Right Here Now

SEN JEREMIAH ARIAZ ETT COURTNEY BARR RD DOUBLEDAY CHRIS TCHO JOHN MALVETO F FREDERICK ORTNER R ROD PARKER ANDY OMPSON MICHAELENE KIMBERLY ARP LYNNE KRISTINE THOMPSON

Z R S O R RIGHT HERE, NOW Y E E N

table of contents Acknowledgments

6

Introduction

7

Artists

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Scott Andresen

10

Jeremiah Ariaz

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Kimberly Arp

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Lynne Joddrell Baggett

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Courtney Barr

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Gerald J. Bower

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Denyce Celentano

22

Paul Robert Dean

24

Richard B. Doubleday

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Christopher A. Hentz

28

Kelli Scott Kelley

30

Leslie Koptcho

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John Malveto

34

Malcolm McClay

36

Thomas Neff

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Frederick Ortner

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Frederick Ostrenko

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Jacqueline Dee Parker

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Rod Parker

46

Loren Schwerd

48

Andy Shaw

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Ed Smith

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Kristine Thompson

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Michalene Walsh

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acknowledgments This catalogue was designed and produced by the LSU School of Art in conjunction with the exhibition Right Here, Now at the LSU Museum of Art from November 8, 2013, through Feburary 16, 2014.

Design and Production Producer: Kitty Pheney Designer: Christina Chang

LSU School of Art: Graphic Design Student Office

Creative Director: Jeremy Grassman Faculty Advisor: Lynne Baggett and Rod Parker Printing: IPC Printing Baton Rouge Louisiana Text: provided by each artist Exhibition Curator: Natalie A. Mault

The exhibition was made possible in part by the support from Louisiana Machinery, Co.; a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism, in cooperation with the Louisiana State Arts Council, and as administered by Arts Council of Greater Baton Rouge funded also in part by the National Endowment for the Arts, a Federal agency; Nadine Carter Russell; Mr. & Mrs. Robert Galantucci; Alumni of the College of Art + Design and friends of the LSU Museum of Art.

introduction Holland Carter wrote “In a bleak economy, when our big pub-

Right Here, Now has come about through the Museum’s

lic museums threaten to sink under budget-busting excesses,

commitment to the LSU School of Art’s first-rate faculty. As

the university museum offers a model for small, intensely

another artistic arm of LSU, the museum celebrates the inno-

researched, collection-based, convention-challenging exhibi-

vations that the academy produces. As educators, these art-

tions that could get museums through a bumpy present and

ists carefully balance the roles of curricular development and

carry them, lighter and brighter, into the future.” Right Here,

classroom teaching with artistic exploration and creative activity.

Now is a genre of exhibition that one expects to see only in a university museum. The premise of such an exhibition lies in the dynamic of the department peculiar to that university alone. Another university museum would produce a completely different exhibition based on the focus, goals, and chemistry of a different group of faculty members. This exhi-

As we proceeded to organize the exhibition collaboratively, it became clear that this was a huge undertaking. We look forward to its next iteration in three years, and again three years after that, to recognize the constantly changing talent springing forth from Louisiana’s flagship university.

bition and accompanying catalogue, designed and produced

Right Here, Now is organized by the LSU Museum of Art

by the LSU School of Art, herald and document a laboratory

in collaboration with the LSU School of Art. We would like

of arts experimentation and innovation.

to recognize Kitty Pheney, director of new initiatives at the

The LSU Museum of Art is proud to present this inaugural exhibition featuring 24 artists, who are teaching faculty in the University’s School of Art and have established their rep-

School of Art, and Natalie A. Mault, curator at the LSU Museum of Art, who have with diligence and dedication worked together to make this exhibition and catalogue a reality.

utations nationally and internationally in the wider world of galleries, patrons, and museums. The exhibition, on view from November 8, 2013, through February 16, 2014, features more than 85 works in the LSU School of Art’s eight studio areas: photography, painting and drawing, printmaking, graphic

Rod Parker, Director, LSU School of Art

Jordana Pomeroy, Executive Director, LSU Museum of Art

design, foundations, sculpture, ceramics, and digital media.

7

FREDERICK ORTNER G ERSEN JEREMIAH ARIA YNNE BAGGETT COURT TANO PAUL DEAN RIC ENTZ KELLI SCOTT KE CHO ROD PARKER JOH LAY THOMPSON NEFF ICK OSTRENKO JACQU OREN SHWERD KRISTIN

GERALD BOWER SCOT AZ KIMBERLY ARP ED TNEY BARR DENYCE C CHARD DOUBLEDAY C ELLEY ARTISTS LESLIE HN MALVETO MALCOL F FREDERICK ORTNER UELINE PARKER ANDY NE THOMPSON MICHA

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Untitled, 2012. Laminated fabric, tin, screws and adhesive, 18 x 18 in.

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Untitled, 2012. Laminated fabric, tin, screws and adhesive, 14 x 11 in.

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Scott Andresen Official title at LSU Assistant Professor Discipline at LSU Foundations Year started at LSU 2012 Education MFA, Yale University, New Haven, CT BFA, Hunter College, New York, NY

My work explores the nature of therapeutic actions; more specifically how such actions have consequences both intended and unintended. Using a variety of sculpturally driven processes, the work hovers between two-dimensional abstraction and physical representation. I pull inspiration from various antiquated and unfamiliar sources such as industrial lamination, make-do antiques, geology, found and repurposed materials, tinsmithing, and surgical techniques. Each piece goes through the stages of construction, destruction, and reparation. The final repair is meant to be so physically invasive and disruptive that the method of alleviating trauma becomes a new unintended form of trauma itself.

Scott Andresen is a mixed-media artist whose interests

residencies at Socrates Sculpture Park and Lower Manhat-

revolve around themes of repair. He received his master’s

tan Cultural Council while also receiving fellowships from

degree in painting and printmaking from Yale University and

New York Foundation for the Arts and the Pollock Krasner

his bachelors degree in sculpture from Hunter College. He has

Foundation. In 2012, Scott moved from Brooklyn, New York, to

exhibited widely, including exhibitions at Jack Tilton Gallery,

Louisiana when he accepted the Foundations Chair position in

Lehmann Maupin Gallery, Islip Art Museum, Exit Art, Naples

the School of Art.

Museum of Art, and The Bronx Museum. He has attended

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Western Leone, 2012. Archival ink jet, 24 x 30 in.

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Oasis Bar, 2013. Archival ink jet, 30 x 24 in.

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Chair, 2013. Archival ink jet, 30 x 24 in.

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Billboard, 2013. Archival ink jet, 24 x 30 in.

Jeremiah Ariaz Official title at LSU Associate Professor Discipline at LSU Photography Year started at LSU 2006 Education MFA, State University of New York, Buffalo, NY BFA, Kansas City Art Institute, Kansas City, MO

Between 2006-2010, I photographed Tucumcari, New Mexico, focusing on the plight of the small town facing harsh economic realities that reflected what was happening in much of the United States. Later, I was fascinated to watch the opening scene of Sergio Leone’s film, For a Few Dollars More (1965) in which the protagonist sits in a train crossing a barren landscape in route to Tucumcari. The landscape portrayed appears to be the western United States but is in fact the Almeria desert in southern Spain. Wishing to create a dialogue between the factual American West of the project I just completed and the fictional American West as shown in this film, and countless other “Spaghetti Westerns,” I went to the Almeria desert. I began photographing at three film studios in the desert but then went beyond these sets, into the bars, brothels, and beyond, creating images that suggest a contemporary Western.

Jeremiah Ariaz’s art, including recent bodies of work Frontier,

Notions of place and history, the relationship of idealized

Shadow Root, and Reconsidering Landscape explores the ten-

landscapes to the lived environment, and romantic myths of

sion between man and nature and the consequences resulting

the west inform his photographic investigations. Tucumcari

from Manifest Destiny’s impulse to dominate the land.

documents the once prominent New Mexico town at its

Ariaz has exhibited, delivered papers, and spoken about his work both nationally and internationally. Photographs from his series, Reconsidering Landscape were included in the 2008 Focal Press book, Light and Lens: Photography in the Digital Age and the 2010 publication, INSIGHT volume 4: Landscape from the Photo Media Center as well as being featured in numerous exhibitions including No Place in Particular: Images of the American Landscape (2011) at the Museum of Contemporary Art in Jacksonville, Florida.

centennial. Select photographs from Tucumcari have been featured in exhibitions including Southern Photographers at Atlanta Photographers Gallery (2009), the Halpert Biennial at the Turchin Center for the Arts (2009) (receiving the juror’s prize), and The American Dream at the New Orleans Photo Alliance (2010). Solo exhibitions of the work have been shown at the Acadiana Center for the Arts (2010), Vanderbilt University (2013), and B Gallery in Rome, Italy (2013). Two photographs from Tucumcari are included in the 2011 publication, Exploring Color Photography by Robert Hirsch.

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Self Portrait With Prey, 2010. Lithograph, 22 x 15 in.

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Fivie Serpent Church, 2008. Lithograph/digital inkjet print, 29 x 19.5 in.

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Cast Thy Nets, 2012. Lithograph, 19 x 13 in.

4 And The Moon Into Blood, 2012. Lithograph, 14.25 x 19.75 in.

Kimberly Arp Official title at LSU Professor Discipline at LSU Printmaking Year started at LSU 1977 Education MFA, Indiana University, Bloomington BFA, Grand Valley State College, Allendale, MI

For the past 10 years I have used photographs and digital images I have taken in conjunction with my sketchbooks to create prints, paintings, and drawings that deal with bizarre places, events, and spiritual phenomena. My intention is that these images speak to the seen and the unseen, the here and the not here, and rituals of spiritual behavior, both personal and cultural. Most recently, I have been scanning and manipulating my photographs and digital images and printing them out as archival inkjet images on rag paper and then printing over/into them using hand drawn and/or photo images based in lithography, intaglio, and screen print. My intention is that these images become hybrids of “photo reality” and hand-drawn invention/intervention.

Kimberly Arp was born and raised in Northern Michigan and

of 1977. Arp’s work has been featured in over 200 one-man,

went to Grand Valley State College for his BFA degree. He

two-person, group, juried, and invitational exhibitions all over

received his Master’s of Fine Arts degree from Indiana Univer-

the United States, as well as the United Kingdom, South

sity in May of 1977. He is a professor of art at Louisiana State

Korea, Italy, and Australia.

University and has taught printmaking there since August

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Disregard, 2013. Encaustic and foil on gypsum, 8 x 8 in.

2 Matrilineality, 2010. Acrylic and foil on gypsum, 11 x 7 in.

3 Petite Manan, 2012. Acrylic and foil on gypsum, 6 x 8 in.

Lynne Joddrell Baggett Official title at LSU Professor Discipline at LSU Graphic Design Year started at LSU 1994 Education BTEC/HND Graphic Design University of Derby, Derby, UK BTEC/OND Graphic Design Stockport College, Stockport, UK

Investigating typography as an art form is a welcome change from the confinements of clientbased design projects. My work has evolved beyond commercial intent, to explore creative pursuits involving the history and development of letterforms. Incised letterforms from stone grave markers continue to inspire my personal artwork. These composite relief creations combine hand-carved letterforms with references to letterpress printing. The carving and casting techniques produce spontaneous and idiosyncratic characteristics that spawn development of new letterform interpretations and make possible three-dimensional personal statements.

Lynne Baggett spent five years in London as a graphic de-

Her research papers have been accepted for publication and

signer before relocating to the U.S. in 1993. She has received

presented at national and international professional meetings

several accolades for her research on the subject of incised

for: the Association for Gravestone Studies, Schenectady, New

letterforms including: a Mississippi Arts Commission-Artist

York; The Society of Typographic Aficionados, TypeCon 2011,

Fellowship; research grants from the LSU Office of Research

New Orleans, Louisiana; ATypl (Association Typographique In-

& Economic Development; and various design awards from

ternationale, Brighton), United Kingdom; and Typevents LLP/

AIGA | the Professional Association for Design (New Orleans),

Friends of St. Bride Printing Library, London, United Kingdom.

and the American Advertising Federation (Baton Rouge).

Her typographically inspired artwork has been exhibited in Alabama, Louisiana, Maine, Mississippi, New York, Ohio, South Carolina, Tennessee, Texas, and in Birmingham, United Kingdom.

She currently serves on the board of trustees for the Association for Gravestone Studies, is a member of the Advertising Federation of Greater Baton Rouge, and the Friends of St. Bride Printing Library, London, United Kingdom.

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Lifespans: A Radial Family Tree, 2013. Digital print, 30 x 30 in.

2 Intersections of Influence, 2011. Letterpress and digital print 24 x 18 in.

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Courtney Barr Official title at LSU Assistant Professor Discipline at LSU Graphic Design Year started at LSU 2008 Education MFA, East Carolina University, Greenville, NC BA, Lynchburg College, VA

I am a graphic designer, letterpress artist, and educator. My area of focus in graphic design is information design. In my work I use visual explanations to reveal new understandings and perspectives about human connections. I merge digital printing techniques with letterpress printing to create unique information/art pieces.

Courtney Barr received an MFA in art from East Carolina

Mississippi. She has received research grants such as the

University in 2008. Her professional graphic design work has

LSU Council on Research Summer Stipend Grant and was

received recognition from AIGA | the Professional Association

a co-principal investigator on a Louisiana Board of Regents

for Design and the American Advertising Federation. Her

grant. In addition, she has collaborated with researchers on

work has been published nationally in the Print Regional

design projects funded by grants from the National Science

Design Annual and Graphic Design USA Magazine, and

Foundation and the A. P. Sloan Foundation. She has presented

has been exhibited in North Carolina, Louisiana, Texas, and

her research at the Southeastern College Art Conference and the Ladies of Letterpress Conference.

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Material Evidence, 1987. Print poster design for LSU Union Gallery, 22 x 14 in.

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American Artist of the New Deal, 1990. Print poster design for LSU Union Gallery, 14 x 22 in.

Gerald J. Bower Official title at LSU Professor Discipline at LSU Graphic Design Year started at LSU 1974 Education MFA and MA, Louisiana State University, Baton Rouge BA, University of Louisiana at Lafayette

The majority my work has been in the area of publication design. I have worked on a number of books and publications. A lot of my work has been tied to branding and advertising promotions.

Gerald Bower has been associated with LSU and the School

His awards as an educator are numerous, including the Dean’s

of Art since 1974. He served as a designer on the university

Medal in 1985 for outstanding services to the College of Art

staff, then as a faculty member in the School of Art. He is a

and Design. He was cited for his contributions in advertising

professor of art and teaches in the graphic design area. His

education at the regional level with the seventh District of the

work, research, and teaching has concentrated mainly in print

American Advertising Federation. He is the recipient of the

and publication design.

Don Hileman “Teacher of the Year” award in 1990, the Otis

He is the recipient of a number of grants and awards for his work as an educator in the field of advertising and graphic design. He spent 18 years on the board of the American

Dodge Award for his contributions to education in the AAF seventh District in 1996, and the Bolton-McVicar award for his commitment to advertising education in 2007.

Advertising Federation of Baton Rouge, and is a past president of the organization. He won the group’s prestigious Silver Medal Award in 1991 for outstanding service to the organization. In 1997, he received the Pete Goldsby Award, the Baton Rouge advertising industry’s highest award.

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Beach, 2010. Oil on canvas 48 x 108 in.

2 Everyone at the Beach Drives the Same Car, 2013. Oil on canvas, 48 x 72 in.

Denyce Celentano Official title at LSU Associate Professor; Associate Director, School of Art Discipline at LSU Painting & Drawing Year started at LSU 2000 Education MFA, East Carolina University, Greenville, NC

The figure and interaction among people has been the subject of my work for many years. These works are conceived from imagination, but have variously taken their form from news-generated events or personal biography. The underlying premise is shared experiences and, on some level, the difficulty of sharing experiences, whether these take the form of a community catastrophe, a day at the beach, a birthday party, sitting in a hospital waiting room, or a couple in bed. These are the events of our daily lives. As a painter, I am interested in the arrangement, context, and paint itself as a conveyor of sensate experience. I am not interested in painting as metaphor, but rather presence and particularity.

Denyce Celentano’s work has been included in exhibitions

Center in New York City, and the Wohlfarth Gallery in Wash-

at the New Orleans Museum of Art, the Frye Art Museum in

ington, D.C. She received her MFA from East Carolina Univer-

Seattle, the North Carolina Museum of Art, and the Weather-

sity. Celentano currently teaches painting at Louisiana State

spoon Art Gallery in North Carolina. Recent solo exhibitions

University where she is an associate professor and associate

include the Cole Pratt Gallery in New Orleans, the Painting

director of the School of Art.

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Lenin, 2013. Framed collage, 21 x 21 in.

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My Monet 3, 2013. Framed collage, 7 x 7 in.

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True Love, 2013. Framed collage, 9 x 9 in.

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Indra’s Net (A Dreamcatcher), 2013. Framed collage, 17 x 17 in.

5

Marilyn Monet, 2013. Framed collage, 12 x 12 in.

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Adam, Eve and Jesus, 2013. Framed collage, 13 x 13 in.

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Children of the Revolution, 2013. Framed collage, 15 x 15 in.

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My Monet 4, 2013. Framed collage, 6 x 6 in.

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Orange Crush, 2013. Framed collage, 13 x 13 in.

Paul Robert Dean Official title at LSU Assosiate Professor Discipline at LSU Graphic Design Year started at LSU 1992 Education MPD, North Carolina State University, College of Design, BA, University of North Carolina at Chapel Hill, NC

The collages in this series developed as a tribute to and a celebration of the art that has inspired me, from Dada and Cubism to Monet’s impressionism, the pop art of Andy Warhol, and other sources, such as oriental carpets. It’s art about art, intended to amuse and possibly educate the viewer. My most recent project has been a series of six quilts, designed by myself and manufactured by Campus Quilt Company in Louisville, Kentucky. I have worked with Hawaiian or aloha shirts before, fascinated by the promise of paradise that the images often suggest. Now I have taken this fascination further, by designing quilts using some of the hundreds of Hawaiian and exotic shirts I have collected from thrift stores. A quilt can be viewed as an art object, but it also meets a necessary human need that goes beyond mere aesthetics. These aloha quilts suggest a paradise that can be reached, at least temporarily, through sleep and the dreams that may follow.

Paul Dean was born in Endicott, New York, but spent his forma-

from North Carolina State University’s College of Design in

tive years in Raleigh, North Carolina, which he now considers

1986. Paul taught at Southwest Missouri State University, in

his ancestral home. In 1980 he received a Bachelor of Arts

Springfield, Missouri, for three years before finding his true pro-

in Radio, Television and Motion Pictures from North Carolina

fessorial calling at Louisiana State University’s College of Art

University in Chapel Hill. Paul worked at an early “green” print

and Design. Here, for the past 20 years the has taught graphic

shop and as an art director for the Episcopal Diocese of North

design, particularly typography, color theory and graphic

Carolina, before receiving, just as its graduate graphic design

design history, while helping to guide the program. Paul is also

program was emerging, an MPD (Master of Product Design)

a freelance graphic designer and a fine artist.

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Richard B. Doubleday Poster Exhibition; Lebanese American University, Beirut, Lebanon, 2012. Print poster, 27.5 x 20 in.

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7th Annual International Typography Poster Competition / Asma Ul Husna; La Ilaha Illa Allah Wa-Mohammad Rasoul Allah, Tehran, Iran, 2011. Print poster, 27.5 x 20 in.

richard B. doubleday

by Kerry William Purcell Official title at LSU Assistant Professor Discipline at LSU Graphic Design Year started at LSU 2012 Education MFA, Boston University, Boston, MA BFA, Massachusetts College of Art and Design, Boston, MA

The graphic designer is a time traveler. Often unknowingly, they journey across time and space, gathering images, typefaces, and illustrations, to form new creations that exist in indistinct time we call the present. One could argue, as Eugene O’Neil famously said, “there is no present or future, only the past, happening over and over again, now.” But this would be to negate how the most perceptive of designers seek to draw connections between their contemporary subject, and the visual forms they draw on to communicate that subject in the most perspicacious manner possible. Such designers are few and far between, but one such individual is Richard B. Doubleday. His posters make us experience anew the familiar and everyday. In a world where graphic design is too often ensnared by the glare of consumerism, the space these posters afford is one to be treasured and respected.

Richard B. Doubleday has lectured and led workshops in

Tokyo Type Directors Club Annual Awards and a contributing

London, Japan, Mexico, and China. Doubleday has exhibited in

writer for the Tokyo TDC Vol. 20. He is a contributing author

international competitions, including the International Poster

for Phaidon Archive of Graphic Design and Meggs’ History of

Triennial in Toyama, Japan, and the Lahti International Poster

Graphic Design. Doubleday is currently the education director, New

Biennial. His work has been published in The Sourcebook of

Orleans Chapter, Professional Association for Design and a member

Contemporary Graphic Design, The Poster: 1,000 Posters from

of the Graphic Artists Guild, SECAC, and Society of Printers.

Toulouse-Lautrec to Sagmeister, and Star Graphic Designers: The Masters of Graphic Design. Doubleday’s writing on graphic design history has been published in Baseline, IDEA, Print, IdN, Design & Packaging China, NOVUM, Zhuangshi, and Australian Creative. Doubleday was a guest juror at the

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Illusion 01, 2012. 18 kt gold, amethyst cut by Tom Munsteiner, 4.5 x 4.5 x 0.75 cm.

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Another x 2, 1996. 22kt gold, vitreous enamel by Barbara Minor, 4 x 2 x 1 cm.

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Christopher A. Hentz Official title at LSU Professor Discipline at LSU Sculpture Year started at LSU 1976 Education MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

Creative thought and visual sensitivity equals Fine Art. Creative thought, visual sensitivity with a hint of functionalism equals Fine Design.

Creative thought, visual sensitivity, a hint of functionalism, and material sensitivity equals Fine Crafts.

Christopher A. Hentz is a professor in the 3D area of the

Over the years, Hentz’s national reputation has been repeat-

LSU School of Art. He teaches jewelry/metalsmithing, CAD/

edly acknowledged as an innovative designer and as a person

CAM/RP, digital fabrication, and three-dimensional design.

who is inventive with materials, processes, machines, and

Hentz has shown his work nationally in prestigious galleries

tool design. This expertise has transferred to other media and

and museums including the Smithsonian Craft Show and the

disciplines. His use of the digital fabrication has aided student

Philadelphia Art Museum Crafts Show, as well as international-

projects to be realized as physical objects.

ly in Europe and Japan. He has lectured and taught workshops throughout North America, Europe, Asia, and Australia focused on the subject of form development unique to his construction techniques. Hentz has been widely published with imagery and text in over 40 hardbound editions.

Hentz uses CAD/CAM/PR in all his classes from freshman-level to graduate course work. He envisions a collaborative Visual Data and Digital Fabrication Center at LSU where 3D information is gathered by input sensors and then manipulated visually by scientists, designers, and artists to communicate their creativity into actual 3D objects.

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Fleeing the Storm, 2013. Charcoal and acrylic on repurposed paper, 24 x 18 in.

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Rampage, 2012. Charcoal and acrylic on repurposed paper, 60 x 42 in.

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Magical Ape, 2013. Charcoal and acrylic on repurposed paper, 24 x 18 in.

Kelli Scott Kelley Official title at LSU Associate Professor Discipline at LSU Painting & Drawing Year started at LSU 2000 Education MFA, University of Massachusetts, Amherst, MA BFA, Louisiana State University, Baton Rouge, LA

In my work, figures, animals, and objects appear in metaphorical narratives, which explore humankind’s connections, disconnections and impact upon the natural world.

The pieces selected for Right Here, Now are mixed-media works on paper. The images are drawn on collaged re-purposed papers, salvaged from my son’s discarded school papers, as the supports.

In culling through the piles of papers I’d kept over the years, I was surprised to find countless wonderful drawings. In some of my pieces, there is a dialogue between his doodles and my images.

Kelli Scott Kelley was born in Baton Rouge, Louisiana. She

Kelley’s paintings have been exhibited in many venues

received her BFA from Louisiana State University and her MFA

including: Mesic Ve Dne Gallerie in Czeske Budejovice, Czech

from the University of Massachusetts, Amherst. She left Baton

Republic; Bangalore University in Bangalore, India; the Con-

Rouge for 15 years, living in the San Francisco Bay area and

temporary Arts Museum in Houston, and Boulder Museum of

Houston, then returned to her home state with her husband,

Contemporary Art in Boulder, Colorado; Hooks-Epstein Gal-

composer Bill Kelley, to raise their son and teach at LSU. Since

lery in Houston, and Taylor Bercier gallery in New Orleans. In

1987, her work has been primarily composed of mixed-media

2012, she was awarded a $32,000.00 ATLAS Grant (Awards to

narrative paintings, drawings, and objects. She has also

Louisiana Artists and Scholars) to complete her project Ac-

collaborated with Bill Kelley on surreal performances and

calia and the Swamp Monster. The traveling exhibit will open

video pieces. Of her teaching Kelley says, “Being a professor

September 2014 at the LSU Museum of Art in a joint event

has given me the opportunity to share my knowledge and

with LSU Press, which is publishing a book of the work.

experiences with the next generation. My life as an artist informs my teaching.”

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Current Skin, 2012. Intaglio and chine collé, image: 17 x 10 in; sheet: 22.5 x 15 in.

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Cut Through – Gustav 1, 2009. Photogravure and chine collé, image: 31 x 19.75 in; sheet: 41 x 28.75 in.

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Cut Through – Gustav 2, 2009. Photogravure and chine collé, image: 31 x 19.75 in; sheet: 41 x 28.75 in.

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Cut Through – Gustav 6, 2009. Photogravure and chine collé, image: 31 x 19.75 in; sheet: 41 x 28.75 in.

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Leslie Koptcho Official title at LSU Professor Discipline at LSU Printmaking Year started at LSU 1995 Education MFA, Cranbrook Academy of Art, Cranbrook, MI BFA, Tyler School of Art, Phil Philadelphia, PA

My current work focuses on skin as a metaphor for identity, and the fragile boundary that separates the outer world of appearance from the interior one of psychic complexity. I am driven to compare and combine the “skins” of living organisms, working much like a comparative biologist.

I use microscopy to examine and capture a variety of normally hidden images. In turn, by digital means, I manipulate and merge these images with those of traditional drawing and printmaking processes. By adapting, replicating, and combining these elements, I intend to create visual polemics, which are central to my work. Printmaking processes mirror life processes, comprising layers of complex, diverse, and not infrequently, conflicting elements. And while printmaking is frequently identified as a medium of duplication and multiples, a more considered appraisal challenges this notion. I work in series to examine and explore the qualities that define individuality. The impressions I create, like members of a family, are related, but not identical.

Koptcho earned her BFA from Tyler School of Art, and MFA

Panang International Printmaking Exhibition (Malaysia);

from Cranbrook Academy of Art. Her work is included in 35

MATRIX: Contemporary Prints at the Museum of Fine Arts

permanent collections in six different countries, including the

(FSU, Florida); and Prints Tokyo 2012 (Japan). Solo shows

Bibliothèque nationale de France, the Queensland University

include JARFO Gallery in Kyoto, Japan and the Joan Grona

of Technology Art Museum, the Fogg Museum, Brooklyn Mu-

Gallery in San Antonio, Texas.

seum, Nelson-Atkins Museum of Art, New York Public Library, and the Library of Congress.

Her awards include a Yaddo Fellowship, an Atlas Grant, supporting research in Japan, and an American Cultural Specialist

She has exhibited in over 200 venues, including the Seoul

award for work in India. She was also selected as juror for The

Space International Print Biennial (Korea); Between Nature

2nd International Conference of Plastic Arts, which was held in

and Culture (Finland, Czech Republic, and US); the 5th Inter-

Egypt. Koptcho has served on the board of directors for both

national Printmaking Biennial of Douro (Portugal); the 2nd

the Southern Graphics Council and American Print Alliance.

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LaJolla Sunset, 2013. Acrylic on canvas, 25 x 27 in.

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Dangerous Heart Package, 2013. Acrylic on canvas, 25 x 27 in.

John Malveto Official title at LSU Associate Professor Discipline at LSU Painting & Drawing Year started at LSU

Presently, my paintings gravitate toward a series of work involving the resilience of humanity verses nature and their eternal conflict to co-exist harmoniously. They are autobiographical in nature, thereby enabling me the opportunity to integrate personal iconography within my compositions. Paintings include a combination of abstract surfaces which are altered by a hard edge to

1983 Education MFA Arizona State University, Tempe, AZ BA University of Rhode Island, Kingston, RI

create recognizable imagery with a visually energetic surface, using a contrasting field to complement explosive foreground images. A feeling of both tension and depth is achieved by using intriguing spatial relationships that convey multiple levels of awareness producing unique and thought-provoking images.

BA Park College, Parkville, MO John Malveto received his Bachelor of Arts in Sociology from

has taught at many universities from New York to California to

Park College in Missouri in 1967. He studied painting and

China and has been a professor at the Louisiana State Univer-

drawing at the University of Rhode Island in 1974, and re-

sity School of Art since 1983. Malveto has had 400 plus exhi-

ceived his Masters of Fine Arts in painting and sculpture from

bitions from New York, New York to San Fransico, California.

Arizona State University in Tempe, Arizona in 1976. Malveto

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Ekstasis, 2013. Performance, variable dimension.

MALCOLM McCLAY Official title at LSU: Associate Professor Department at LSU: Sculpture Year started at LSU: 2003 Education: MFA, Ohio State University, Columbus, OH MA, New Mexico State University, Las Cruces, NM BA, University of Ulster, Belfast, N. Ireland

Three recurrent themes define my work: the effect of political forces on people’s lives, the poetry of the mechanical, and an interest in viewer-activated work. Growing up close to the border with Northern Ireland and spending four years in Belfast during “The Troubles,” I developed an interest in how political forces affect people’s lives. The second recurrent theme is driven by my innate curiosity and attraction to the visual poetry of mechanical objects; this is reflected in the robotics and interactive elements in my work. The third component is an intense interest in my audience.

From an early involvement in theater, my work evolved to include sound, light, movement, text, physical objects, and even myself. I was less interested in blurring the lines between sculpture and theater than I was driven by a desire to find the most direct and powerful means of communicating to my audience on a visceral level. This is reflected in my newest work Ekstasis.

Born in Derry, Northern Ireland, and raised in Donegal, Ireland.

In 1999, McClay moved away from performance to concentrate

Malcolm McClay studied at the University of Ulster, Belfast,

on interactive installation and kinetic sculpture. He moved

where he received his BA honors degree in three-dimensional

from San Francisco to Louisiana in 2002 and joined the faculty

design. He earned his MA in sculpture from New Mexico State

of Louisiana State University’s School of Art in the fall of 2003.

University and his MFA in sculpture and performance from The

As an Irish artist living in the U.S., McClay exhibits in both

Ohio State University. There he co-founded Crisus, a perfor-

countries regularly. He is a founding member of the Good

mance company. For the next 10 years, Crisus wrote, produced,

Children Gallery in New Orleans where he regularly curates

and toured large-scale multimedia performances throughout the

and exhibits.

U.S. and abroad. McClay moved with Crisus from Ohio to New Orleans, then to Chicago, and finally to San Francisco.

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Dan Neff (brother) at home in Riverside, California, 2013. Photography, 21.5 x 16 in.

2

Rock Pinnacles, Arches National Park, Moab, Utah, 2013. Photography, 16 x 21.5 in.

3

Model Mercantile and Grocery in Ruin, Hwy. 350, Los Animas County, Colorado, 2013. Photography, 16 x 21.5 in.

4 Anasazi (Ancestral Puebloan) Dwelling, Hovenweep National Monument, Colorado, 2013. Photography, 16 x 21.5 in.

Thomas Neff Official title at LSU Professor Discipline at LSU Photography

The photographs presented here were made during a 2.5 month sabbatical leave research trip through much of the American West, in the winter/spring of 2013. The primary focus was to witness the details and sweeping vistas of many of our national parks and monuments, and to

Year started at LSU 1982

photograph people I encountered along the way.

Education

Thomas Neff has been teaching photography in the School of

evacuate when Hurricane Katrina struck. A book of this work

MFA, University of Colorado Boulder, Boulder, CO

Art since 1982. The numerous bodies of work he has created

was released in 2007 by the University of Missouri Press, titled,

focus on people, place, and architecture; in Italy, Ireland,

Holding Out and Hanging On: Surviving Hurricane Katrina.

China, Japan, Colorado, the American West, and Louisiana.

Among his more recent works is a series of portraits and written narratives of people in New Orleans—citizens who did not

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Grassano seen from Accettura, 2012-13. Oil on canvas, 30 x 72 in.

2

Valmiletta, 2009. Oil on canvas, 30 x 36 in.

fredeRick Ortner Official title at LSU Professor Discipline at LSU Painting & Drawing

My paintings are made directly from nature. I study the visual experience to discover intervals, forms, and colors that set up equivalencies in paint to the perceived world. One of the ways this process is manifested is in the creation of a clearly readable space which the eye can move

Year started at LSU 2002

through smoothly and without interruption.

Education MFA Pratt Institute, New York, NY

These paintings are grounded in an understanding of traditional painting structures—perspective,

MA New York University, Institute of Fine Arts, New Yourl. NY

and the picture plane; but the process of making them is at its heart intuitive, irrational. They

proportion, anatomy—and fundamental issues of early twentieth century art—attention to facture

are as much as possible a faithful and direct transcription of the visual experience. As light and

BA University of Virginia, Charlottesville, VA

weather changes, the painting changes also. That is, the purpose of the pictures is not to record

Royal College of Art, London, UK

an impressionist moment, but rather, the sum of the artist’s experiences before nature. (In a month

New York Studio School Skowhegan School of Painting and Sculpture

on a landscape motif, for example, not only are there dramatic changes in the weather, but fields are mown, people and vehicles come and go, trees are cut, streets are paved, and sometimes even buildings are pulled down.)

Frederick Ortner was trained in New York City at Pratt Institute,

His work has been exhibited in New York at the Bowery Gallery,

the New York Studio School, and New York University’s Insti-

the Blue Mountain Gallery, and the Prince Street Gallery. He

tute of Fine Arts. His painting has been supported by grants

has also exhibited in public and private galleries in Connecti-

from the Skowhegan School, the Royal College of Art in Lon-

cut, Illinois, Ohio, Indiana, Michigan, Texas, Iowa, Norway, and

don, the Cité Internationale des Arts in Paris, the E. J. Noble

France.

Foundation, and the MacDowell Colony.

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IMG 1984, 2013. Website, iPad

2 Orbs #1, #2, #3, 2010. Glass, cork, microcontroller, LED, and wires, 24 x 7 x 6 in.

3 Change Industries, 2010. Dollar bills, printer, and custom Software, 3 x 6 in.

4 Conglomeration, 2013. Custom software, iPad

fredeRick Ostrenko Official title at LSU Assistant Professor Discipline at LSU Digital Art Year started at LSU 2010 Education MFA, Rhode Island School of Design, Providence, RI BA, Stetson University, DeLand, FL

I create physical and virtual systems that examine the intersections of media, culture, and technology.

I employ custom hardware and software that use various interfaces such as mobile applications, brain waves, generative visualizations, video processing, animation, and games. My research focuses on pushing art and technology to reveal hidden networks between people by creating structures for innovative forms of expression and discovery.

Frederick “Derick� Ostrenko holds a joint-appointment in

his artistic practice, Ostrenko has worked professionally in

the Digital Art area of at the School of Art and the Cultural

exhibit fabrication, video production, 3D modeling, and web

Computing research group at the Center for Computation and

development. As the current area head for Digital Art at the

Technology (CCT). Derick received his MFA in Digital+Media

LSU School of Art, Ostrenko teaches classes in animation, cre-

from the Rhode Island School of Design. In conjunction with

ative coding, 3D graphics, interactive art, and video production.

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Graphite, 2012. Paper, acrylic and graphite, 30 x 22 in.

2 Aftermath, 2012. Paper, acrylic and graphite, 30 x 22 in.

3 Nocturne III, 2012. Paper, acrylic and graphite, 30 x 22 in.

Jacqueline DEE Parker Official title at LSU Instructor of Art Discipline at LSU Painting & Drawing Year started at LSU 2003 1993, Department of English Education MFA, Louisiana State University, Baton Rouge, LA BA, Sarah Lawrence College, Bronxville, NY

As a mixed media painter and a poet, my work cross-pollinates, stirred by the correspondence between these art forms. Collage elements move me to build layers and texture, to respond to textual and cultural evidence, and to indulge my interest in language, history, and ephemera, all the while engaged in a visceral construction of space. Early life in the home of an architect and a violinist clearly influenced my aesthetic. Exposure to the art of architecture encouraged my interest in spatial relationships, taught me to read elevations and visualize their 3-D intentions, and, at construction sites, to appreciate the evolution of concept to form. Music played where words ended, roused layers of emotional response, and altered the sense of place and time. Together, these ingredients fostered an affinity for abstraction and design.

Jacqueline Dee Parker was born in New York City and raised

Her poems appear in many literary journals and anthologies,

in New Haven, Connecticut. She holds a BA from Sarah

including Atlanta Review, The Southern Review, Chelsea, and

Lawrence College and an MFA in creative writing with a

American Diaspora: Poetry of Exile, among others. Parker was

secondary emphasis in painting and drawing from Louisiana

awarded a juror’s prize in the 2009 Rauschenberg Tribute

State University. Parker has served as an instructor at LSU

Exhibition (Museum of the Gulf Coast), and her work has been

since 1993, and taught in the Department of English before

nominated for a Pushcart Prize. She is the recipient of a 2007

joining the School of Art in 2003. Ann Connelly Fine Art (LA),

Artist Fellowship from the Louisiana State Division of the Arts.

Diane Birdsall Gallery (CT), and Hooks-Epstein Gallery (TX), represent her work, and she is an artist member of the Baton Rouge Gallery Center for Contemporary Art. Prior to life in Louisiana, Parker lived and worked as a freelance graphic layout artist in New York City, Boston, and Detroit.

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War Torn: Rushing ahead alone, 2004. Inkjet print, 18 x 24 in.

2 War Torn: Enlightenment contemplates the democratic experiment, 2003. Inkjet print, 24 x 18 in.

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Rod Parker Official title at LSU Associate Professor; Director, School of Art

For most of my professional career I’ve practiced as a graphic designer, and as an art director or

Discipline at LSU Graphic Design

tackling projects that, because of their scale and scope, required the collaboration of many people,

Year started at LSU 1995 Education Diploma, Typographic Design; Certificate, Craft Bookbinding London College of Printing, University of the Arts, London, UK

creative director. Inevitably this has meant participating as a member or leader of a creative team

particularly writers and artists. Such work does not readily lend itself to exhibition in this type of venue, so for this show I’ve selected two experimental pieces in which I explored “painting” with light—elements captured with a digital camera or synthetically created with software.

Born in London, England, and raised in South Wales, Rod

After a decade of professional practice in identity and brand-

Parker studied typography and bookbinding at what was then

ing design, Parker joined the faculty of the School of Art full

called the London College of Printing, now the University of

time in 1995, teaching graphic design. In 1998, he collaborated

the Arts, London. A postgraduate position at the University of

with graphic design colleagues to establish the Graphic

Texas in Austin led Parker to design practice in scholarly pub-

Design Student Office, a student run design unit on campus.

lishing at UT Press, and magazine and book design with Texas

Since then, Parker has worked with LSU’s AVATAR (Arts, Visu-

Monthly press. After returning to London, he spent four years

alization, Advanced Technologies and Research) Initiative and,

working in corporate identity design and implementation for

as Director of the School of Art since 2008, helped establish

companies in the UK and Europe before coming to Louisiana

the school’s digital art program.

to spend a year working at LSU Press in Baton Rouge. In 1981, Parker began teaching as an instructor in the School of Art at LSU and in 1984 founded the Baton Rouge based design firm, DSI/LA, a regional leader in exploring the use of computers in art and design practice.

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At the Foot of Paradise, 2010. Thread and netting, 16 x 60 in.

2

Plume, 2010. Thread, netting, map pins and synthetic raffia, 96 x 72 x 24 in.

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Legend, 2010. Thread and netting, 20 x 60 in.

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Loren Schwerd Official title at LSU Associate Professor Discipline at LSU Sculpture Year started at LSU 2005 Education MFA, Syracuse University, Syracuse, NY BFA, Tulane University, New Orleans, LA

Where Danger and Dishonor Lurks was created in response to the BP oil spill. I was captivated by the sinister beauty of the maps and photographs that charted the visible effects of the ongoing crisis, and intrigued by the language used by scientists, politicians, and journalists to communicate the scale of the crisis and hypothesize the potentially dire effects on the wildlife and economies of the coastal region.

Loren Schwerd is a multidisciplinary artist based in New

She has exhibited widely at institutions such as The Center

Orleans. Her work involves materials and techniques of tra-

for Craft, Creativity, and Design, in North Carolina, the Dana

ditional crafts that have been re-contextualized to address a

Women Artist Center at Rutgers, The State University of New

contemporary world. She combine methods and media from

Jersey, La Triennale di Milano Design Museum, Milan, Italy,

the pliant categories of sculpture and textiles, obscuring

and at the Prospect 1.5 New Orleans Biennial. She’s has been

distinctions between organic and synthetic matter and sug-

granted numerous artist residencies by institutions such as

gesting opposing states of frailty and resilience. The tactile

Art Omi, the Djerassi Foundation, the Sitka Center for Art and

surfaces and dark undertones of her works intersect the

Ecology, and the National Park Service. Her works have been

physical and the psychological.

featured in diverse publications such as FiberArts Magazine, Design 360 Magazine, and Issues in Science and Technology.

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Serving bowl, 2013. Water-carved porcelain, 4.5 x 10 x 10 in.

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Dinner plate, 2013. Water-carved porcelain, dia. 10.5 in.

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Pasta plates, 2013. Thrown and altered porcelain, dia. 9 in.

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Vases, 2013. Water-carved porcelain, 17 x 6.5 x 6.5 in and 17 x 9 x 9 in.

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andy shaw Official title at LSU Assistant Professor Discipline at LSU Ceramics Year started at LSU 2008 Education MFA, The New York State College of Ceramics at Alfred University, Alfred, NY BA, Kenyon College, Gambier, OH

In my pottery, I examine the format of vacancy and the tenuous balance it requires of the viewerparticipant in establishing completion. Knowing that the porcelain will become active components within a home, I design each piece so that it can adapt to place and to the personal preferences of each homeowner. In my studio I resist the artistic impulse to create overall resolution, opting instead to leave room for improvisation by the cook whose own need for creative resolution is just as necessary as mine. By leaving the glaze color neutral, cooks recognize the invitation for a spinach, strawberry, and almond salad or perhaps for a grilled turkey club panini with purple onion. In this way, color is not a fixed quality in the pottery, allowing it to have an active role in daily cooking.

Andy Shaw has taught at Alfred University, Gettysburg

Among the distinguished permanent holdings of his work

College, Arcadia University, and Andrews University. He

is the Garth Clark and Mark Del Vecchio Collection at the

was artist-in-residence at the Archie Bray Foundation, the

Museum of Fine Arts, Houston. His work has received many

Arrowmont School, and the Clay Studio, where he was the

awards and he was one of three Americans to represent the

2007 Shapiro Fellow. In 2015, he will complete a McKnight

U.S. in an Australian tableware exhibition. LSU recognized him

Residency in Minnesota.

with an Outstanding Teaching Award. Andy teaches frequent

In 2000, he earned a MFA from the New York State College of Ceramics at Alfred University and in 1992 a BA in history from Kenyon College. He also studied at Penn State University, the

workshops and holds visiting artists events at universities across the country. In 2014, he will travel to Reykjavik, Iceland to teach briefly in the School of Visual Arts.

University of St. Andrews in Scotland, and apprenticed at Basin Creek Pottery, Montana.

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Strain, 2013. Oil on canvas, 72 x 96 in.

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After the Journey, 2012. Oil on canvas, 72 x 60 in.

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Song of the South, 2013. Oil on canvas, 72 x 96 in.

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Raft, 2012. Oil on canvas, 72 x 72 in.

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Ed Smith Official title at LSU Associate Professor Discipline at LSU Painting & Drawing Year started at LSU 1998 Education MFA, Brooklyn College, City University of New York, Brooklyn, NY

After moving to Louisiana about 14 years ago I became fascinated with the fauna and especially the birds. The sight of a flock of Spoonbills standing in a puddle in front of an Exxon oil refinery while the sun was setting was too much to ignore. It rekindled my love of Audubon and started my use of birds as a subject in my paintings. How could the Birds of America be dealt with today?

Reading Cormac McCarthy’s novel The Road and enduring hurricanes Katrina and Gustav also played roles in the development of the work. Mostly the paintings are about the struggle to survive and the birds are just “stand-ins” for the general condition of being.

BFA, University of Massachusetts, Amherst, MA Ed Smith received his BFA from the University of Massachu-

Smith’s work has been exhibited at Dartmouth College in

setts at Amherst and his MFA from Brooklyn College CUNY.

Hanover, New Hampshire; The Islip Museum, Islip, New York;

After working at Queens College in New York for 12 years,

North Carolina Museum of Natural History in Raleigh; The

Smith came south to teach at LSU, where he became fascinat-

Huntsville Museum in Alabama; The Walter Anderson Museum

ed by the Louisiana landscape, interested in the work of John

in Mississippi; The Contemporary Art Center in Mobile; Soren

James Audubon, and intrigued by the intersection of wildlife

Christensen Gallery in New Orleans; Erdreich White Fine Art

and industry in South Louisiana. His paintings are about the

in Boston; Redbud Gallery in Houston; Clark Gallery in New

results of the clash that occurs where nature and man collide.

York; Whitney Art Works in Portland, Maine; Dome Gallery

In 1979, Smith was one of the original crew members of the

in New York, among others. He recently had solo exhibitions

conservation ship, The Sea Shepherd. Environmental concerns

at The Cape Cod Museum of Art in Massachusetts and The

have played an important role in his work ever since.

Appleton Museum in Florida. He is represented exclusively by Soren Christensen Gallery in New Orleans and divides his time between Louisiana and Maine.

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With Ana Mendieta, 2008. Chromogenic print, 30 x 40 in.

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Post-Mortem Mom/Me, 2013. Archival pigment print, 4 x 6 in.

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Hidden Daughter Portrait, 2013. Archival pigment print, 13 x 19 in.

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Kristine Thompson Official title at LSU: Assistant Professor Discipline at LSU: Photography/Digital Art Year started at LSU: 2012 Education: MFA, University of California, Irvine, CA BS, Northwestern University, Evanston, IL

In much of my artwork, I question how empathy might be elicited from a photographic image.

I examine social and emotional responses to death, how we mourn, and the memorial properties we attach to particular objects and spaces as we grieve. This initially began as an exploration of deceased artists, the mythologies surrounding their lives, and the legacies of their artwork. In recent projects, I’ve considered these ideas through the lens of my own family and the passing of my mother. I often bring references from different historical time periods into a shared visual space to initiate a conversation between the past and the present and to imagine a tactile connection or relationship with people who are no longer around.

Kristine Thompson received her MFA from the University of

Cultural Innovation and a D.A.A.D. Fellowship, awarded by

California, Irvine and a BS in education and social policy from

the German government to facilitate a year-long research

Northwestern University. Her work has recently been exhib-

project. Thompson also served for several years as a curator

ited at Commonwealth & Council Gallery, Los Angeles; The

at UCR/California Museum of Photography, and she continues

Armory Center for the Arts, Pasadena; School 33 Art Center,

to initiate curatorial projects. She moved to Louisiana from

Baltimore; and The Luckman Gallery at California State

Los Angeles in 2012.

University, Los Angeles. She is a recipient of several grants, including an Investing in Artists Award from the Center for

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KIND, 2012. Slipcast and handbuilt ceramics, 6 x 48 x 2 in.

michaelene walsh Official title at LSU: Associate Professor Discipline at LSU: Ceramics Year started at LSU: 2001 Education: MFA, New York State College of Ceramics, Alfred, NY BFA, University of Illinois, Urbana-Champaign, IL

Often, within art, relationships between objects shift and coalesce in such a way that something fresh or exciting is felt; what once felt common suddenly feels uncommon, what initially appeared ordinary strangely moves us. A small moment of insight can be had when imagery strikes in an unconventional way. This particular moment of insight can, perhaps, be held onto as memorable.

I work to achieve this.

Essentially, what poets do with literal language, I hope to do with visual imagery. I play with the ceramic medium’s inherent gravity and permanence to speak about impermanent states such as sorrow and joy.

Michaelene Walsh received her BFA from the University of

School of Crafts, Anderson Ranch Arts Center, Arrowmont, and

Illinois at Urbana-Champaign and her MFA from N.Y.S.C.C. at

Santa Fe Clay. Her sculptural ceramic work has been exhibited

Alfred, New York. She has held teaching positions at Massa-

at a variety of galleries and museums, recently at the Icheon

chusetts College of Art, the University of Georgia, the Univer-

Ceramic Center in South Korea and The Walter Gropius Modern

sity of Washington, Virginia Commonwealth University and

Masters at the Huntington Museum of Art. Her work is also

the University of California-Davis in addition to instructing at

featured in the publication The Figure in Clay by Lark Books.

numerous alternative-learning venues, such as Haystack

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RALD BOWER SCOTT A IMBERLY ARP LYNNE B ENYCE CELENTANO PA LEDAY CHRIS HENTZ K E KOPTCHO ROD PARK M MCCLAY THOMPSON EDERICK OSTRENKO JA AW LOREN SHWERD ED N MICHAELENE WALS

ANDERSEN JEREMIAH BAGGETT COURTNEY AUL DEAN RICHARD D KELLI SCOTT KELLEY L KER JOHN MALVETO M N NEFF FREDERICK OR ACQUELINE PARKER A D SMITH KRISTINE TH SH SCOTT ANDERSEN