M a rt i n A z e v e d o
4
Dean De Cocker
8
James Deitz
12
D a n i e l E dwa r d s
16
Jessic a Gomula-Kruzic
20
Daniel Heskamp
24
Chad Hunter
28
Ellen Roehne
32
Susan Stephenson
36
Jake Wiegel
40
D I R E C TO R ’ S F O R E WO R D
In this age of COVID, artists continue creating and exhibiting work throughout the world, by moving into the virtual world. Artists have adapted to this change and have continued to create interesting and needed exhibitions. 100 by 10, is a virtual exhibition featuring 100 of the most important works created by our Art Department studio faculty members. Each of the faculty members shown in this virtual exhibition have chosen ten of his or her most important works. These works show a vast range in time and medias and were created over a vast periods of time, showcasing the growth and evolving change of the work and the artist. All exhibited works have been influential in shaping the development and career of each artist. This accompanying catalog gives a bit more insight into the works and ideas of each of the artists. The Department of Art hopes that this exhibition and catalog leads to interesting and important dialogues about the work with our students and gallery patrons. I would like to thank the Department of Art Faculty members for the opportunity to exhibit their brilliant work, Brad Peatross of the College of the Arts, California State University, Stanislaus for the catalog design, Parks Printing for printing the catalog. We are also grateful and extend our warmest appreciation to the Instructionally Related Activities Program of California State University, Stanislaus, as well as anonymous donors for the funding of the exhibition and catalogue.
Dean De Cocker Director, University Art Galleries California State University, Stanislaus
M A RT I N A ZE V EDO
Artist Statement My imagery makes use of symbolism and ideas of archetypes as a means to explore ideas of masculinity, power, narrative, and allegory. I am interested in the simplicity of an image and its ability to convey the same, or different idea or meaning to a group or individual. I am interested in what happens when these symbols interact on the same plane and the conversation that occurs between many or few pieces layered together in one visual plane. Now Lamented This work is an expansion upon ideas and working methods I developed at the end of my time in graduate school. Printmaking is a medium that offers an amazing range of visual languages unique to each print method. I found myself stuck in the technical aspects of print and lost some of the excitement of working with the medium and the unexpected twists and turns it can take when you are first experimenting with the techniques. This series of work deals with the same content and ideas I explore in all my work but was, and is still an attempt to relinquish some of the planning and control that I constantly find myself clinging to.
Once Hardy, relief/silkscreen/mixed media, 90� x 44�, 2020
6
Now Lamented, relief/silkscreen/mixed media, 90” x 44”, 2020
7
M A RT I N A ZE V EDO
EDUC ATION 2012
MFA in Printmaking, The Ohio State University, Columbus, OH
2009
B.A. Art/ Minor Art History, California State University, Chico, CA
2006
General Education course work, College Of The Sequoias, Visalia, CA
2004
Associates of Arts, Cuesta College, San Luis Obispo, CA
SOLO EXHIBITIONS 2016
If Destruction be Our Lot, Art Space on Main, Turlock, CA
2015
We Will Live Forever, C.O.S. Art Gallery, Visalia, CA
2014
Our Lot, Spire, Mobile, AL
Building Steam, Merced Art Gallery, Merced, CA
2013
100 Dialects, Roy G Biv Gallery, Columbus, OH
GROUP EXHIBITIONS 2016
Pacific States Biennial National Exhibition, University of Hawaii, Hilo, HI
Stand Out Print, Highpoint Center for Printmaking, Minneapolis, MN
Secrets, The Ohio State University Faculty Club, Columbus, OH
Invitational Printmaking Exhibition, Sagebrush Art Gallery, Sheridan, WY
Night Moves, The Cleaners at the Ace Hotel, Portland, OR
2015
Atlanta Print Biennia, Kai Lin Art, Atlanta, GA
Press & Pull, The Center for Visual Arts, Greensboro, NC
Printmaking Now, IMAGO Gallery, Warren, RI
4 x 6 24 Chambers: Contextual Language, Corridor 2122, Fresno, CA
La Arrache 4, Les Abattoirs, Riom, France
2014
Impressed, Tacocat, Columbus, OH
Conduit, Lake Region Arts Council, Fergus Falls, MN
Mash Up: Collages in Mixed Media, Islip Art Museum, Islip, NY
Pressure, LeSo Gallery, Toledo, OH
Impact-Influence, Carnegie Gallery at Columbus Metropolitan Library, Columbus, OH
2013
La Calaca Press 2013, Museo De la Ciudad, Cuernavaca, Mexico
Big Ten Prints, Lawrence Art Center, Lawrence, KS
Printmakers International, Art Center of Corpus Christi, Corpus Christi, TX
2012
Department of Art: Visiting Artists and Lecturers, Swing Space Gallery, Columbus, OH
Calacas, II La Calca Press International Print Exchange, Expression Graphics, Oak Park, IL, Corpus Christi TX, Ft. Lauderdale, FL, Michoacรกn, Mexico, Puerto Vallarta, Mexico
8
20/20 Vision 5th Edition, The Art of Contemporary University, The Fire House Gallery, Louisville, GA (Catalogue)
2012
Next Wave Part II Masters of Fine Arts Thesis Show, OSU Urban Arts Space, Columbus, OH (Catalogue)
Southern Graphics Conference Professional Portfolio Exhibition, The Big Ten Print Exchange, New Orleans, LA
2011
Kingsville Inksville, The University Of Texas Kingsville, Kingsville, TX
American Youth Printmaking, Liu Haisu Art Museum, Shanghai, China (Catalogue)
Printed Matters, Shot Tower Gallery, Columbus, OH
Impossible Things, The Ohio Art League, Columbus, OH
New Prints 2011/ Summer, The International Print Center, New York, NY Juror: Trenton Doyle Hancock
Recent Arrivals, The Ohio State University, Columbus, OH 2010 Last Gasp In Hasket Hall, The Ohio State University, Columbus, Oh
2008
Chico State Annual Juried Student Print Exhibition, Chico, CA Juror: Yuji Hiratsuka
Eibon II Print Exchange, Exhibition Kansas City Art Institute, Kansas City, MI
2007
Chico State Annual Juried Student Print Exhibition, Chico, CA Juror: Kurt Kemp
PROFESSI ONAL PORTFOLIOS 2014
Law and Order, Participant, curated by Richard Peterson
2013
Frogman’s Print and Paper Workshop Portfolio, Participant, curated by Jeremy Manard
Secrets, Participant, curated by Sophie Knee
Lithoholics-Non Anonymous, Participant, curated by Richard Peterson
Transmogrify, Participant, curated by Jack Arthur Wood Jr
2012
La Calacas Print Exchange II, Participant, curated by Carlos Barberena
Part and Departure, Organizer/Participant
2011
Mini Print Portfolio and Exchange, Participant, curated by Chico State Print Club
BIBLIOGRAPHY 2011
Best In Show ‘The Atomic Explosion’ at Peter Blum, Plus “New Prints 2011/ Summer” at the International Print Center.
The Village Voice, June 2011
AWARDS 2013
Greater Columbus Arts Council Professional Development Grant
2012
Fergus Family Scholarship for Thesis Research
2011
Charles Massey Jr Printmaking Scholarship
2008
Janet Turner Printmaking Scholarship
PERMANENT COLLECTIONS Southern Graphics Council Print Archives Collection Janet Turner Print Museum, Chico CA Meriam Library Special Collections, Chico CA
9
D E A N D E COC K ER
Artist Statement
The titles of my works are a result of my interest in
My work is part of a continuing series, “Blue Jackets
the construction techniques of World War II aircraft
Return.” From the first winged-shaped structures to
and the battles fought in the South Pacific.
the current work, I have been exploring my inter-
Dean DeCocker is a Professor of Art at California
est in formal elements by transforming flat, two-
State University, Stanislaus; he is also the Director
dimensional surfaces into three-dimensional objects.
of the University Art Gallery and the Art Space on
I derive much of my inspiration from everyday
Main Gallery. As an artist he has had 50 solo exhibi-
objects such as mailboxes, aircraft structures, wings,
tions and over 150 group exhibitions with mention
propellers, heavy machinery and architectural
of his work in over 90 articles and reviews. More of
works. These objects become conceptual elements,
his work can be seen at deandecocker.com.
which I transform into drawings. Then, via different techniques of construction, I fabricate many objects
Free Flight
of inner structures and outer coverings that create
The shapes in “Free Flight” have been a very large
volumetric enclosures. In recent years, my interest
and important part of my work. Inspiration was
in racecar fabrication and collecting vintage BMX
taken from looking at a side view of a propeller
bicycles from the 1970’s has led to subtle changes
from a World War Two Corsair fighter airplane. The
to my work’s structure and color. My work of draw-
foreshortened view of the three bladed propellers
ings, prints and photographs come from objects that
turned into an outline that lead to this simple shape.
inspire me and places that I have visited that make
Over time the original shape has morphed into
me think about time and space. Some of my newest
more complex shapes that have the look of bio-
print/painting work involves my interest in World
morphic objects, used in multiple combinations they
War I and II military ship camouflage.
create works that give the look of applied motion.
Pride of the Fleet, plexiglass, metal powder coat, 76” x 24” x 10”, 2005
10
Free Flight, Natomos Charter High School for the Arts, aluminum, powder coat, steel, 2007
Pin Points in the Pacific, Installation, acrylic paint, MDF,
11
D E A N D E COC K ER
EDUC ATION 1989 1987 1980
Claremont Graduate University, Claremont, CA, M.F.A. California State Polytechnic University, Pomona, CA, B.A. Don Bosco Technical Institute, Rosemead, CA, A.S. in Offset Lithography Color Separation
TEACHING 2003–Present Professor, Department of Art, California State University, Stanislaus, Turlock, CA 2002 Adjunct Professor, Sculpture, Department of Art, California State University, San Bernardino, San Bernardino, CA 1997–2003 Adjunct Professor in Studio Practices/Theory in Sculpture, Painting and Drawing, Department of Art, Claremont Graduate University, Claremont, CA 1990–2003 Shop Practices and Gallery Methods, Department of Art, Claremont Graduate University, Claremont, CA
PROFESSIONAL 2003–Present University Art Gallery, Director, California State University, Stanislaus, Turlock, CA 1993–2003 Gallery Director, Department of Art, Claremont Graduate University, Claremont, CA
SOLO EXHIBITIONS 2020 2019 2018 2017 2016 2015 2014 2013 2012 2011 2010 2009 2008 2007
12
Looking Glass Series – Dean De Cocker, Stan State Art Space, California State University, Stanislaus, Turlock, CA Low Tide, John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA Catalina, JAYJAY, Sacramento, CA Return to the Big Pacific, Merced Multicultural Center, Merced, CA A Return to the Speed Flags, John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA Time and Tides, Part of the Carnegie Art Center’s Centennial Celebrations, Carnegie Art Center, Turlock, CA The Shore Patrol, The Art Institute of California, Sacramento Welcome to the Pacific, Art Space on Main, California State University, Stanislaus, Turlock, CA Tropical Boom Towns, Merced College, Merced, CA When Flat Tops Ruled the Waves, John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA Specific to the Pacific, JAYJAY, Sacramento, CA Lightning Strikes, Chartreuse Muse, Modesto, CA Running at Full Tilt, JAYJAY, Sacramento, CA On the Way to Sulfer Island, Beaver Street Gallery, Flagstaff, AZ Made in the Pacific, Center for Contemporary Art, Sacramento, CA Pacific Winds, Skinner Howard Art, Sacramento, CA Oahu before Dawn, Frumkin Gallery, Santa Monica, CA Dean De Cocker, Works for the President, The President’s Gallery, California State University, Stanislaus, Turlock, CA High Tide Limn Gallery, San Francisco, CA 3rd Annual California Centered: printmaking, Featured Annual Honorees Solo Print Show Merced Multicultural Center, Merced, CA Return to Pearl, 643 A Project Space, Ventura, CA Battle of a Shallow Sea, John Stuart Rodgers Faculty Development Center, California State University, Stanislaus, Turlock, CA Sources of Victory, Limn Gallery, San Francisco, CA Return of the Black Cat, Beaver Street Gallery, Flagstaff, AZ Like the Yorktown, Ventura College Gallery, Ventura, CA Taken from over 55 Solo exhibitions starting in 1989
GROUP EXHIBITIONS 2017 2016 2015 2014 2012 2011 2010 2009 2008 2007
a la mode, Davis Art Center, Davis CA Summer Group Show, JayJay, Sacramento, CA Sculpture in the Garden, Sam and Alfreda Maloof Foundation for Arts and Crafts, Alta Loma, CA California State University Stanislaus, Recent Work- Department of Art Faculty, Merced College, Merced, CA Art Faculty on Main, Art Space on Main, Turlock, CA Art Auction 2014, Crocker Art Museum, Sacramento, CA In Praise of Collecting, Carnegie Art Center, Turlock, CA Art Auction 2012, Crocker Art Museum, Sacramento, CA Art Auction 2011, Crocker Art Museum, Sacramento, CA For Roland, BunnyGunner, Pomona, CA Benefit Art Auction, Huntington Beach Art Center, Huntington Beach, CA Art Auction 2010, Crocker Art Museum, Sacramento, CA Faculty Exchange, First Street Gallery, Humboldt State University, Humboldt, CA Lust for Machines, Dean De Cocker and Matt Furmanski, Santa Ana College Main Art Gallery, Santa Ana, CA Benefit Art Auction, Huntington Beach Art Center, Huntington Beach, CA Art Auction 2009, Crocker Art Museum, Sacramento, CA 2332 Huntington Beach Art Center, Huntington Beach, CA Benefit Art Auction, Huntington Beach Art Center, Huntington Beach, CA Research from the Department of Art @ John Stuart Rodgers Faculty Development Center, CSU Stanislaus, Turlock, CA Benefit Art Auction, Huntington Beach Art Center, Huntington Beach, CA Taken from over 100 group exhibitions starting in 1985
BIBLIOGRAPHY 2014 2012 2011 2010 2007
Dean De Cocker and Peter Wayne Lewis @ JayJay, Janurary 22, 2015 Peter Wayne Lewis ‘Temporal Paintings’ & Dean De Cocker ‘Specific to the Pacific’. November 7, 2014 Critics picks for Sacramento’s Second Saturday. , November 6, 2014 Running at Full Tilt, Catalog, JAYJAY, Sacramento, CA Olivant, David, In Praise of Collecting, Catalog Carnegie Art Center, Turlock, CA Ren, Clark, On the Wall. Flagstaff Live, October 6 – 12, 2011 Vol. 17 issue 40 First Friday Art Walk, Highlighted Galleries. the Noise arts and news, October 2011 #125 Art Galleries and Openings. Sactown, August/September 2011 Art Picks. Midtown Monthly August 2011 d’ART. Sacramento News and Review August 11, 2011 De Angelo, Darlene. Dean De Cocker Point Luck. Catalog, Andi Campognone Projects Dalkey, Victoria. Dean De Cocker’s ‘icily elegant’ sculptures on display at Skinner/Howard Gallery. Sacramento Bee April 18, 2010 Art Review: Rogelio Manzio, Dean DeCocker at Skonner Howard., May 7, 2010 Current Los Angeles Contemporary Exhibitions: Doug Simay’s Best Picks,,February 2, 2010 Pulse. Flagstaff Live May 3 – 9, 2007 Jerome. Art Beat. The Noise, arts and news May 7, Number 72 Taken from over 55 articals starting in 1989
SELECTED COLLECTIONS The Crocker Museum, Sacramento, CA Robert V Fullerton Art Museum, San Bernardino, CA Laguna Beach Museum, Laguna, CA Orange County Museum of Art, Newport Beach, CA Riverside Art Museum, Riverside, CA Natomas Charter School, Sacramento, CA Bank of Sacramento, Meridian Plaza, Sacramento, CA Merrill Lynch, Sacramento, CA Sprint, Santa Clara, CA 13
J A M E S D EI T Z
Artist Statement My work is my statement Black Sails “Black Sails” is my most recent painting and incorporates some of the issues that I have been working on lately. Although I have always enjoyed breaking imagery down to the core information, it is only recently that I have returned to abstraction without a clear narrative. I have chosen either square or just off square formats and the use of forty-five degree angles because they seem to be the most difficult to work with.
Black Sails, oil on canvas, 28” x 31.5”, 2020
Hero, oil on canvas, 19.75” x 47.75”, 2019
14
Dream, Dream, oil on canvas, 30” x 40”, 2010 15
J A M E S D EI T Z
EDUC ATION 1986
M.F.A. Drawing and Painting, University of Washington, Seattle, WA
1984,
B.F.A. Drawing and Painting, University of North Dakota, Grand Forks, ND
VISITING ARTIST 2006–2020 California State University, Stanislaus, Turlock, CA 2020
Paderborn University, Paderborn, Germany
2004
University of Arizona, Tucson, AZ
2003
Pierce College, Lakewood, WA
1992
University of North Dakota, Grand Forks, ND
TEACHING EXPERIENCE Foundations Drawing Color, Color Theory Drawing II: Composition Foundations Printmaking Intermediate Drawing Intaglio Advanced Drawing Monoprint, Monotype Figure Drawing Relief Printmaking Foundations Painting Advanced Printmaking Painting From Observation Text and Image Intermediate Painting Mixed, Media, Collage Advanced Painting Art In Action Painting from Unconscious Independent Study Foundations 2-D Design BFA Candidate Review
SOLO EXHIBITIONS 2020
James Deitz, Stan State Art Space, Turlock, CA
2013
James Deitz, Chartreuse Muse Gallery, Modesto, CA
2011
James Deitz Paintings, Vermillion Gallery, Seattle WA
2010
James Deitz, California State University, Stanislaus Art Gallery, CA
2010
James Deitz, Paintings and Print Collages, Francine Seders Gallery, Seattle, WA
2008
Seattle: Land, Water, Sky, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
2006
Paintings, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
2004
James Deitz Drawings, The Cedar, New York, NY
2003
James Deitz, Fine Arts Gallery, Pierce College, Lakewood, WA
2002
New Work, Art Center Gallery, Seattle Pacific University, Seattle, WA
2000
Dialogue, Francine Seders Gallery, Seattle, WA
1999
Interiors, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1998
Toys, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1997
James Deitz Paintings, Fine Arts Gallery, Pierce College, Tacoma, WA
1996
Mexico, Francine Seders Gallery, Seattle, WA
1994
Drawings, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
1993
New Work, Francine Seders Gallery, Seattle, WA
1991
An Introduction, Upstairs Gallery, Francine Seders Gallery, Seattle, WA
16
1990
Paintings, King County Arts Commission Gallery, Seattle, WA
1990
Recent Work, Blake Gallery, Seattle, WA
1989
Drawings, Robert Allman Gallery, Seattle, WA
1987
Ink Drawings, Browning Arts, Grand Forks, ND
SELECTED GROUP EXHIBITIONS 2017
Art Faculty Exhibit, Art on Main, Turlock, CA
2015
Text and Image, Chartreuse Muse Gallery, Modesto, CA
2014
CSU Art Department Faculty, Merced College Art Gallery, Merced CA
2014
Art Faculty on Main, Art Space on Main, Turlock, CA
2012
Art of Justice, Stanislaus Family Justice Center, Chartreuse Muse, Modesto, CA
2012
In Praise of Collecting, Carnegie Arts Center, Turlock, CA
2010
Art Faculty Exhibit, University Art Gallery, CSU Gallery, Turlock, CA
2008
Art Faculty Exhibit, John Stuart Rogers Building, CSU, Stanislaus, Turlock, CA
2008
On the Wall, Steele Gallery, Gage Academy of Art, Seattle, WA
2005
Drawings: James Deitz, Gail Grinnell, Caryn Friedlander, Francine Seders Gallery, Seattle, WA
2002
North Dakota Museum of Art Annual, North Dakota Museum of Art, Grand Forks, ND
2000
4 x 4: Four Decades of School of Art Alumni, Jacob Lawrence Gallery, Seattle, WA
1995
The Painted Table, Seattle, WA
1994
Retrospective, AG47 Gallery, Seattle, WA
1993
Hands Off Washington, Crocodile Cafe, Seattle, WA
1993
The New England Fine Art Institute, State of the Art ‘93, New England Art Expo
1993
Art Works for Aids, Seattle Center Pavilion, Seattle, WA
1992
12th Northwest International, Whatcom Museum, Bellingham, WA
1992
New Artists to the Gallery, Summer Show, Francine Seders Gallery, Seattle, WA
1992
34th North Dakota Print and Drawing Annual, North Dakota Museum of Art
1991
The Artist in the Art: Self Portraits, BumbershootFestival, SeattleCenter, Seattle,WA
1991
25th Anniversary Exhibitions: The Later Years 1986-1990, Francine Seders Gallery, Seattle, WA
1990
Seven Seattle Artists, AG47 Studio Gallery, Seattle, WA
1990
Never Before Funded Show, Seattle Arts Commission, Seattle Center, Seattle, WA
1990
WPA (Workers Produce Art), Galleria Potatohead, Seattle, WA
1988
30th North Dakota Print and Drawing Annual, North Dakota Museum of Art
1986
Masters of Fine Arts Exhibition, Henry Art Gallery, University of Washington, Seattle
1985
Works in Progress, Department of Fine Arts, University of Washington, Seattle, WA
1985
University Bookstore Invitational Juried Show, Seattle, WA
1984
Bachelor of Fine Arts Exhibition, Hughes Fine Arts Gallery, University of North Dakota, Grand Forks, ND
1983
North Dakota Governor’s Show, One-Year Tour, Selected Cities
SELECTED PERMANENT PUBLIC COLLECTIONS 4Culture, King County Arts Commission, Seattle, WA Seattle Arts Commission Zevenbergen Capital, Seattle, WA State of Washington: Washington State’s Art in Public Places Program, Mattawa, WA, Auburn, WA
REVIEWS 2000
Still lifes with twists, Matthew Kangas, Art in America, (Special to the Seattle Times)
1994
Lawrence exhibit is this month’s star at galleries, Robin Updike, The Seattle Times
1992
Two artists turn fragments into wholes, Regina Hackett, The Seattle Post-Intelligencer
1990
Gallery Review, 911 COCA, (Center on Contemporary Art), Seattle, WA
17
DA N I EL EDWA R DS
Artist Statement
peoples’ hands. For the first time in history, indi-
In 2020 my son Rodman and I uploaded busts
viduals have the right to choose who they wish to
representing BLM and civil rights to be available for
memorialize forever.” We were appealing to a vast
free download to everyone interested in supporting
community of people with access to 3D printers,
those movements. We wanted people to know that
who could download our busts and present them
it was presented with love by the father-and-son
to their communities. There has been approximately
team of sculptors, Daniel and Rodman Edwards.
2,000 downloads of the work so far, and people
We said in a statement, “While protesting is pivotal,
have used them for memes, augmented reality
there are plenty of other effective modes of activ-
videos and large scale monuments.
ism. We agreed that using our talents was the best
I have been working with some of these themes
way we could show our support. As we are now
for decades, but this time there was an urgency to
seeing the removal of the statues that are monu-
contribute in a direct way, which is what we were
ments to systemic racism, we believe it is time to
able to do through a 3D viewing and sharing site
put the power of commemorative statuary into the
called Sketchfab.
Portrait of Nipsey Hussle, heroic scale, 2019 (background portraits of Trippie Redd and 6ix9ine by Rodman Edwards)
18
Portrait of Denzel Curry, lifesize, 2019
Portrait of Philip Simmons, lifesize, sculpted 2002, cast 2018
19
DA N I EL EDWA R DS
EDUC ATION 2001
MFA, Drawing and Sculpture, New York Academy of Art, New York, NY.
1994
BFA Sculpture, Herron School of Art, Indiana University, Indianapolis, IN.
1988–90
MFA Program, New York Academy of Art, Warhol Scholarship from Estate of Andy Warhol.
PUBLIC SCULPTURE AND COMMISSIONS 2004
Olympians of the New York Athletic Club, bronze, New York Athletic Club, New York, NY.
2002
Wm. DeHart Hubbard, Olympian, 6’x 8’ bronze, Southwest Ohio Regional Transit Authority, Cincinnati, OH.
2000
Young Thoroughbred with Child, bronze life-size, Buckingham Companies, Indianapolis, IN.
1998
Affirmed: The Last Triple Crown Champion, bronze, 125% life-size, Champions Farms, Louisville, KY.
Bronze Water Fountains (two), University of Indianapolis, Indianapolis, IN.
Dean Charles Emerson, bronze life-size bust, I.U. School of Medicine, Indianapolis, IN.
Senator Wendell Ford, bronze, twice life-size, Louisville Airport Authority, Louisville, KY.
1996
Governor Matthew E. Welsh of Indiana, bronze life-size, Indiana Statehouse, Indianapolis, IN.
1995 Landmark for Peace: The MLK Jr. and RFK Memorial (Groundbreaking ceremony performed by President Clinton, Martin Luther King III and Senator Ted Kennedy), sponsored by the Indiana Pacers, Indianapolis, IN. Jimmy Doolittle Award, Hudson Institute (Recipient: Barry Goldwater; Guest speakers: Dan Quayle, William F. Buckley, and Sen. Sam Nunn), National Press Club, Washington, DC.
Workers’ Memorial, Indiana Government Center, sponsored by AFL-CIO, Indianapolis, IN.
1994
Mother Seton with Child, bronze life-size, St. Vincent Hospital, Indianapolis, IN.
Josef Gingold Memorial Gold Medal for the International Violin Competition, Indianapolis, IN.
SELECTED BOOKS WHICH REFERENCE WORKS Jennifer Tyburczy (Jan 11, 2016). Sex Museums: The Politics and Performance of Display. University Of Chicago Press. ISBN-13: 978-0226315249. Renée Cramer (Oct 21, 2015). Pregnant with the Stars: Watching and Wanting the Celebrity Baby Bump. Stanford University Press. ISBN-13:9780804796743. Ana Rita Ferreira, Ana Nolasco (2014). Creative Processes in Art: Proceedings of the International Colloquium. FBAUL. 9789898771063. Christopher Schaberg, Robert Bennett (2014). Deconstructing Brad Pitt. Bloomsbury Publishing USA. ISBN-13:9781623561932. McCallum, Jack and Wertheim, Jon (2012). Sports Illustrated Book of the Apocalypse: Two Decades of Sports Absurdity. Diversion Books. ISBN 1938120159, 9781938120152. Abe, Donyale (2012). Called to the Childbirth Profession: Opportunities for Doulas, Birth Educators, and You. Dreams2Life Publishing. ISBN-10: 0615578128. ISBN-13: 978-0615578125. Lintott, Sheila and Sander-Staudt, Maureen, Editors (2011). Philosophical Inquiries into Pregnancy, Childbirth, and Mothering: Maternal Subjects. Routledge Studies in Contemporary Philosophy. [Hardcover] ISBN-10: 0415891876. ISBN-13: 978-0415891875. Edition: 1 Urban, Otto M. Curator (2011). Decadence Now: Visions of Excess. Artefakt/Arbor Vitae. ISBN 978-8087164600. Smit, Christopher R. (2011). The Exile of Britney Spears: A Tale of 21st Century Consumption. Intellect, Limited. ISBN 9781841504100. Garson, Helen S. (2011). Oprah Winfrey: A Biography (Greenwood Biographies). ABC-CLIO, Incorporated. ISBN 9780313358326.
20
Reese, Jenny (2011). Off the Record Guide to the Life and Political Career of Hillary Rodham Clinton. Webster’s Digital Services. ISBN-10: 1241129444 ISBN-13: 978-1241129446. Kelley, Kitty (2010). Oprah: A Biography. Crown. ISBN 073937785X Sturken, Marita and Cartwright, Lisa (2009). Practices of Looking: An Introduction to Visual Culture 2nd edition. Oxford University Press, USA. ISBN 978-0195314403. Mancoff, Debra (2009). Icons of Beauty: Art, Culture, and the Image of Women. Greenwood. ISBN 978-0313338236. Schechter, Harold (2009). The Whole Death Catalog: A Lively Guide to the Bitter End. Random House Publishing Group. ISBN 9780345499646. Reiter, Mark (2009). The Final Four of Everything. Simon & Schuster Adult Publishing Group. ISBN 9781439126080. Benjamin, Louis (2009). The Naked and the Lens: A Guide to Nude Photography. Focal Press. ISBN 9780240811598. Wilks, Timothy (2008). Prince Henry Revived: Image and Exemplarity in Early Modern England. Paul Holberton Publishing. ISBN 9781903470572. Jobson, Robert (2008). Harry’s War: The True Story of the Soldier Prince. John Blake Publishing Ltd. ISBN 9781844546725. Kokoli, Alexandra M. (2008). Feminism Reframed: Reflections on Art and Difference. Cambridge Scholars Publishing. ISBN 978-1847184054. Newkey-Burden, Chas (2007). Paris Hilton: Life on the Edge. Gardners Books. ISBN 9781844544578.
SELECTED DISTINCTIONS In Touch Magazine (2018), “Celeb Statues of Limitations” featured with Marc Quinn as the only artists named. Architectural Digest (2018), “The Most Beautiful Civil Rights Monuments in America.” In Touch Magazine (2015), “Bizarre Exhibit of the Week” for Shroud of Scientology. Time Magazine (2014), “The Top 16 Breastfeeding Controversies.” Star Magazine’s Star Weekly Awards (2013), “Most Disturbing Art” for the fetal portraits of Kim Kardashian’s and Kate Middleton’s unborn babies. Maxim Magazine’s Sexiest Things in America (2012), for “Sexiest Sculpture of Teen Idols: Justin and Selena as One”. Most Annoying People 2009. Produced by Shine for BBC TV4. BBC London’s list of the “100 most annoying people of 2009”. Listed at number 63, between Bernard Madoff and Charlie Sheen. The Art Newspaper’s “Bartlebooth Award” (2005), London. Award given to ten artists from around the world, who made art that pushed the boundries. Sports Illustrated’s “This Week’s Sign of the Apocolypse” (2005). Dubious distinction given by Sports Illustrated for The Ted Williams Memorial Display.
21
J E SS I C A GO M U L A - K R U ZI C
Artist Statement My work embraces a variety of mediums, from interactive multi-projector video installations within mazes of semi-transparent fabric, to straightforward single channel videos, to augmented reality landscape images. In all of these works, dance, movement, and the physical body serves as a way to examine social constraints and the shifting dialog of the body within the built and natural environment. My work considers a range of environments, from natural locations, to empty stages, to abandoned buildings, and even environments that have been digitally augmented. The goal of my work is to engage the viewer directly by moving them from the role of observer into the role of participant by breaking the fourth wall, and to create a dialog around how people interact with an environment, while still giving participants room to explore, interpret, and imagine for themselves.
The Den The Den is important to me, personally, because of the spontaneous nature of the filming, the natural and mundane actions of the performer, and the experimental construction of the layers of video and animation during post-production. It reminds me that you can’t force a transformation to happen -you have to carefully create the conditions for one, and then hope.
The Den, archival print, augmented reality code, dimensions variable, 2020
22
A Place to Train, single channel video. 3 minutes, 2020
Mutable Spirals of Ascension, single channel video. 9:12 minutes, 2018 23
J E SS I C A GO M U L A - K R U ZI C
SOLO EXHIBITIONS 2017 Complicit Participants: Jessica Gomula. Art Space on Main. Turlock, CA. 2016 Gemperle Gallery Centennial Exhibition. Carnegie Art Center. Turlock, CA. ACTION. Faculty Development Center. Stanislaus State, Turlock, CA. 2014 Art Faculty on Main. Building Imagination Center, Turlock, CA. 2012 Ssshhhh! Alameda Public Library. Alameda, CA. 2011 Meet Your Neighbor public art installation. Modesto Art Museum. Throughout downtown Modesto, including over 35 storefronts. Modesto, CA. 2009 Semantic Frottage, video installation. Mistlin Gallery, Modesto, CA. 2008 Life’s Tantric Love Triangles. 21 Grand Gallery, Oakland, CA. B.O.O.B. (Breastfeeding Outside Our Bedrooms). Austin, TX. Infinite Transformations of Desire. CSU University Gallery, Turlock, CA. 2007 Love’s Receipts. Truckee Meadows Community College, Truckee Meadows, NV. 2000 Transformations. University Galleries, Illinois State University, Normal, IL.
FILM PRODUCTION 2020 A Place to Train. Dance for Film. 3 min. Director and Producer. 2020 Best Performance Art, Avalonia Film Festival. Ormond Beach, FL. 2020 Canada Shorts - Canadian & International Short Film Festival. Award of Merit. Saint John, New Brunswick, Canada. 2020 100 from 10. Stan State Art Space. Turlock, CA. 2020 Portsmouth Shorts::Cut Film Festival. Portsmouth, United Kingdom. 2020 LAMPA International Film Festival. Perm, Perm Krai, Russia. 2020 3 Minute Film Festival, Santa Barbara, CA. 2020 Action! International Film Festival. Encinitas, CA 2020 Wales International Film Festival. Swansea, Wales. 2020 FLOW Festival. Plantation, FL. 2020 FilmFest by Rogue Dancer. Raleigh, NC. 2020 BonDance International Film Festival), Hizenyumekaidou Ninja village. Saga, Japan. 2020 Asian Cinematography AWARDS (ACA), Quezon City, Philippines. 2014 - 2020 Eleven Dimensions. Experimental. 40 min. Director and Producer. 2020 100 from 10. Stan State Art Space. Turlock, CA. 2017 Maker Faire. Shanghai, China. 2017 Complicit Participants. Turlock, CA. 2016 Veritable Vicissitudes. Champlain College, Burlington, Vermont. 2014 International Symposium of Electronic Art. Dubai, UAE. 2014 Art Faculty on Main. Turlock, CA. 2015 - 2020 Center for Human Services.12 Shorts. 3-5 min. each. Executive Producer. Directors: Max Sanchez, Maria Davila, Zac Estrada, Trinidad Moreno, Vincent Garcia, Hudson Berdino, Marisol Zazueta, Humberto Maldonado, Nathan Pimentel, Justin Gale, Taylor Bergthold, Favian Rodriguez. 2018 Mutable Spirals of Ascension. Dance for Film. 9:12 min. Director and Producer. 2020 Culver City Film Festival. Shorts Daily, Roku Channel. Marina del Rey, CA. 2020 FilmFest by Rogue Dancer. Raleigh, NC. 2020 100 from 10. Stan State Art Space. Turlock, CA. 2020 Spring Grove International Film Festival. Spring Grove, MN 2019 One-Off Moving Images Festival. Valencia, ES. 2019 One-Off Moving Images Festival. Gol, Norway.
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2018 InShort Film Festival. Lagos, Nigeria. 2018 Midpen Media TV, Channel 30. Palo Alto, CA. 2018 Becoming Human. Burlington City Arts Center, Burlington, VT. 2018 35th Scary Cow Film Festival. San Francisco, CA. 2017 Wasp Men from Mars. Sci-Fi Short. 17 min. Best Boy Grip. Directed by Gerrit Thompson. 2018 I Hella Love Shorts Film Festival. Oakland, CA 2018 Geek Film Festival. Long Beach, CA. 2017 100% Manusia Film Festival. Jakarta, Indonesia. 2017 Scary Cow Film Festival. San Francisco, CA. 2016 Quotidian Mandala. Dance for Film. 8:41 min. Director and Producer. 2019 Idaho Screendance Festival, Boise, ID. 2018 InShort Film Festival. Lagos, Nigeria. 2018 Midpen Media TV, Channel 28. Palo Alto, CA. 2018 Austin Spotlight Film Festival. Austin, TX. 2017 Pembroke Taparelli Arts and Film Festival, Los Angeles, CA. 2017 Cinema New York City. New York, NY. 2017 Best Shorts, La Jolla, CA. Award of Recognition, Women Filmmakers. 2017 Complicit Participants. Turlock, CA. 2016 DOUBLE VISION @ City Hall. Montpelier, VT. 2016 30th Scary Cow Film Festival. San Francisco, CA. 2015 Filling Her Shoes. Experimental short. 10 min. Director and Producer. 2020 100 from 10. Stan State Art Space. Turlock, CA. 2019 World Music and International Film Festival. Arlington, VA. 2018 Midpen Media TV, Channel 30. Palo Alto, CA. 2018 Glendale International Film Festival. Glendale, CA. 2017 Complicit Participants. Turlock, CA. 2015 Resident Artists’ Workshop. Safehouse for the Performing Arts. San Francisco, CA 2015 Modesto 2034: Glimpses of the Future. Documentary Short. 4 min. Executive Producer. Directed by Michael George 2015 Gen Con Film Festival. Indianapolis, IN. 2015 Intendence Film Festival. Denver, CO. 2015 Columbia Gorge International Film Festival. Washougal, WA 2015 New Work from the Bii. Turlock, CA. 2015 Mini-Supreme. Comedy. 10 min. Production Assistant. Directed by Micheal Phillis. 2015 Palm Springs International Shorts Fest. Palm Springs, CA. 2015 Frameline International LGBTQ Film Festival. San Francisco, CA. 2015 Outfest LA. Los Angeles, CA. 2015 Q! Film Festival. Jakarta, Indonesia. 2015 Reel Pride. Fresno, CA. 2015 Reeling LGBT Film Festival. Chicago, IL. 2015 Out on Film. Atlanta, GA. 2015 Dayton LGBT Film Festival. Dayton, OH. 2015 Seattle LGBT Film Festival. Seattle, WA. 2015 ReelQ International LGBT Film Festival. Pittsburgh, PA. 2015 Milwaukee LGBT Film / Video Festival. Milwaukee, WI. 2015 25th Scary Cow Film Festival. San Francisco, CA. 2014 Dreams of Affection. Experimental short. 7 min. Director and Producer. 2015 CSU Stanislaus Art Faculty Invitational. Merced, CA. 2015 New Work from the Bii. Turlock, CA. 2014 RAW 2014. San Francisco, CA. 2014 Art Faculty on Main. Turlock, CA. 2013 Modesto Modernism. Documentary Short. 14 min. Director and Co-Producer. 2014 Art Faculty on Main. Turlock, CA. 2013 Eames: The Architect and the Painter + Modesto Modernism. Turlock, CA. 2013 Modesto International Architecture Film Festival. Modesto, CA.
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DA N I EL H E S K A M P
Artist Statement These works were created to show appreciation for the lives of plants and animals that exist beyond our domesticated environments; those considered insignificant, forgotten, or discarded. Often overlooked are the ways we memorialize the plants and creatures with whom we share our homes, neighborhoods, and planet. These multi-media works provide a space to acknowledge and revere their existence. I use an historiographical methodology and track the evolution of humankind’s connection with flora and fauna in the development of our culture. These multidisciplinary works focus on several species of plants and animals, categorized according to the nature of our interactions with them. The work is contextualized by the history and imagery of early Christian relics and ossuaries. Raised in a Roman Catholic household, my earliest experiences with art, design, and allegory were the ornate decorations found in Catholic churches. This iconography is seen in paintings and illustrations depicting characters and narratives from the Bible, in embellished objects often cast in gold or precious metals, stained glass windows, furniture, and architectural fittings. The most recent works were created after I moved across the United States from Schaumburg, Illinois to Visalia, California. In an effort to better understand my new environment I took clippings from various flora found within my backyard. Over the course of one month I illustrated a different plant clipping each day. After fifteen days I started over again drawing the same clippings after they began to decompose. I have continued this practice every year since. These prints were created by combining my interest in traditional botanical illustration, catholic imagery from my childhood, as well as digital patterning. The way we treat other organisms on this planet can be an indication of how we treat each other. The 26
ideology of speciesism is continuously expanding in our culture. As our population grows so does our impact on other species. This art aims to create an open dialogue and explore further understanding of speciesism and memento mori. The Fall and Rise of St. Sebastian The Fall and Rise of St. Sebastian is woodcut created to suggest High Renaissance print traditions that place importance on every area of the picture plane, while equating artistic expression and craft with spiritual devotion. Additionally, it references Baroque-era prints in which chiaroscuro and dramatic foreshortening provoke a more emotional, visceral response. The animal motif and radiant aura serve as vehicles for spiritual contemplation. The grass along the bottom of the picture plane hints at a natural environment to connect the iconography to earthly origins and departure. Saint Sebastian was martyred by arrows, while deer are often hunted using bows. It is believed that Sebastian was led into a field and tied to a post or tree where he was executed for his belief in Christianity. Had he denounced his faith, he may have been spared. A similar comparison can be made to the way deer are often baited with food to a particular area where they can be killed (executed) more easily. In addition to food, deer and other animals are often hunted to control population and the spread of diseases. Christians were martyred to control religious ideology that was contrary to political rule.
Opposite, top to bottom: The Fall and Rise of St. Sebastian, woodcut, 48” x 33”, 2016 Death of Dahlia, serigraph, 18” x 24”, 2020 Life of Dahlia, serigraph, 18” x 24”, 2020
27
DA N I EL H E S K A M P
EDUC ATION
2016
Master of Fine Arts, Texas A&M University - Corpus Christi, TX
2012
Bachelor of Fine Arts, Northern Illinois University, DeKalb, IL
2011
Santa Reparata International School of Art, Florence, Italy, Summer Session, Printmaking Course
2008
Associate in Science, McHenry County College, Crystal Lake, IL
TEACHING EXPERIENCE 2018–2020 Lecturer, Printmaking, California State University – Stanislaus, Turlock, CA 2017–2020 Adjunct Art Instructor, Drawing, College of the Sequoias, Visalia, CA
Adjunct Art instructor, Digital Art, College of the Sequoias, Visalia, CA
Adjunct Art instructor, Color and Design, College of the Sequoias, Visalia, CA
2014–2016 Instructor of Record, Printmaking, Texas A&M University - Corpus Christi, TX
Instructor of Record, Design, Texas A&M University - Corpus Christi, TX
Instructor of Record, Art Appreciation, Texas A&M University - Corpus Christi, TX
GRANTS/AWARDS / SCHOLARSHIPS 2016–2017 7th Annual International Artist-in-Residence programme, Auckland Print Studio, Auckland, New Zealand
Juror Prize, Printwork 2016, Artist Image Resource, Pittsburgh, PA
2016
Excellence in Printmaking, SAMC award, Texas A&M University - Corpus Christi, TX
2016–2015 Teaching and Research Assistantship, Texas A&M University - Corpus Christi, TX 2015
1st place, Bigger than the Press, Texas A&M University - Corpus Christi, TX
2014–2015 Teaching and Research Assistantship, Texas A&M University - Corpus Christi, TX 2014
3rd place, Pidgeon Feeders, Islander Gallery, Corpus Christi, TX
2013–2014 Graduate Gallery Assistantship, Texas A&M University - Corpus Christi, TX
Summer Art Camp Coordinator, Texas A&M University - Corpus Christi, TX
Gamblin Graduate Scholarship, Gamblin Artist Colors Co., Portland, OR
2010
Dorothea Bilder Fine Arts Scholarship, Northern Illinois University, Dekalb, IL
EXHIBITIONS 2019
13th Annual California Centered: Printmaking Exhibition, Merced Multicultural Arts Center, Merced, CA
Tattoo Stories, Arts Visalia, Visual Art Center, Visalia, CA
Transmissions from Pressure Island, University of North Texas, Denton, TX Transmissions from Pressure Island, Lewis Carnegie, Austin, TX
2018
Auckland Print Studios: Editions, Solander Gallery, Wellington, New Zealand
Annual Art Show, Arts Visalia, Visual Art Center, Visalia, CA
Multiple Originals: Eight Printmakers from the Central Valley, Corridor 2122 Gallery, Fresno, CA
Faculty Exhibition, COS Art Gallery, College of the Sequoias, Visalia, CA
Under the Influence, Lowbrow Denver, Denver, CO
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2018
Boarding for Breast Cancer: Dew Tour, Charity auction, Long Beach, CA Art Mixer, Barmageddon, Tulare, CA
12th Annual Art Auction, Charity auction, COS Art Gallery, College of the Sequoias, Visalia, CA
2016–2017 The Visceral Hand, Rivet Gallery, Columbus, OH Printwork 2016, Artist Image Resource, Pittsburg, PA
Vis a Vis, Jack Olson Gallery, Northern Illinois University, Dekalb, IL
2016
Solo Exhibition, Expanding Our Empathy, Weil Gallery, Texas A&M University – Corpus Christi, TX
Night Moves, The Cleaners, Portland, OR
My Rules, North View Gallery at PCC Sylvania, Portland, OR
5th Student International Small Print Show 16, Extra Art Gallery, El Minia University, El Minia Egypt
Return to Pressure Island! The Lion’s Nest Gallery, Austin, TX
La Merienda, Islander Gallery, Corpus Christi, TX
2015
Art Hop, Georgetown Arts Center, Georgetown, TX
Pressure Island: Apparitions and Hallucinations, The Lion’s Nest Gallery, Austin, TX
2014
Pidgeon Feeders, Islander Gallery, Corpus Christi, TX
President’s Council Art Scholarship Competition, Art Museum of South Texas, Corpus Christi, TX
48th Annual National Drawing & Small Sculpture Show, Joseph A. Cain Memorial Gallery, Del Mar College, Corpus Christi, TX
GENERation printerOSITY, Museum of Contemporary Craft, Portland, OR
À l’arrache, sur le site des Abattoirs, Riom, France
2013
100@100, Islander Gallery, Corpus Christi, TX
2012
Spring 2012 BFA Show, Jack Olson Gallery, Northern Illinois University, Dekalb, IL
Hate Breeders, (Traveling Portfolio Exhibition)
Highlands University, Las Vegas, New Mexico Atrium Gallery, Fresno State University, Fresno, California Bliss Hall Gallery, Youngstown State University, Youngstown, Ohio CPIT Design School, Christchurch, New Zealand Saltgrass Printmakers, Salt Lake City, Utah
Your Printshop is in Another Castle, Yetee Gallery, Aurora, IL
2011
Solo Exhibition, Scientific Basis of Human Activity, Pleasant Street Gallery, DeKalb, IL
SRISA Printmaking 2011, Santa Reparata International School of Art, Student Exhibition, Florence, Italy
Varying Perspectives, University of Colorado at Boulder, Third Floor Exhibition Space, Boulder, CO
Suite Revenge, Gallery 215, Northern Illinois University, DeKalb, IL
Grudge Match: The DPA and the Carnival of INK!, Evil Prints Studios, St. Louis, MO
PUBLIC ATIONS 2019
Meet Dan Heskamp, interview, Published by Voyage Phoenix
Giant Squib, Published by COS Quill Club
2018
Auckland Print Studios: Editions, Published by G & E Print and Art Edition Magazine
The Life and Death of Plants, Self-published
2016
Expanding Our Empathy, review, written by Jack Wood, Published by ÆQAI http://aeqai.com/main/2016/05/expanding-our-empathy/
Death as a Landscape Vol.1 27 Jan-11 Apr 2016, Self-published
2015
Keith Ledger No. 2, Published by Michael Weigman
Relief Zine, Published by Izzy Jarvis
2012
Towers: Literary and Creative Arts Magazine #92, Published by Northern Illinois University
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C H A D H U N T ER
Artist Statement To me, plein air painting must be more than a simple copy of a scene. Yes, it should capture the light and shadow, texture, color but in the end it must be an emotional response by the artist. I try to communicate the feeling of a scene through my paintings. I strive to paint what cannot be painted: the energy, the poetry, or the interpretation rather than a literal representation. Paul Bunyan Tames River Since I’ve included three different styles of images for this show, selecting my most important image is difficult. The choice came down between Cage Match Competition (Luchador Mask) and Sunset under Pier (plein air watercolor) and Paul Bunyan Tames River. In the end, Paul Bunyan Tames River must be my selection since this helped launch a new direction in my children’s book illustration and
Cage Match Competition, mixed media 11” x 14”, 2012
received national attention. Sunset Under the Pier, watercolor 14” x 11”, 2016
30
Paul Bunyan Tames River, mixed media 9” x 12”, 2017
31
C H A D H U N T ER
EDUC ATION 2012
M.F.A. Visual Arts with emphasis in Graphic Design, Marywood University, Scranton, PA
1995
B.F.A. Illustration, Minor: Studio Art, Brigham Young University, Provo, UT
S H OW S 2017
Frank Bette Plein Air Paintout, Alameda, CA
California State Fair Plein Air, Sacramento, CA
2016
Benicia Plein Air Paintout, Benicia, CA
Capitola Plein Air Paintout, Capitola, CA
Carmel Art Festival Plein Air, Carmel, CA
2015
Chad Hunter: 20 Year Retrospect, CSU Stanislaus, Turlock, CA
Department of Art Faculty, Merced College Art Gallery, Merced, CA
2014
Faculty Show, Art on Main, CSU Stanislaus, Turlock, CA,
AWARDS & HONORS 2020
Presenter in State-wide Zoom, “Why Race?” A Racial Equity Learning Journey, California Arts Council
2019
Presenter, Society of Children’s Book Writers and Illustrators (SCBWI), Nor Cal Conference
2018
Children’s Literature Mentee Writing Award
Mentee Award, SCBWI LA International Conference
2017
1st Place Portfolio, SCBWI Northern California Conference
2nd Place, California State Fair, Plein Air
2016
1st Place Portfolio, SCBWI Northern California Conference
1st Place, Capitola Plein Air competition, Capitola CA
Honorable Mention, Society of Children’s Book Writers and Illustrators (SCBWI) Northern California Conference logo
1st Place Portfolio, SCBWI Northern California Conference
2015
1st Place, SCBWI Northern California Conference logo
2006–08
Gold Medal for Annual Report, MAC
2006
Best of Show for Coordinated Campaigns, CUES
Gold Medal for Direct Mail, CUES
1st Place, Plein Aire Competition, Turlock, CA
1999, 06, 07 Gold Medal for Coordinated Campaigns, CUES 1999
2nd Place Gallo Art Show, Modesto, CA
Private Funding Award, Stockton Art League Juried Exhibition
1998
Best of Show, Stockton Art League Juried Exhibition
1998
Gold Medal for Logo, MAC
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CHAD HUNTER STUDIO ILLUSTRATION & DESIGN COMMISSIONS (PARTIAL LIST) Washington Post WordPerfect Magazine Access Magazine Utility Telecom University of the Pacific PacWest Telecom Delicato Winery Brubeck Institute Salt Lake City Art Director’s Club
Networking Magazine Manteca CVB Graphic Artist Guild (National) Sactown Magazine Mary Graham Children’s FDN Power Contents, Korean publisher Montag Press Shakefest SCBWI Nor Cal
MURAL COMMISSIONS Manteca Unified School District
August Knodt School George Komure School Golden Valley School Golden West School Joseph Widmer School Lathrop High School Lincoln School McParland School Manteca High School
Mountain House High School Neil Hafley School Sequoia School Sierra High School Stella Brockman School Woodward School Weston Ranch High School Teter Architecture Stanislaus Office of Education
PLEIN AIR COMMISSIONS Clapper and Schmidt Wedding Robird Event Wedding Trejo and Busch Wedding Kohenen and Van Houtte Wedding
COURSES TAUGHT Foundation Drawing Foundation Digital Media Lettering and Typography Graphic Design Illustration Visual Identity and Branding Intermediate Graphic Design Digital Photography Web Design Type and Image
Publication Design Fundamentals/Observational Drawing Image Manipulation Digital Illustration Intermediate Ad Campaign Advanced Ad Campaign Project Study Digital Illustration Illustrative Concept Design
REPRESENTED BY EAST/WEST LITERARY
33
EL L EN RO EH N E
Artist Statement This new work is part of a larger series that deals with the things we carry with us throughout our lives or just for a moment. These may be physical, emotional, or psychological burdens or blessings; the things that make us uniquely human and influence how we relate to the world. What we hold close to our hearts, what we desperately grasp for, or what we allow to weigh us down; these are all part of the human condition. This is a subject that continues to surface in my work. How we personally manage what we carry with us through life impacts who we are and how we see the world. The process of working with clay and mixed media is an integral part of the meaning behind each piece. I work through chance and accident, continuously making conscious and subconscious choices until the work feels finished. Creating with clay allows this fluidity to occur naturally. I am constantly adding, subtracting, pushing and pulling the clay until the figure emerges, oftentimes completely different than my initial intentions. I feel that this is an important aspect of my process. By allowing the clay to have a voice in the story I am telling, hidden secrets may be revealed, providing answers that I might not even know I was seeking. Once the clay figures are built and bisque fired, the surfaces are stained, glazed, and undergo a second firing. This is also done in a very experimental way, combining glazes or firing multiple times until the desired effect is achieved. The nature of glazing is that it is unpredictable. This is what draws me to it, the unknown. There is a sense of magic and wonder every time the kiln lid is opened to reveal what occurred during the firing process. I also use many found objects in my work which often add a human element or history of past use. These may be gifts from nature, items discovered on long walks, or refuse laying on the side of the road. I love to use things that others would consider trash
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and give them a new life, seeing possibilities and beauty in the most mundane items. Overall, my creative process connects to the human condition, both mundane and profound experiences. Through building, glazing and enhancing these figures, I strive to tell a story that relates to the viewer in our shared existence. Unconscious Wanderings Unconscious Wanderings is my most significant piece in this show for a few reasons. First of all, it has inspired a whole new body of work about the connection between humanity and nature. It is also about serendipity, which is not new to my creative process. It was initially begun as a reaction to a book titled “How to Train a Wild Elephant� about meditation and the unconscious mind. I was almost finished but was not satisfied with the outcome until a friend gave a string of nails she found in front of her house. This was exactly what was needed and became the perfect crown to complete the piece. This piece also inspired me to build figures as puppets like this one, with various parts put together after firing, which speaks to the frailty of human nature. The thread that holds my work together is seeing the beauty in seemingly inconsequential items and including these as part of the narrative.
Coagulatio, mixed media, 64” x 36” x 9”, 2016
Unconscious Wanderings, mixed media, 33” x 13” x 13”, 2019
Left: Spilling Out, mixed media, 28” x 17” x 5”, 2019
35
EL L EN RO EH N E
EDUC ATION 1998
M.F.A. Sculpture, John F. Kennedy University, Berkeley, CA
1993
B.F.A. Ceramics, California State University, Chico, CA
1987
Mixed Media Studio Art, Romerike Folkehoyskole, Jessheim, Norway
SOLO EXHIBITIONS 2020
BEING (Human), FDC, California State University, Stanislaus, Turlock, CA
2019
Many Mini Memories, The Chartreuse Muse, Modesto, CA 2016 Transformations FD C, California State University, Stanislaus, Turlock, CA
2015
Labels Installation, The Chartreuse Muse, Modesto, CA
2011
Recent Work, Teagues, Longview, WA
2007
Lost and Found, University Gallery, California State University, Stanislaus, Turlock, CA
2005
The Muse, The Chartreuse Muse Gallery, Modesto, CA
1999
Animal Tales - performance and installation, Oakland Museum, Oakland, CA
New Work, CCAL Gallery, Modesto, CA
1998
Girls, Boys and Toys, Art Annex Gallery, Berkeley, CA
Labels, John F. Kennedy University Gallery, Berkeley, CA
1997
Tea Dreams, The Art Explosion Gallery, San Francisco, CA
1993
Figures on the Wall, Lew Oliver Gallery, Chico, CA
Dreams, University Gallery, California State University, Chico, Chico, CA
1992
Elements, Phoenix Gallery, Chico, CA
1991
The Figure, Sienna Gallery, Chico, CA
SELECTED GROUP EXHIBITIONS 2019
Things We Carry, The Chartreuse Muse, Modesto, CA
Tiny Anomalies, The Chartreuse Muse, Modesto, CA
2017
CSU Stanislaus Faculty Exhibition, Art Space on Main, Turlock, CA
2015
Speech Patterns The Chartreuse Muse, Modesto, CA
2014
Faculty Show ASOM Gallery, California State University, Stanislaus, Turlock, CA
2013–2017 The Art of Justice, Stanislaus Family Justice Center, Modesto, CA 2012
The Many Faces of Clay, Mistlin Gallery, Modesto, CA
Figures of Speech, The Chartreuse Muse, Modesto, CA
2011
Found Again, The Chartreuse Muse Gallery, Modesto, CA 2009 2 Muse The Chartreuse Muse Gallery, Modesto, CA
2007
Opening, The Chartreuse Muse Gallery, Modesto, CA
2004
Hildegaard Festival, California State University, Stanislaus, Turlock, CA
Alumni Exhibition, John F. Kennedy University Gallery, Berkeley, CA
Faculty Show, University Gallery, California State University, Stanislaus, Turlock, CA
Women’s Work, The Chartreuse Muse Gallery, Modesto, CA
2001
Outside the Box, Modesto Art Center Gallery, Modesto, CA
Three Women, Sculptors Carnegie Art Gallery, Turlock, CA
2000
The Art of Recycling, Stanislaus County Fairgrounds, Turlock, CA
1999
Opening Tricks, Festival of the Arts, Berkeley, CA
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1999
What is Art For? Oakland Museum, Oakland, CA
1998
Human Habit, William King Regional Arts Center, Abingdon, VA
Lead Into Gold, Gallery Route One, Point Reyes, CA
Animals and Their People, Sebastopol Center for the Arts, Sebastopol, CA
An Homage to Inspiration, Danville Fine Arts Gallery, Danville, CA
Re-Membering Arts, Annex Gallery, Berkeley, CA
Women Artists, New Work Central California Art League Gallery, Modesto, CA
Trash Into Treasures, YWCA Gallery, Oakland, CA 1997
Calcinatio, The Art Explosion Gallery, San Francisco, CA
Journey Into Wholeness, Center for the Visual Arts, Oakland, CA
Collage and Assemblage, Arts Benicia, Benicia, CA
Spring Show, The Art Explosion Gallery, San Francisco, CA
Between Dreams, Arts Annex Gallery, Berkeley, CA
1996
A Woman’s Worth, Wednesday’s Gallery, Santa Cruz, CA
Bay Area Artists, The Art Explosion Gallery, San Francisco, CA
13th Annual Dream Art Exhibit, Claremont Resort, Berkeley, CA
1995
Summer Art Show, The Art Explosion Gallery, San Francisco, CA
1993
California Clay Competition, The Artery, Davis, CA
37th Annual Student Exhibition, California State University, Chico, Chico, CA
1992
Feats of Clay, Lincoln Arts Center, Lincoln, CA
California Works, California State Fair, Sacramento, CA
National Women’s Month Show, Planned Parenthood, Chico, CA
Figurative Sculpture, California State University, Humboldt, Arcata, CA
1991
It Figures, Ayres Gallery, Chico, CA
1987
Romerike Art Show, Radhus Gallery, Jessheim, Norway
1986
International Art Exhibit, Romerike Gallery, Jessheim, Norway
SELECTED AWARDS, GRANTS & RESIDENCIES 2000–2003 Arts Enrichment Grant, Central California Art League, Modesto, CA 1999–2002 California Arts Council Grant, Artist in Residence, Stanislaus County, CA 1999-2000 Project Alive Grant, Stanislaus County Arts Council, Modesto, CA 1998
Susan Seddon Boulet Award, Berkeley, CA
Award of Merit, The Flame, Berkeley, CA
1992
Summer Arts Scholarship, California State University, Humboldt, Arcata, CA
SELECTED REVIEWS, PUBLIC ATIONS, & ARTICLES Their Own Muse, The Modesto Bee, September 11, 2009 Beauty for Ashes, Lifewind Publications, October 2008 David Hill. A Work of Art for Trio, The Modesto Bee, February 2, 2003 Leo Stutzin. Outside the Box, The Modesto Bee, October 5, 2001 Artist’s Reception, Turlock Journal, July 27, 2001 Karen Hunt. The Jury’s In San Francisco Chronicle, February 12, 1999 Re-Membering, Video Interview, September 8, 1998 April Street. The Human Habit, William King Regional Arts Center Catalog, July 1998 Current Work Television Interview, Sputnik’s Rocket to Stardom, May 1998 Holly Metz. Woman on the Verge, Chico News and Review, December 9, 1993 Laura Weir. Ceramics of the First Order on Display, Davis Enterprise, April 1, 1993 Bjorg Ytterhus. Elevutstilling I Radhuset Jessheim Dagblad, February 3, 1987 Tom Haehre. Folkehoyskole med Fagerik Jessheim Dagblad, December 10, 1986
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S U SA N S T E PH E N SO N
Artist Statement
landscape define all of my work regardless of genre.
At a time of unprecedented visual abundance—
I find it meditative to look for equilibrium among a
when artists sift through hundreds of photos before
work’s formal relationships and the visual cues from
layering them into a single image—I remain a stead-
a particular location. As a result, balancing abstrac-
fast oil painter, determined to continue my slow-
tion and reality has become one of my primary
cooked practice of working from direct observation
reasons for creating. Ultimately, I look for combina-
as much as possible. Rather than turning my back on
tions of modern life and contemporary scenery that
the contemporary world, I am responding to it in
spark that peculiar blend of kooky and beautiful I
the most primal means I know.
find so compelling.
Everyday scenery is fodder for my paintings. Navigating a line between attraction and unease, I
Sunday Afternoon,Turlock
am torn between the lovely places that appeal to
Sunday Afternoon, Turlock, is an oil painting on a
collectors and locations that some might find un-
birch panel, and it was developed on location in
paintable. Traffic lights and stop signs inspire me, as
downtown Turlock. I didn’t expect to find a new
does the way sunlight hits the “do not pass” lines in
painting site on my way home from the Carnegie
the road. Instead of pretending that electric lines are
Arts Center, but that’s what happened: driving
nonexistent, I use them to break the sky into visual
towards the railroad tracks, I noticed the sunlight
patterns, letting them catch the light and become
turning a modest telephone pole luminous against
orange against the blue dome of the atmosphere.
the sky, and I had to stop and look around. Like
Every day, people are bombarded with chances to
many of my paintings, I stumbled into the idea of it
see beauty in the mundane and yet sleepwalk past
while thinking about other things.
them. Rather than wait a hundred years for our culture to look back wistfully at some of the things we currently overlook, I prefer to show their beauty right now—why wait? My easy relationship with curvilinear perspective is partly due to growing up in a geodesic dome. After twenty years of using the wraparound view, it now permeates my work automatically, and the spatial relationships of
Big Al’s, oil on panel, 16” x 16”, 2019
38
Ruston Warehouse by the Railroad, oil on panel, 12” x 24”, 2016
Sunday Afternoon,Turlock, oil on panel, 24” x 48”, 2019 39
S U SA N S T E PH E N SO N
EDUC ATION 1992
MFA in Painting, Boston University, Boston, MA. Studied with John Moore.
1990
BFA in Studio Art - Painting, Louisiana Tech University, Ruston, LA. Graduated summa cum laude, Phi Kappa Phi.
SELECTED EXHIBITIONS 2020
LOCATION LOCATION LOCATION, The Chartreuse Muse Art Gallery, Modesto, CA.
2019
HERE THERE EVERYWHERE, Stan State Art Space, California State University - Stanislaus, Turlock, CA.
AN ARTISTIC LEGACY: 1 + 1 + 1, Phoebe & Belmont Towbin Wing, Woodstock Artists Association Museum, Woodstock, NY. Catalog available. Curator: Janice La Motta.
OBSERVATIONS, Faculty Center for Excellence in Teaching and Learning, California State University - Stanislaus, Turlock, CA.
THE MIND’S I: SANTIAGO, Andrea Brunson Space, CV Galeria, Santiago, Chile. Curated by Anne Harris and Andrea Brunson.
2018 DRAWING FROM PERCEPTION VIII, Robert and Elaine Stein Galleries, Wright State University’s Department of Art and Art History, Dayton, OH. Curator: Catherine Kehoe 2017
THE MIND’S I, Dalton Warehouse, Los Angeles, CA. Curator: Anne Harris.
CONVERSATIONS: STUDIO & TABLE: Works by guest artists at the July-August,
2016 Joseph A. Fiore Art Center Artist Residency Program, Studio & Dinner discussions, The Gallery at Rolling Acres, The Joseph A. Fiore Art Center at Rolling Acres Farm, Jefferson, ME.
54th Annual Juried Competition, Masur Museum of Art, Monroe, Louisiana. Gia Hamilton and Daniel Stetson, jurors.
2016
ENDLESS SUMMER, Cate Charles Gallery, Westerly Land Trust, Westerly, RI.
2015
SUSAN STEPHENSON, Cate Charles Gallery, Providence, RI.
SUSAN STEPHENSON: An Informal Exhibition of a Visiting Artist, Loomis Chaffee School, Avon, CT.
2014
DOORS OF PERCEPTION: HOLLIS DUNLAP, NATHAN LEWIS, AND SUSAN STEPHENSON, Six Summit Gallery, Ivoryton, CT.
2011
A UNIQUE PERSPECTIVE: SUSAN STEPHENSON AND DEBORAH RANDALL, Cate Charles Gallery, Stonington, CT.
SUSAN STEPHENSON: GUEST ARTIST, Imago Gallery, Warren, RI.
2010
CONTEMPORARY REALISM BIENNIAL, Fort Wayne Museum of Art, Fort Wayne,
2007
SUSAN STEPHENSON: INSIDE - OUT: Selections from the Past Eight Years, Stonington Vineyards Gallery, Stonington, CT.
2006
THE LANDSCAPE OF GOLF, Newport Art Museum, Newport, RI.
2005
LACFA AT THE THE ARNOT ART MUSEUM, Arnot Art Museum, Elmira, NY.
URBAN ESCAPE, City Lights Gallery, Bridgeport, CT.
2004
SUSAN STEPHENSON: COLOR AND LIGHT, Masur Museum of Art, Monroe, LA.
REALISM NOW: TRADITIONS AND DEPARTURES, Vose Gallery, Boston, MA.
MIAMI UNIVERSITY YOUNG PAINTERS COMPETITION, Hiestand Galleries, Oxford, OH.
2003
SUSAN STEPHENSON: RECENT PAINTINGS, South College, University of Massachusetts, Amherst, MA. Invitational.
2001
SUSAN STEPHENSON: RECENT WORKS, Stonington Vineyards Gallery, Stonington, CT.
AMERICAN LANDSCAPES, MFA Circle Gallery, Maryland Federation of Art, Annapolis, MD. Gary Vikan, Juror.
2000
PAINTINGS OF THE GRIFFIS ART CENTER, Pfizer Central Research Division, Groton, CT.
1999
SUSAN STEPHENSON: RECENT PAINTINGS, Stonington Vineyards Gallery, Stonington, CT.
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Indiana.
1998
FIGURE DRAWING IN THE ACADEMY TRADITION: 1890 – 1998, Lyme Academy College of Fine Arts, Old Lyme, CT.
1997
VISIONS OF THE SEA, Gregory Gallery, Darien, CT.
1996
LANDSCAPES: A NEW ENGLAND VIEW, Gregory Gallery, Darien, CT.
1995
REFIGURING THE FIGURE, Creative Arts Workshop, New Haven, CT. Helen Cooper, Juror.
SELECTED AWARDS AND HONOR S Corporate Collections: Masur Museum, Pfizer Central Research, The Griffis Art Center. Lecture: Up Close & Personal, Ocean House, Watch Hill, RI, May 2017. Lecture: Center for Creative Arts, Lyme Academy College of Fine Arts, February 2016. Creative Capital Professional Development Workshop, Providence, RI, 2011. Painting Fellowship: Rhode Island State Council on the Arts, 2004. Fellowship: Lyme Academy College of Fine Arts Faculty Travel Grant, 2002. Artist in Residence: Ocean House Hotel, Watch Hill, RI, July, 2017. Artist in Residence: Loomis Chaffee School, Avon, CT, January, 2014. Artist in Residence: The Griffis Art Center, New London, Connecticut, 1994 – 95. Artist in Residence: Association for Visual Artists, Chattanooga, Tennessee, 1993. 1992 NAN Award. Chosen by painting faculty, Boston University College for the Arts.
SELECTED BIBLIOGRAPHY THE DAY, “Endless Summer” Kicks Off in Westerly. Amy Barry, July 24, 2016. ARTIST ON ARTIST INTERVIEW, Polly Seip Blogspot: Interview with Susan Stephenson, by Polly Seip. October 1, 2014 STONINGTON-MYSTIC PATCH, “Susan Stephenson Paints Barefoot in the Borough,” by C.M. Glover. June 29, 2011. THE DAY, “Capturing Color and Local Views,” by Amy Barry. November 3, 2011. AMERICAN ART COLLECTOR, “Museum Curator: Old Lyme, Miss Griswold, and the Yale Art Gallery,” by John O’Hern. March, 2007. Pp. 56 - 61. THE BOSTON GLOBE, “Exhibit is a Learning Experience,” by Christine Temin. December 10, 2003. INTERNATIONAL ARTIST, “Notable Exhibitions: Mentors and Protégés,” October/November, 2003. Pp. 18- 31. REALISM NOW: TRADITIONS AND DEPARTURES, MENTORS AND PROTÉGÉS, Part 1, Published in 2003 by Vose Galleries, Boston, Inc. THE WESTERLY SUN, “Seaport Gallery to Offer Prints by Ashaway Artist,” by Sara Ross Clark. June 25, 2002. THE NEW YORK TIMES, “Wit in Force, Figures Talking to Each Other,” by William Zimmer. April 30, 1995.
TEACHING HISTORY 1995–2017 LYME ACADEMY COLLEGE OF FINE ARTS - Full-time Associate Professor 1995–96
SALVE REGINA UNIVERSITY - Sabbatical Replacement
1993–94
UNIVERSITY of LOUISIANA at MONROE - Adjunct Instructor
1990–92
BOSTON UNIVERSITY SCHOOL for the ARTS - Teaching Assistant
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J A K E W EI G EL
Artist’s Statement It is very difficult to determine a top ten list of anything, much less the most important works of art within a career, but I have done so under immense pressure and agony. The final works were selected for their intellectual rigor and material development over the past 34 years. My art continues to explore the human condition expands through several areas of study and connection with a personal narrative. Weigel 10 (Far right) As I reflect on the work of art selected for this presentation, this particular piece is important because I did almost absolutely nothing to create it. In fact, it was a mistake in creation. While the discomfort of this realization was almost impossible to overcome, shattering my ego in the process and creating the existentialist dread that all artists experience at several points over their lifetime, the ability to learn and move beyond this work became essential for me to continue my creative practice.
All: dimensions variable, 1986–present
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J A K E W EI G EL
SOLO & TWO* PERSON EXHIBITIONS 2022
Untitled (For Now), Gallery 406, Elon University, Elon, NC
2021
Finding A Center in the Piece, Ernest G. Welch Galleries, Georgia State University, Atlanta, GA
2019
Under the Mountains, Frontier Space, Missoula, MT
2018
Latent Offerings, Art Space, California State University, Stanislaus, Turlock, CA
The Forgotten Orbits, Epekel Gallery, Merced, CA
Captured Orbits (In Three Acts), The InsideOut, Sacramento, CA Act I: Blueshift Act II: Anthropologies of a Photon Act III: signs (for ( ))
SELECT JURIED* & INVITATIONAL G ROUP EXHIBITIONS 2020
Let Now Be, Manifest, Cincinnati, OH* (Catalogue)
Habitat California: Flora & Fauna, Palos Verdes Art Center, Rancho Palos Verdes, CA*
2019
Packaged, Manifest, Cincinnati, OH* (Catalogue)
Craft Revolution, Orange County Center for Contemporary Art, Santa Ana, CA*
Nuance: Craftsmanship, Imagination and Innovation, Peters Valley School of Craft, Layton, NJ*
Anderson Ranch Annual Art Auction, Anderson Ranch, Snowmass Village, CO (Catalogue)
Architectonic, Foundry Art Centre, St. Charles, MO*
Poets in the Gallery, Josee Harris Gallery, Seton Hill University, Greensburg, PA
2018
140 Characters, Root Division, San Francisco, CA
Parsing Sign and Image, Art League Rhode Island, Providence, RI (Catalogue)*
Calligraphies in Conversation: In Search of Hidden Meaning, Ziya Arts Center, Berkeley, CA*
Anderson Ranch Annual Art Auction, Anderson Ranch, Snowmass Village, CO (Catalogue)
AP Art Review, Utah Art Alliance Art Hub, Salt Lake City, UT
Central California Art Association Juried Member Show (Juror Exhibit), Mistlin Gallery, Modesto, CA
SELECT GRANTS, AWARDS & RESIDENCES 2021
Visiting Artist, Sloss Furnaces National Historic Landmark, Birmingham, AL
Digitization and casting of Sloss wood patterns permanent collection and industry artifacts.
2020 Research, Scholarly and Creative Activities Grant (University), CSU, Stanislaus ($9,193) Investigation of digital processes for fabrication of public sculptures. Research, Scholarly and Creative Activities Grant (College), CSU, Stanislaus ($5,000) Investigation of CNC plasma cutting processes for fabrication of large public sculptures. Instructional Related Activities Award, CSU, Stanislaus ($76,760) Funding for four student assistants to operate 3D printers in sculpture and digital fabrication studios, 3D printing pens, 3D printer maintenance and computers for digital fabrication lab. Dean’s Teaching Initiative Grant, CSU, Stanislaus ($500) For 3D Scanning Software Dean’s Teaching Initiative Grant, CSU, Stanislaus ($500) For Student Assistant in Online Course Development 44
2019 Visiting Artist, Sloss Furnaces National Historic Landmark, Birmingham, AL Use of photogrammetry to enlarge and cast sculptures with ceramicist Matt Long (The University of Mississippi) through the CNC milling process. Research, Scholarly and Creative Activities Grant (University), CSU, Stanislaus ($7,000) Investigation of CNC milling and woodworking technology. Research, Scholarly and Creative Activities Grant (College), CSU, Stanislaus ($3,000) Investigation of CNC milling and woodworking technology. Instructional Related Activities Award, CSU, Stanislaus ($30,000) Funding for two student assistants to operate 3D printers in digital fabrication lab, 3D printing pens, 3D printer maintenance and computers for digital fabrication lab. Dean’s Travel Initiative ($1,000) For Under the Mountains solo exhibition at FrontierSpace in Missoula, MT. Dean’s Travel Initiative ($900) For professional service at Sloss Furnaces, Birmingham, AL. 2018 Pentaculum Invitational Residency, Arrowmont School of Arts and Crafts Research, Scholarly and Creative Activities Grant (University), CSU, Stanislaus ($10,000) Investigation of bronze and aluminum casting involving 3D printing. Innovate, Design, Excel & Assess for Success (IDEAS) Grant, CSU, Stanislaus ($10,165) For twenty 3D printers to develop a digital fabrication lab. Innovate, Design, Excel & Assess for Success (IDEAS) Grant, CSU, Stanislaus ($5,000) For creation of an experimental installation space in sculpture using a shipping container. Instructional Related Activities Award, CSU, Stanislaus ($34,500) For updating and further development of metal casting processes and metal fabrication facilities, funding for two student assistants to operate 3D printers in digital fabrication lab. Dean’s Teaching Initiative Grant, CSU, Stanislaus ($500) For mini CNC milling machine to produce prototypes from digital files. Office of Service Learning Faculty Mini Grant, CSU, Stanislaus ($500) Material for public benches developed in Public Art course.
WORKSH OPS 2021
CAD Designed & 3D Printed Part Molds, National Conference on Contemporary Cast Iron Art and Practices, Birmingham, AL
2020
CAD Designed Mold Systems, Anderson Ranch Arts Center (Online)
2019
CNC Patternmaking for Metal Casting, Anderson Ranch Arts Center
Sculptural Concrete Casting, Arrowmont School of Arts & Crafts
2018
Sculpture Foundations, Anderson Ranch Arts Center Program, Mississippi State University
LECTURES & PANEL PRESENTATIONS 2021
Digital Techniques for Metal Casting, National Conference on Contemporary Cast Iron Art and Practices, Birmingham, AL (Online)
2020 Discovering A Soul in the Computer: Unifying CNC and Analog Processes in Sculpture, Southeastern College Art Conference (SECAC), Virginia Commonwealth University (Online) 2019 Artist Lecture, Arrowmont School of Arts & Crafts, Gatlinburg, TN Courses on Sustainability: Visual Art & Ecology, Faculty Learning Community, CSU, Stanislaus
Faculty Spotlight, “3D Printing in the Arts”, CSU, Stanislaus
2018
Discovering A Soul in the Computer: Unifying CNC and Analog Processes in Sculpture,
Southeastern College Art Conference (SECAC), University of Alabama, Birmingham
Latent Offerings, Art Space, CSU, Stanislaus
Visiting Artist Lecture, Georgia State University, Atlanta, GA
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AC K N OW L EDG E M E N T S
C ALIFORNIA STATE UNIVERSITY, STANISLAUS
Dr. Ellen Junn, President
Dr. Kimberly Greer, Provost/Vice President of Academic Affairs
Dr. James A. Tuedio, Dean, College of the Arts, Humanities and Social Sciences
DEPARTMENT OF ART
Martin Azevedo, Associate Professor, Chair
Tricia Cooper, Lecturer
Dean De Cocker, Professor
James Deitz, Lecturer
Daniel Edwards, Associate Professor
Patrica Eshagh, Lecturer
Jessica Gomula-Kruzic, Professor
Daniel Heskamp, Lecturer
Chad Hunter, Lecturer
Dr. Carmen Robbin, Professor
Ellen Roehne, Lecturer
Dr. Staci Scheiwiller, Associate Professor
Susan Stephenson, Associate Professor
Jake Weigel, Associate Professor
Meg Broderick, Administrative Support Assistant II
Kyle Rambatt, Equipment Technician II
UNIVERSITY ART GALLERIES
Dean De Cocker, Director
SCHOOL OF THE ARTS
Brad Peatross, Graphic Specialist II
Stan State Art Facutly - 100 by 10 November 13–December19, 2020 | Stan State Art Space, California State University, Stanislaus | 226 N. First St., Turlock, CA 95380 300 copies printed. Copyright © 2020 California State University, Stanislaus • ISBN 978-1-940753-55-3 All rights reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of the publisher. This exhibition and catalog have been funded by Associated Students Instructionally Related Activities, California State University, Stanislaus.