histordomest-icity MARCH 5-APRIL 9, 2021 Our goal at CAE is to continue to create conversation by igniting the imagination. histordomestic-ity is a total departure from our previous exhibitions, and it expands our reach into contemporary installations. Melissa Furness and Rian Kerrane have been creating together for the past 7 years, but histordomes-icity marks their first comprehensive “solo” collaborative show in Colorado since they began working together. Through the lens of Kerrane and Furness, we invite you to re-visualize every day and historical objects and discover interrelated personal and public narratives within their multidimensional art installation. The installation will run through April 9. During this time, we hope that you take a moment to immerse yourself in the exhibit. You may find yourself questioning the historical value of each distinctive piece as it relates to the present. We look forward to hearing your interpretations. Finally, none of this would be possible without the wonderful support of our sponsors, Alexa Interiors Design & Decor and Mountain Home. Thank you for all you do for the Center for the Arts Evergreen and our community. Thank you all for keeping the arts alive in our mountain community!
Lisa Nierenberg Executive Director, Center for the Arts Evergreen Center for the Arts Evergreen
histordomest-icity is an art exhibition created at the Center for the Arts Evergreen (CAE) in Evergreen, Colorado. CAE is a registered nonprofit that has been in existence for 45 years. CAE’s mission is to enrich and serve our mountain community by promoting and cultivating the arts through quality educational programming, exhibitions, and events. histordomest-icity runs from March 5-April 9, 2021. This exhibition would not have been possible without the help of so many artists, businesses, volunteers, and the CAE board and staff. Center for the Arts Evergreen Executive Director: Lisa Nierenberg Senior Director of Exhibitions, Education & Marketing: Sara Miller Events Manager & Administrative Assistant: Jordan Gill Accounting Manager: Tom Maxey Board President: Kristin Witt
Thank you to our sponsors
1. Tapestry An ironing board, presented here as a found object, nonetheless retains its association with labor and repetition. The two irons...evoke the devices with which one would apply restorative powers to fabrics in order to dispel wrinkles and restore freshness. Kerrane has created Iron Iron from scrap metal fed into a crucible, thereby imparting the notion of renewal to these sculptural works as well. Moreover, the sculptor has suggested that this installation has a feminine quality, since ironing is an activity associated with domestic work and therefore, traditionally, with women. On the ironing board lies a quilt with a Gaelic title, bhfreagra (puzzle). It features ornamental motifs and representational passages in gouache and colored pencil on linen. The intricate pattern draws inspiration from the dense interlacings of the eighth- or ninth-century manuscript illumination in the Book of Kells. Although likely produced at the Scottish island of Iona, the manuscript early in its history seemingly experienced dislocation to Kells in Ireland, possibly as a result of Viking incursions into the British Isles. Then the book was stolen from the community of Kells in 1007, only to be recovered nearly three months later, “its gold stripped from it and a sod covering it.”1 The book, whose survival through the centuries projects a message of the resilience of the human spirit, has drawn the interest of artists in modern times. Historians routinely connect these paintings of the Book of Kells with contemporary designs on carefully crafted metalwork and stone carvings in Ireland and Scotland. On this quilt, Furness has depicted some archaeological objects of a personal or domestic nature, including brooches and a bracelet, seen on display at the National Museum of Ireland. Their configuration responds to the composition of some of the so-called carpet pages in medieval manuscripts. In this sense, she makes explicit the ties among the arts in different media. Furness then buried the fabric in the moss of Ireland for more than a month, after which she affixed sheet moss to the unearthed quilt as a sign of its transformative experience. To speculate on the significance of moss in this context, it represents a steadily growing but slow-evolving plant from a primeval state of nature; it also requires considerable moisture to survive, thereby indirectly referring to the water that informs the themes of the other installations by Kerrane and Furness. This plant therefore has the power to absorb and efface human creations, in a way comparable to that of water. Ironing the quilt, then, has the potential to reclaim this artifact of human creativity from the forces of nature and restore it to strength. 1Paul Meyvaert, “The Book of Kells and Iona,” Art Bulletin 71, no.1 (March 1989): 11.
Excerpted from the catalog of Laden Interlacings, a 2015 Furness/ Kerrane exhibition. Credit: Jeffrey Schrader, PhD.
Tapestry
Collaboration with Melissa Furness and Rian Kerrane Reconstructed quilt drawing (bhfreagra [puzzle])—water-soluble pencil and gouache on linen collaged onto canvas, oil paint above, backed with preserved moss sheeting and stitching; ironing board (board)—found object; irons (iron iron)—cast iron, found domestic items. Dimensions variable 2014/2021 Pricing on the last page of the catalog
2. Unheavy
Unheavy, where the combination of pictorial and sculptural elements sparks a narrative absent from the individual components. The central painting by Furness strikes a notably somber mood. Furness composed A Dark Place with a dense pattern of foliage atop a rocky enclosure, which overwhelms the swimmer in the water. Moreover, the solitary figure has little leeway to swim in the nonspatial environment, which threatens to absorb her into its primeval darkness. Her efforts to stay afloat provide a conceptual link to the two implicitly buoyant spheres that Kerrane placed on the floor in front of the painting. Their uneven sizes inject an asymmetrical note into the installation, as if to suggest that something may be askew or off-balance. The larger of the two sculptures, Spiked Mine, appears menacing and suggests the risk of detonation at the slightest provocation; the smaller Bathosphere, while not visibly weaponized, nonetheless assumes a mechanical ambiguity that leaves viewers wary. An unusual rapport arises between the contrasting forms of the richly patterned rectangular painting and the austere sculptural volumes. Excerpted from the catalog of Laden Interlacings, a 2015 Furness/ Kerrane exhibition. Credit: Jeffrey Schrader, PhD.
Unheavy
Collaboration by Melissa Furness and Rian Kerrane Painting (a dark place)—oil on absorbent ground, stretched canvas; sphere with spikes (spiked mine)—fabricated steel, bronze, motor; sphere (bathosphere)—fabricated steel, bronze, plastic coated chain, cast iron 7ft (h) x 9ft (l) x 9ft (w) 2014 Pricing on the last page of the catalog
3. Creeper
This work by Melissa Furness was started at the height of the current pandemic and spans over six months’ time in its formation by the artist. Furness’ ongoing body of work explores the concept of the “ruin” and its many facets. Ruin deals with both erosion and overgrowth—a kind of eating away as bugs do and the swallowing up of things as the spreading of weeds does. These elements are metaphorical representations of those things in life that one works so hard to wash away, be rid of, or clean up, but which return again and again and thrive against one’s will. The color and presentation of the weeds in the piece speak to these invasive things—events or attributes that one feels are ugly or negative but may also hold some beauty and make us who we are. The bugs, which are ugly, but painted with gloss to enhance their jewel-like qualities, allude to things that eat us up inside—those hidden things that affect us little by little until there is an “explosion” of emotion. These explosions can be good and beautiful and cleansing or terrible and hurtful (or both at the same time). The underlying turmoil in the foreground is set against a complex wallpaper pattern. The wallpaper creates a flow that hides these elements and blends them into the background…perhaps in the way that we allow such things to blend into our lives.
Creeper
Melissa Furness
Oil painting on canvas 48in x 60in 2021 $8,500
4. Thicket
In Thicket, Kerrane and Furness combine flowers from a funerary bouquet cast in bronze with 18th-century decorative pole screens adorned with paintings of weeds and thickets. The bouquet was from a death due to COVID-19 in 2020. The bouquet withered outdoors for several months until Kerrane used a casting process she hadn’t used in more than 20 years to replicate the flowers in bronze. The transformative casting process speaks to taking something that is supremely important, but would normally be discarded, and breathing life back into it. The bouquet, on its tall vertical rods, forms a thicket like those of Kerrane’s native Ireland. Thickets are known to be dense and impenetrable shrubbery, places where the will of nature hasn’t yet bowed to that of humankind. The thicket theme continues in Furness’ intricate paintings placed on the pole screens, or Elizabethan face shields. Furness’ complex and layered imagery adorns these domestic necessities of a bygone era. In the 17th and 18th centuries both men and women wore makeup to hide blemishes caused by smallpox. The cosmetic preparation was thick and made up of wax and white lead. The lead was toxic, especially when warmed by the heat from a fire. A pole screen protected the face from the direct heat of household fireplaces, preventing the wax from melting and the life-threatening cosmetics from interacting with the skin. Pole screens were fitted with sliding panels that could be enlarged or diminished as needed. Furness’ imagery of wild shrubbery and bugs on these protective shields is a conscious allusion to the ever-present personal protective equipment that defines the pandemic and the “wild” and uncontrollable nature of this insidious virus. Thicket’s visual imagery also echoes another piece in the exhibition, Creeper.
Thicket
Collaboration by Melissa Furness and Rian Kerrane Graphite, colored pencil, gouache and oil on wood panel; linen, gouache and stitched backing, plastic flora, steel, art deco lamp stands, thrift store metal flora, cast bronze. Dimensions variable 2021 Pricing on the last page of the catalog
5. Port of Gilded Proclivities
Port of Gilded Proclivities by Furness and Kerrane takes inspiration from “Semiotics of the Kitchen,” in which the artist Martha Rosler acted out the use of kitchen utensils alphabetically from A to Z. Furness painted these objects with oil on a circular cut canvas, while Kerrane constructed a trampoline to hold the canvas with an assemblage of bronze, iron, and steel. Around the edge of the frame, a ring of letters forms the words of the cardinal directions (North, East, South, and West) as well as the words “Happily Ever After” and “Once Upon a Time” to critique fairytale narratives. A video projected on the wall behind it gives the illusion of objects bouncing on the trampoline in slow motion. Excerpted from “Arvada Center Embraces Pink Progression,” Trevor Leach. The Sentry, University of Colorado Denver, Volume 06, Issue 02. (September 2020).
Port of Gilded Proclivities
Collaboration by Melissa Furness and Rian Kerrane Oil painting on canvas, cast and fabricated metal, video
8ft (h) x 72in (w) x 72in (l) 2020 Pricing on the last page of the catalog
6. Silk Road Silk Road was originally created by Melissa Furness in response to her time spent in China during an artist’s residency. The Silk Road is the famous overland route that traversed the heartland of the Eurasian continent. Precious metals, stones, spices, porcelain, and textiles traveled along this network of trade routes. The Silk Road was pivotal for its exchange of goods, but perhaps even more significant as an avenue for the exchange of ideas between the East and the West. In Silk Road’s original form, the linen strips were suspended from the ceiling and supported the weight of the found bricks and stones, which were shipped by Furness from China. The linen is decorated with patterns that bring to mind the exquisitely designed brocade silk of 4thcentury China. The linen is covered in images created in water-soluble pencil and gouache with stitching. A story unfolds on the draped cloth: the ladles, jewelry, intricate tableware, and skeins of silk represent the precious goods that were domestic commodities on the Silk Road. The protractor, abacus, and other calculating mechanisms are a nod to counting tools used to facilitate this trade. When Silk Road transformed to a collaborative work, Keranne incorporated tall steel poles reminiscent of ship masts. This gave the piece an even deeper visual association to travel. Kerrane fabricated replicas of coat hangers from a single length of steel, cast large hooks from aluminum, and incorporated zippers, which hold the structural supports together. She wanted to include details that relate to the human experience. Both of these items—the clothing hanger and the zipper—were invented in the mid-1800s in the West. By this time the Silk Road trade routes had fallen into disuse, but this conduit of cultures and ideas had already paved the way for domestic innovations that we take for granted today—like zippers.
Silk Road
Collaboration by Melissa Furness and Rian Kerrane Fabric strips and stones, two lengths of linen with 8 stones/bricks, water soluble pencil and gouache on raw linen and found stones and bricks shipped by sea from China; wood and steel (ship)—steel, wood, zippers, cast aluminum, fake grass, brass, wheels 11 ft (h) x 4 ft (l) x 5 ft (w) 2017 Pricing on the last page of the catalog
7. Flaccid For many, tires have come to represent durability and protection. Flaccid, however, features deflated car tire inner tubes cast in iron. By casting these pliable rubber objects in metal and juxtaposing them with the intimate clothing upon which they are placed, Kerrane subversively appropriates these symbols of strength to reveal a deeper narrative. The piece draws attention to the fragility of our domestic circumstances in this pandemic world and the feelings of being steamrolled by an overwhelming force. The key component missing in the piece is air—the air that would otherwise fill the tire tubes. Air would inflate and animate them, giving the tires purpose. The plastic yellow valves, which contrast with the dark iron, speak to the passage of air. Valves provide the only entry point for air to get in or out. In the case of Flaccid, even if the valves were removed, the transformation of these tires, which literally carry us through our daily comings and goings, into permanently rigid iron where air can never enter again provides a powerful critique on something that is a life-giving force for humans.
Flaccid (I, II & III) Rian Kerrane
Cast iron, plastic valve cap 2in (h) x 11in (l) x 25in (w) 2in (h) x 12in (l) x 21in (w) 2in (h) x 11in (l) x 12in (w) 2021 Pricing on the last page of the catalog
8. Refuse Refuse is a collaborative piece that explores the life of the art object and the environment it inhabits. The piece originated when Furness was in Beijing on an artist’s residency. Each day she walked past a pile of trash. The heap was in a constant state of change and appeared to be alive. Furness wanted to explore the question of what we as humans hold dear and what we discard, by creating a painting of trash. The two-dimensional oil painting on unstretched canvas challenges the sensibilities of the viewer. An oil painting is often something we hang on the wall and step away from to admire. The prestige of the artwork is elevated by our respect for the gallery environment. However, Furness defies this notion by cutting up the canvas and tossing it on the ground, shattering the traditional constraints of the rectangular canvas on a wall. In a similar way, Kerrane pushes the envelope by introducing the mundane into the gallery in a whimsical way. Her cast iron replicas of string mops are perched among porcelain tea cups and over Furness’ canvas of trash. The custom plastic handles float suspended across the piece and evoke a sense animation. Kerrane has introduced a common domestic tool, which is reflective of hard work, into the revered space of the gallery. She forces the viewer to examine artistic concepts with fresh eyes. In Refuse, the mops stand ready to sweep up the trash...or maybe it’s someone else’s treasure.
Refuse
Collaboration by Melissa Furness and Rian Kerrane Floor painting with dishes/objects—oil on absorbent ground, unstretched and shaped; china and ceramic dishes and figurines; metal mops (mops)—cast iron, plastic/metal 4ft (h) x 10ft (l) x 10ft (w) 2016 Pricing on the last page of the catalog
ABOUT MELISSA FURNESS Melissa Furness received her MFA in Painting and Drawing from the University of Iowa with minors in both sculpture and printmaking. Her work has been most influenced by her experiences of travel, which have included artist’s residencies in Beijing, China; Mexico City; County Kilkenny, Ireland; Gdansk, Poland; and Balatonfured, Hungary, as well as those in the U.S. at Kala Art Institute in Berkeley, California, and the Corporation of Yaddo in upstate New York. Furness’ current strain of work in painting and installation is influenced by history and infused with personal narrative. Furness regularly exhibits her work both nationally and internationally, with international group exhibitions and open studios in Beijing, Mexico City, Budapest, Swansea, Florence, Lecce, Zurich, Korea, Cape Town, Palestine, and Sarajevo, among others. She was selected to participate in the 2015 Biennial of the Americas, through which she resided in Mexico City for 10 weeks as an art ambassador and has additionally participated in 2016 Kochi-Muziris Biennale in Karala, India, through A.I.R. Gallery of New York. The artist is a current member of both the Pink Progression and the Artnauts Collectives, each of which use the visual arts as a tool for addressing global issues. Her work has been featured in New American Paintings, Klassik Magazine International, DARIA (Denver Art Review Inquiry and Analysis), Voyage Denver, and 303 Magazine. Furness is currently an Associate Professor of Art Practices at the University of Colorado. She is represented by K Contemporary in Denver.
ABOUT RIAN KERRANE Born in Galway, Ireland, in 1968 Rian Kerrane received her BA in Fine Arts Degree from the University of Ulster at Belfast in 1991 and her MFA from the University of New Orleans in 1997. A noted sculptor in cast iron, mixed media, and installation, Kerrane has shown in sculpture gardens, museums, and galleries in the United States, Ireland, Italy, Austria, and Mexico. She is a board member for the Western Cast Iron Art Alliance, an eclectic group of iron artists that stages biennial iron conferences across the western regions of the United States. Kerrane has been a resident at Flax Art Studio’s International Residency Programme in Belfast; Clo Ceardlann, Donegal; Franconia Sculpture Park and IRON 50 in Minnesota; The National Casting Center, Alfred, NY; and The National Sculpture Factory, Ireland. She returns to Ireland each summer, often to the Burren College of Art, where she runs an interdisciplinary, site-specific art course. Kerrane has been a keynote speaker and workshop facilitator for IRON-R2, Cork, Ireland. Her piece, The Oscar Wallpaper, is currently on show for Between Us: The Downtown Denver Alleyways Project. Kerrane is a Professor at the University of Colorado Denver.
CRITICAL ANALYSIS ON PREVIOUS COLLABORATIONS
EXCERPTED FROM THE CATALOG OF LADEN INTERLACINGS, A 2015 FURNESS/KERRANE EXHIBITION ...Melissa Furness and Rian Kerrane’s evocative collaborative exhibition...delicately weaves together these exceedingly different artists’ metaphorically and texturally dense work. Furness’ immersive, meticulously-crafted images speak to centuries-old traditions in representational painting, spliced and recombined through lenses of contemporary experience and technology. Kerrane’s work addresses history, too—but, of a more primal sort. Her rough, cast, collaged, and welded sculptures speak to ancient techniques and inspirations, forms simultaneously utilitarian and ritualistic. And when these artists’ work is brought together, Laden Interlacings seems less a conversation between individual artists than one across centuries—even millennia— of civilization. But these “ruins” (as the artists have referred to them) are not the debris-strewn neglect of a ransacked or tornado-whipped city—rather, they resemble the cautiously-curated, curiously lively environments of Pompeii or Ardmore. (Perhaps unsurprising, considering the role that the artists’ histories, residencies, and teaching curricula in Italy and Ireland played upon the work in the exhibition.) Yet they resonate—poignantly, and often comically—with very specific signifiers of modern life that both familiarize and disorient. References to domesticity particularly abound, and as one suddenly catches sight of a rusted iron, plastic doll part, cheery wallpaper pattern, or tuft of Astroturf amid the noble altars, the audience is suddenly pulled into this time warp. Or is it weft? Once lured into their hushed, charged spaces, Furness and Kerrane joltingly implicate us in this rich, historically-laden tapestry. Maria Elena Buszek, PhD Associate Professor of Art History University of Colorado Denver, Department of Visual Arts
EXCERPTED FROM THE CATALOG OF LADEN INTERLACINGS, A 2015 FURNESS/KERRANE EXHIBITION In their installations, Melissa Furness and Rian Kerrane combine their respective strengths in painting and sculpture so as to convey their vision of art and life. This collaboration allows the artists to sidestep traditions that have guided sculptors and painters onto separate paths. For many generations, the academy and the market have favored specialization among artists, who therefore have pursued an occasionally competitive discourse about their distinct lines of work. By contrast, Kerrane and Furness identify new possibilities in joining these two fields so as to bring into relief their shared creative interests. [Furness’ and Kerrane’s] confidence in an art of palpably material qualities comes forth in the care with which they craft their work. Moreover, this down-to-earth outlook conveys a measure of honesty and authenticity in the characterization of the human experience. As the artists synthesize the past and the present into a common visual framework, they identify the means of creating the future. Repetition, which implies the absence of cessation, recurs in the sculptural and pictorial components of these installations. By virtue of their ongoing endeavors across the eons, artists have forged and will continue to develop the path of humanity away from the primordial void that would otherwise prevail. Jeffrey Schrader, PhD Associate Professor of Art History University of Colorado Denver, Department of Visual Arts
HISTORDOMEST-ICITY ARTWORK PRICING 1. Tapestry $9,000 collaborative installation (for complete installation) May be purchased as individual pieces as follows: • Quilt—Artist: Melissa Furness $6,600 Title: bhfreagra (puzzle); Scale: 89in. (H) x 64in. (L); Media: colored pencil and gouache on linen collaged onto canvas backed with preserved moss sheeting and stitching • Iron—Artist: Rian Kerrane $600 each Title: Iron Iron; Scale: life size; cast iron with found domestic objects (4) • Ironing Board—Artist: Rian Kerrane NFS Title: Board; Scale: variable; Media: Found Object 2. Unheavy $25,000 collaborative installation (for complete installation) May be purchased as individual pieces as follows: • Painting—Artist: Melissa Furness $9,000 Title: A Dark Place; Scale: 72in. (H) x 60in. (L) Media: oil on absorbent ground, stretched canvas • Sphere with Spikes—Artist: Rian Kerrane $9,000 Title: Spiked Mine; Scale: 5’ x 5’ x 4; Media: fabricated steel, bronze, motor • Sphere—Artist: Rian Kerrane $7,000 Title: Bathosphere; Scale: 30” x 30” x 50”; Media: fabricated steel, bronze 3. Creeper $8,500 Artist: Melissa Furness Media: Oil on canvas Scale: 48 x 60 inches Date: 2021
4. Thicket collaborative installation
$27,400 (for complete installation)
May be purchased as individual pieces as follows: • Fire Shields—Artist: Furness & Kerrane (2) $4,700 each Title: Shielded; Scale: Variable; Media: Graphite, Colored Pencil, Gouache and oil on shaped wood panels with linen backing and embroidery; found objects, fabricated metal ($1200 for stand $3500 for painting) • Flower stems on Stands — Artist: Rian Kerrane (3) $6,000 each Title: Thicket; Scale: variable; Media: cast iron, wood (3)
HISTORDOMEST-ICITY ARTWORK PRICING 5. Port of Gilded Proclivities $28,000 collaborative installation (for complete installation) • Media: Oil on canvas, gold leaf, steel, cast bronze, cast iron, video; Scale: 10”h x 80”w x 80”d. Projection dimensions vary. $28,000 for painting and sculpture with video as a group. Video may be sold solo: $5,000 Edition1/3
6. Silk Road $7,550 collaborative installation (for complete installation) This work to be purchased as a whole, divided equally amongst the two artists. • Media: fabric strips and stones (end weights)-- two lengths of linen at 13in. (H) x 140in. (L) with a third at 13in. (H) x 205in. (L) with 8 stones/ bricks of varying sizes, water soluble pencil and gouache on raw linen and found stones and bricks shipped by sea from China; wood and steel (ship)--steel, wood, zippers, cast aluminum, wheels; Scale: 11ft(H) x 4ft(L) x 5ft(W)
7. Flaccid (I, II & III) $900; $1,100; $1,100 Artist: Rian Kerrane Media: Cast iron, plastic valve cap Scale: 2in (h) x 11in (l) x 25in (w); 2in (h) x 12in (l) x 21in (w); 2in (h) x 11in (l) x 12in (w) Date: 2021
8. Refuse $10,900 collaborative installation (for complete installation) May be purchased as individual pieces as follows: • Chinese China—Artist: Melissa Furness $8,500 Title: Refuse; Scale: 10ft. x 8ft. x 6in.oil; Media: on absorbent ground, unstretched and shaped, China and ceramic dishes and figurines • Mops— Artist: Rian Kerrane $800 each Title: Iron Mop; Scale: variable; Media: cast iron, plastic/metal/wood (3)
BRINGING THE ARTS TO EVERGREEN SINCE 1974
What started as a dream by local art enthusiasts in 1974 has become a lasting community resource. Center for the Arts Evergreen (CAE) provides quality art instruction, exhibitions, and events. Our main gallery showcases local and nationally-acclaimed artists in both curated and juried exhibitions. We offer myriad educational opportunities for adults and children in the visual arts, writing, and art history. In September of 2017, Center for the Arts Evergreen moved into the newly renovated and historic Bergen Park Church, which additionally features a retail shop filled with artisan handmade gifts for any occasion. Visit us for monthly cultural events, concerts, lectures, artist demos, wine tastings, and much more.
OUR MISSION
To enrich and serve our mountain community by promoting and cultivating the arts through quality educational programming, exhibitions, and events.
WHO WE SERVE
Schools, preschoolers, teens, young adults, senior citizens, adults with special needs, singles, and more. CAE embraces diversity, equality, and individuality. Artists at all levels of their development from beginners to professionals.
ALL CREATIVES
CAE includes creatives in all mediums and in all forms of artistic expression: the visual and performing arts, literary arts, music, and other forms of artistic expression.
UPCOMING EXHIBITIONS Center for the Arts Evergreen has a variety of exhibitions in its main gallery. The exhibitions listed below are scheduled for the remainder of 2021. Each all-call show (as marked) will have a Call for Entry posted in the coming weeks and months. March 5-April 9, 2021 histordomest-icity: Melissa Furness & Rian Kerrane April 23-May 21, 2021 It’s Personal: Gail Folwell & Will Day June 4-July 3, 2021 Getting Sideways: A Slightly Different Journey Through Life: Mike Arzt & Pat Milberry July 9-August 7, 2021 Love (ALL-CALL SHOW) August 13-September 10, 2021 120 for $120 Exhibit. Selection event occurs on September 10. September 24-October 30, 2021 Rocky Mountain National Watermedia (ALL-CALL SHOW: Call for Entries is OPEN) November 12-December 23, 2021 CAE Member Show (ALL-CALL SHOW for CAE Artist Members)
EXHIBITION SPONSORS
P.O. Box 2737, Evergreen, CO 80437 | www.evergreenarts.org | 303.674.0056