems. Lipinski has also published “Cowboy Heaven,” a short story in Tomboys, amongst many other accomplishments.

Marlene Lipinski, Douglas Fir: Olympic National Forest, Washington, 2009, oil on canvas over panel, six panels, 26 x 16 inches each

Marilyn Propp Globalization has brought about interconnectedness, cross-pollination, a free interchange of ideas, and instant transmission of news and events. We can see the damage caused by once hidden negligent multi-nationals who pilfer natural resources, destroying both local commerce and indigenous communities.

One of the worst and least known ecological disasters is in the Niger Delta. For over fifty years, with no government restraints, Dutch Shell Oil has turned this area into an environmental horror. The Guardian, May 30, 2010 reads: “Nigeria’s agony dwarfs the Gulf oil spill…The Deepwater Horizon disaster caused headlines around the world, yet [those] in the Niger delta have . . . live[d] with environmental catastrophes for decades.” 1 An article from May 2009: “Clearance work [in the 1990’s] to make way for pipelines was decimating the world’s third-largest mangrove forest. Oil spills were rife, polluting the land at a rate . . . equivalent to an Exxon Valdez oil disaster every year. Oil flares only made the pollution worse.”2 Ken Saro-Wiwa, a well-known journalist and activist, attempted to bring Shell’s destruction of the environment to an international audience, and was hanged for it.

My paintings fit together like a puzzle. Merging the industrial and natural worlds, objects reference machine parts, industrial tools, and domestic objects, which I transform into animated biomorphic characters. I address interconnectedness, continuity, and the unremitting movement of time, seeking balance by tempering outrage with humor.

I begin with automatic writing, making gestural calligraphic marks that reflect the movement of my arm/body as I move across the surface of the panels. The imagery results from the rhythm and suggestions of the black marks on the white surface. Three-dimensional tableaus, which I create from crushed tailpipes and other metal detritus found in alleys and streets, assist in my visual thinking. An important resource is Crispin’s Dictionary of Technical Terms, rescued from the alley behind my studio.

1 Pilkington, Ed, “14 years after Ken Saro-Wiwa’s death, family points finger at Shell in court”. The Guardian, 27 May 2009; online edition, www.guardian.co.uk/world/2010/may/30/oil-spills-nigeria-niger-delta-shell-oil

2 Vidal, John, “Nigeria’s agony dwarfs The Gulf oil spill. The US and Europe ignore it.” The Guardian, 30 May 2010; online edition, www.guardian.co.uk/business/2009/may/27/ken-saro-wiwa-shell-oil

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Marilyn Propp is adjunct faculty in the Art + Design Department at Columbia College Chicago, and is also co-founder of Anchor Graphics. Born in Upstate New York, Propp received a BA from University of Pennsylvania, and MA from University of Missouri-Kansas City. She has attended Skowhegan School of Painting & Sculpture, Brooklyn Museum Art School, Provincetown Workshop, and San Francisco Art Institute. In her current work she merges the industrial and the natural world, transforming objects derived from familiar machine parts or domestic tools into animated biomorphic characters, traveling together. Propp addresses issues of continuity, interconnectedness, and the constant movement of time. Her work is in the collections of the Mary and Leigh Block Museum of Art, IL; Davis Museum and Cultural Center, Wellesley College; DePaul University Museum, Chicago, IL; Summer Palace, Saudi Arabia; Amnesty International, NY, NY; Old St. Patrick’s Church, Chicago, IL; Hallmark Collection and the AT&T Collection, Kansas City, KS; and private collections throughout the US.

Marilyn Propp Post Industrial Reconstruction: The Dance Goes On, 2010 oil on wood panels, 63 x 66 inches

Arti Sandhu Mahila1 à la mode Inspired by Madhubani2 folk art and my love for line, pattern and repetition, this series of illustrations delves into the dilemmas of womanhood, tradition, modernity and fashion in India.

I am further influenced by my research on contemporary Indian fashion, which is best characterized by its vibrant confluence of local and global styles, as well as my own personal journey of growing up in a rapidly modernizing India where Punjabi aunties3 in polyester suits4 and saris co-existed with designer handbags.

The central character who features in this series – an overweight, slightly morose Indian woman - is seen negotiating her way through opposing tropes of modernity and tradition, new and old, local and global, and past and present constructs of Indian womanhood that come together, often in an explosive manner through the way she fashions herself. In shaping this central character, I deliberately make reference to the popular style of portraying Hindu goddesses in Indian art: as having multiple arms and a larger-than-life and/or glowing head that not only draws the viewer’s attention, but also alludes to her power and ability to “multi-task” – all attributes I believe are important to the modern Indian woman as she balances her multiple roles as a homemaker and career-woman, or as she simply attempts to negotiate a Louis Vuitton sale. The status attached to luxury brands and the influence of Western fashion and lifestyle magazines (like Vogue and Cosmopolitan) in India are also central themes in these illustrations.

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Mahila means woman in Hindi.

Madhubani painting is a style of Indian painting, practiced in the Mithila region of Bihar, India, and Janakpur in Nepal.

Madhubani paintings mostly depict nature and Hindu religious motifs. Generally no space is left empty in the painting; the gaps are filled by line drawings of flowers, animals, birds, and geometric designs.

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3 Punjabi aunty is a satirical phrase often used to refer to portly middle-class women who appear loud or garish in their mannerisms and clothing choices.

4 The use of the term “suit” here refers to Salwar Kameez - a woman’s outfit comprising of a long tunic, scarf and baggy drawstring trousers worn traditionally in North India as well as by younger women throughout India.

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Arti Sandhu currently holds a position of Assistant Professor in Fashion Design at Columbia College Chicago where she pursues research and creative practice around Indian fashion plus global and local identity. Growing up in an Army family meant Sandhu covered a lot of ground in India from a young age. A love of drawing and customizing of her Barbie doll led her to study fashion at NIFT in Delhi (India) and later in the UK. Since then she has taught Fashion Design in New Zealand and the US with frequent lectures on Indian fashion across the globe. Her artworks, which explore identity and migration, have been exhibited in Australia, New Zealand, Canada, USA, the Netherlands and India.

Arti Sandhu New Bra, 2010 pen, color pencil and acrylic on paper 6 inch diameter

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Miklos P. Simon Alley Lady, 2010 mixed media drawing 11½ x 17 inches

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Miklos P. Simon Being disenfranchised, endangered, and the fear of losing one’s culture, as well as the progression of being part of a larger, contemporary global world, are themes I have realized through appropriation, creation, and developing art through craft and skill.

My current work explores identity and the complexities of a given and acquired culture.

The series of work entitled American Dream looks at the every day reality of the migration of people into the United States who are seeking opportunity and a better life. The current centerpiece of the collection is entitled Monument to the Illegal Immigrant Worker – a sculpture constructed of a stainless-steel sink, chinawear, water, and wine glasses. The piece is a celebration of the hope for American success – the desire of coming to the US to be employed as a dishwasher (the bottom rung of the economic and corporate ladder), yet achieving dreams by carefully constructing a life towards higher success and status.

Components from the American Dream series on display include Crushed, Alley Lady, and Master’s Lower-Class. Crushed is a re-creation of an observed urban vignette that depicts how an immigrant patriarch, with lack of language and employable skills, must scavenge trash to make ends meet.

Alley Lady is an appropriation of the iconic 1961 work Supermarket Lady by Duane Hanson. The shopping cart is the preferred transportation device by scavengers and also a re-creation of a commonly observed urban survival-profession.

Master’s Lower-Class comments on how at airports, offices, and schools, the majority of custodial work is performed by people with English as their second language. Yet many have advanced degrees and have achieved professional successes in their home countries, but find an identity beyond their foreignness elusive in the United States.

In most of these works, the viewer is faced with deciding if it is an impossible truth or a contradiction: Can a monument of washed dishes be erected for the “Illegals”? Is the “American Dream” to be had? What does it feel like to give up oneself to create better opportunity for the following generation?

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Miklos P. Simon is a Hungarian-American, an artist and educator born in Zalaegerszeg, Hungary. For the last ten years, he has been a part-time faculty member in Fine Art in the Art + Design Department and a part-time advisor in the Columbia College Chicago Advising Center. He earned a BFA in Sculpture from the School of the Art Institute of Chicago and his MFA in Sculpture from the University of Notre Dame.

Simon is the recipient of many awards and grants, including the competitive Riley Fellowship and Illinois Arts Council Fellowship Award and has participated in numerous national, international, group and solo exhibitions including a 20-year retrospective at the University of Notre Dame.

Since 1991, he is the principal designer of Simon Sculpture Studio, Inc., which has ongoing contracts and a diverse client base that includes architectural firms, cultural and educational institutions, and private collectors. He has received frequent public commissions including the United States Naval Memorial in Washington, D.C. Through the company, he actively directs, designs and produces both sculptural and functional objects as well as public and large-scale works including sculptures on the Roosevelt Road viaduct, CTA Rockwell stop with Tom Skomski, and the Garfield Park Conservatory, Chicago, IL, among others.

Gallery Mission The Averill and Bernard Leviton A + D Gallery is part of the Art + Design Department at Columbia College Chicago. The gallery’s mission is to present professional exhibitions and educational programming that encompasses the broadest possible definition of visual art and design. This is a direct reflection of the pedagogical diversity of the Art + Design Department and the vast array of ideas, media, and techniques explored by artists today. The gallery presents emerging and established artists whose work reflects any of the seven disciplines taught in the department including Fine Art, Interior Architecture, Illustration, Advertising Art, Product Design, Graphic Design, and Art History.

The gallery’s primary focus is on process and the development of ideas into art. Exhibitions at A + D Gallery promote understanding of the artistic process by exhibiting works in progress side-by-side with finished pieces; these can be preliminary drafts and sketches, notes and other generative materials an artist may use to process ideas into finished artwork.

Acknowledgements Many thanks to our 2009-2010 A+D Gallery advisory board for their contributions throughout the year and their dedication to this exhibition: Ivan Brunetti, Elizabeth Burke-Dain, Julianna Cuevas, Michelle Grabner, David Jones, Paul Klein, Duncan MacKenzie, Neysa Page-Lieberman, and Raél Jero Salley. Thanks to Jay Wolke, Chair of the Art + Design Department, and Eliza Nichols, Dean of The School of Fine and Performing Arts, for their support of this project. As always, many thanks to Lara Wolff, Assistant to the Chair, for her skillful editing.

Gallery Staff Jennifer Murray, Director Julianna Cuevas, Assistant Director Megan Ross, Preparator Gallery Assistants Carla Caruso EJ Hill Nicole Kiruly Nicolás Tiparescu

This exhibition is sponsored by the Art + Design Department and The School of Fine and Performing Arts at Columbia College Chicago. This exhibition is partially supported by a grant from the Illinois Arts Council, a state agency, and by the Efroymson Family Fund, a CICF Fund.

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Arti Sandhu, Red on Sale, 2009, pen and color pencil on paper, 11 x 16 inches

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