Department of Art Faculty & Alumni Exhibition Catalog

DEPARTMENT OF ART FACULTY & ALUMNI EXHIBITION

ART MUSEUM STAFF Robert S. Wicks Director Jason E. Shaiman Curator of Exhibitions Cynthia Collins Curator of Education Laura Stewart Collections Manager/Registrar Mark DeGennaro Preparator/Operations Manager Sherri Krazl Coordinator of Marketing & Communications Sue Gambrell Program Associate Debbie Caudill Program Assistant

DEPARTMENT OF ART FACULTY & ALUMNI EXHIBITION

ARTISTS

Curator’s Statement.................................................................6

CURRENT FACULTY:

Bernard Andrew Au, Associate Professor..........................8

Geoff Riggle, Visiting Assistant Professor.......................38

Stephanie Baer, Assistant Professor..................................10

Michael Stillion, Visiting Assistant Professor..................40

Erin Beckloff, Assistant Professor........................................12

Ann E. Taulbee, Associate Professor................................42

Matthew Board, Assistant Professor..................................14

Roscoe Wilson, Associate Professor.................................44

Joomi Chung, Associate Professor.....................................16

Jon Masuo Yamashiro, Associate Professor...................46

Ray Claxton, Visiting Assistant Professor.........................18

Larry Winston Collins, Associate Professor....................20

Stephanie Harvey Danker, Assistant Professor.............22

Tracy Featherstone, Professor............................................24

Jordan A. Fenton, Assistant Professor.............................26

John Hankiewicz, Visiting Instructor.................................28

Michael Hatch, Assistant Professor...................................30

Mark Harald Jensen, Visiting Faculty..............................32

ALUMNI:

Ellen Jean Price, Associate Professor..............................34

Andrea Barone, BFA, 2008.................................................58

Jennifer Purdum, Visiting Assistant Professor................36

Nathan Bennett, BFA, 2001.................................................60

EMERITUS FACULTY:

Susan Ewing, 1981-83; 1984-2015......................................48

dele jegede, 2005-2015.......................................................50

Jeannie Langan Heins, 1995 - present.............................52

Philip Morsberger, 1959-1968..............................................54

Robert Wolfe, 1963-1990.......................................................56

Catherine Chauvin, BFA, 1988............................................62

Jerome Pouwels, MFA, 2004............................................108

Joy Christiansen Erb, BFA, 2001........................................64

Derek Reeverts, MFA, 2009................................................110

Taimur (Tim) Cleary, BFA, 2003.........................................66

Whitney Sage, BFA, 2008...................................................112

Valerie Escobedo, MFA, 2005............................................68

Nicholas Scrimenti, BFA, 2009..........................................114

Sabre Esler, BFA, 1987...........................................................70

Michael Seeley, MFA, 2014.................................................116

Katherine Fries, MFA, 2014..................................................72

Ashley Shellhause, MFA, 2010..........................................118

Amy Holmes George, BFA, 1997........................................74

Alison A. Smith, BFA, 2006................................................120

Sandra Gross, BFA, 91; MFA, 04.........................................76

Rachel Smith, BS, 2012.......................................................122

Julie Harris, MFA, 1994.........................................................78

Steve Snell, BA and BS, 2006...........................................124

Vincent Inconiglios, BFA, 1967............................................80

Alfred Steiner, BS, BA, 1995...............................................126

David Johnson, MFA, 1986..................................................82

Nicole Trimble, BFA, 2011...................................................128

Sarojini Jha Johnson, MFA, 1984.......................................84

Kelly Urquhart, MFA, 2007.................................................130

Sarah Lucia Jones, BFA, 2009...........................................86

Richard Vaux, BFA, 1963.....................................................132

Leah Kandel, BFA, 2010.......................................................88

Kim Vito, BFA, 1986..............................................................134

Anna Kell, BFA, 2005...........................................................90

Casey Vogt, MFA, 2009......................................................136

Travis Linville, BFA, 1999.....................................................92

Lesley Wamsley, BA, 2004................................................138

Joseph Madrigal, BFA, 2005.. ...........................................94

Roger Welch, BFA, 1969......................................................140

Emily Moorhead, BFA, 2004...............................................96

Austin Wieland, BFA, 2011..................................................142

Marjorie Morrow, BFA, 1967.................................................98

Ben Willis, BFA, 2005..........................................................144

Bridget Murphy Milligan, MFA, 1997................................100

Joshua Willis, BFA, 2003....................................................146

Danica Oudeans, MFA, 2006............................................102

Stephen Wolochowicz, MFA, 2005..................................148

Tim Parsley, MFA, 2013.......................................................104

Dukno Yoon, MFA, 2003.....................................................150

Alan Pocaro, MFA, 2009....................................................106

Adam Yungbluth, BFA, 2005.............................................152

CURATOR’S STATEMENT JASON E. SHAIMAN

Former and current Department of Art faculty are reunited again in a joint exhibition at the Miami University Art Museum. Held every four years, this display of recent work gives both groups an opportunity to showcase work developed outside of the classroom and independent of curricular responsibilities. The unique experience for viewers is exploring new creations by familiar artists and discovering diverse expressions produced by faculty who have joined the department since 2013.

The art faculty at Miami University are first recognized as educators. At a university or college, this is how students and colleagues commonly know them. However, we rarely have an opportunity to see their personal artistic explorations. This is because most show their creations in galleries and museums at other universities and other venues as part of the tenure and promotion process.

Thus hosting a regular exhibition of recent work brings awareness of the art faculty’s creative energies to local audiences. Most art faculty exhibitions at universities and colleges are dedicated solely to presentation of artforms and neglect the contributions of scholars to the art world.

In order to present art in its greater context, this exhibition includes published articles and book chapters written by Art Historians and Art Educators in the Department of Art. Adding another element to the mix is the work of Department of Art alumni. This blending of emeritus and current faculty works alongside those by former students is a presentation of generations and styles united in a quest for creative expression. There is no separation or grouping of works to distinguish them from one another. Many of the alumni are now educators, following in the footsteps of their mentors. This is a special opportunity to see parallels between artists, of two, even three generations, side-byside. The alumni were elected by current and emeritus

faculty and invited to participate. Alumni works were juried for this exhibition by Annie Dell’Aria, Assistant Professor of Art History, Miami University (Oxford) and Roscoe Wilson, Studio Art Professor and Chair of the Department of Humanities and Creative Arts, Miami University (Hamilton). Combined, this exhibition presents 89 works of art created by 20 current faculty, 5 emeritus faculty and 48 alumni.

As with past iterations of this quadrennial exhibition, the body of work presented in this 2017 presentation features a diverse exploration of art forms including sculpture, painting, ceramics, photography, video, printmaking, collage, mixed media works and scholarly publications.

Visitors to the Art Museum will see the work of familiar and new artists while exploring the vast array of art making practices at Miami University.

Special appreciation goes out to Peg Faimon, former Chair, and Tom Effler, Interim Chair, of the Department of Art, and Ann Taulbee, Director of the Hiestand Galleries, for their collaboration and continued support of this quadrennial exhibition. Gratitude is extended to professors Annie Dell’Aria and Roscoe Wilson for their insight and dedication to excellence in the arts. The Miami University Art Museum is pleased to present this exhibition and to be a partner in the presentation of Miami University’s art faculty and alumni, on the Oxford, Hamilton and Middletown campuses.

Jason E. Shaiman Curator of Exhibitions, Miami University Art Museum

AKO, 2016 Ballpoint pen on illustration board 32 x 40 inches

BERNARD ANDREW AU ASSOCIATE PROFESSOR

Art Studio, Drawing and Printmaking Middletown Campus, 2006 - present

ARTIST STATEMENT

BIOGRAPHY

What will Artificial Intelligence (AI) put on its wall(s) to commemorate the time when humans ruled the earth?

Born in Chicago in 1972, Andrew Au was influenced from an early age by science fiction, religion, literature and film. With each series of work he produces, he creates a working narrative that sets the parameters for the aesthetic conventions he uses. He teaches foundation studies at Miami University (Middletown) and maintains a studio with his wife in Cincinnati.

I have always been interested in how science fiction and the consideration of different realities can help us inform our own. This work began with musings about Artificial Intelligence. Many of the world’s leading scientists argue that we should not try to develop AI, as it may be a genie that we cannot put back in the bottle.

Logically, they assume, Artificial Intelligence would determine that humanity is its own worst enemy, a threat, or at best, inconsequential. What form would AI take, based purely on function devoid of aesthetic considerations?

What would their patron saints look like?

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“Creating curricular openings for confidence in preservice art methods classes.� International Yearbook for Research in Arts Education: The Wisdom of the Many - Key Issues in Arts Education (pp. 164-169). S. Schonmann (Ed.), Verlag GmbH, Germany: Waxmann, 2015.

STEPHANIE BAER ASSISTANT PROFESSOR

Art Education Oxford Campus, 2014 - present

ARTIST STATEMENT

BIOGRAPHY

This chapter is part of an international dialogue on the arts and education. The collection includes perspectives from all over the world and focuses on understanding and advancing the notions of creativity, artistic thinking, and authentic teaching/learning. The article highlights a curricular series I created in 2015 entitled ARTed Talks.

The series is part of an upper level art education course where students develop professional dispositions toward teaching, confidence and advocacy both for themselves and for art education.

Stephanie Baer is an Assistant Professor of Art Education.

She is an arts educator and artist who began her career as a K-12 classroom teacher before earning her PhD. She received her BFA emphasizing in photography, Masters in Secondary Teaching, and PhD in Educational Studies at the University of Nebraska–Lincoln. Baer’s dissertation, “Re-Envisioning Fear: The Role of Conversation in an Arts Classroom for Prospective Teachers,” won the 2014 American Educational Research Association Arts and Learning Dissertation Award. In 2015 she initiated the annual ARTed Talks series at Miami where Art Education students give a TED-style talk on their passions within the field. Her research interests are preservice teacher education, teacher confidence, fear and technology.

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Letterpress Hemisphere, 2016 Letterpress printing on paper, twine/plastic tubing (structure), laser engraved wood 15 x 7 feet diameter

ERIN BECKLOFF ASSISTANT PROFESSOR

Graphic Design Oxford Campus, 2011 - present

ARTIST STATEMENT

BIOGRAPHY

The installation embodies that history is not linear, but rather a web of connections between people through time, like a star cluster, gravitationally bound, existing as a collection orbiting each other forever. That permanent orbit represents the letterpress printing community’s expansiveness through time. Open star clusters often contain very young stars and globular clusters are tight groups of very old stars. The relationship between young and old generations of printers is significant because it demonstrates printing’s ability to transcend time. Each length of twine represents a member of the Amalgamated Printer’s Association (APA), a hobby printer group organized in 1958 focused on improving skills, expanding knowledge and exchanging samples of letterpress work.

Erin Beckloff is a letterpress printer, filmmaker, and graphic design educator. She is the co-director and writer of “Pressing On: The Letterpress Film,” a documentary about the survival of letterpress and the remarkable printers who preserve the history and knowledge of the craft. She revitalized the Curmudgeon Press type shop and developed letterpress courses at Miami University.

Her research explores how printing history is a web of connections between people through time. She believes the letterpress printing process will survive through educating others in the craft and that the intangible effects—emotional and physical—are consequential.

She has a BFA from Miami University and an MFA in Graphic Design from the Vermont College of Fine Arts.

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Tikibot, 2014 3D print 10 x 5 x 5 inches

MATTHEW BOARD ASSISTANT PROFESSOR

Art Studio, Game Art Oxford Campus, 2015 - present

ARTIST STATEMENT

BIOGRAPHY

From a very young age, I’ve been fascinated by character art and design. Fashioning identities in a variety of forms has brought me a variety of experiences, from getting suspended from high school to working professionally for Hasbro. Character creation is my passion because the creation of these fictional identities reveal the best and worst of what people can be.

Matthew Board is a technical artist, digital sculptor and independent game developer. His digital sculptures have been exhibited at the Gnomon School of Visual Effects, Games and Animation and the Pixologic (makers of ZBrush) turntable gallery. Recently, Matthew completed the educational game, Mysteries of the Core, which was funded by a grant from the National Science Foundation.

He has done contract work and consulting for various clients including Great Eastern Technology, Vermont Digital Arts, Owlchemy Labs, Anzovin Studio and Hasbro.

His current research explores meaningful environmental narratives using game development as the vehicle for expression. Before arriving at Miami University, Matthew taught at Casper College in Wyoming; Springfield College in Massachusetts; and Columbia College Chicago in Illinois. He has a BFA in studio art from Northern Kentucky University and an MFA in electronic art from the University of Cincinnati.

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Interstate, 2016 Animation 4 minutes 47 seconds

JOOMI CHUNG ASSOCIATE PROFESSOR

Art Studio, Painting Oxford Campus, 2005 - present

ARTIST STATEMENT

BIOGRAPHY

According to John Berger, Place is “...the extension of a presence or the consequence of an action. A place is the opposite of empty space. A place is where an event has taken or is taking place.” In line with Berger’s idea, my work is a process of forming an image-space, an inhabited space made of observed, remembered, and imagined realities. It is a combination of map and landscape. A map is a conceptual space navigated through signs, codes, grids, and legends. A landscape is a perceptual space lived through imagination, sensation, and memory.

Map-landscape implies locating and being, seeing and becoming. Interstate explores plasticity of memory-space through abstraction of image and sound as well as warping and repetition of time. It is a continuously morphing space where fragments of memories are woven together as a flux of images.

Joomi Chung received her BFA in Painting and MFA Research Certificate at Hong Ik University, Seoul, South Korea; and MFA at the University of Massachusetts, Amherst. Her work has been exhibited at national and international venues including Seoul Art Center Hangaram Museum and SOMA Drawing Center, Seoul, South Korea; Fort Collins Lincoln Center and Colorado State University, Fort Collins, CO; Cloyde Snook Gallery, Adams State University, Alamosa, CO; OSU Urban Arts Space, Columbus, OH; UICA, Grand Rapids, MI; Manifest Gallery, Cincinnati, OH; the Carnegie Center for Visual and Performing Arts, Covington, KY; Herter Gallery, UMASS, Amherst, MA; First Street Gallery, Bowery Gallery, Site: Brooklyn, NY; University of West Bohemia, Czech Republic and SÍM Gallery, Reykjavik, Iceland.

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Wall, 2016 Brick/ceramic, iron bolts 50 x 20 x 3 inches

RAY CLAXTON VISITING ASSISTANT PROFESSOR

Graphic Design Oxford Campus, 2015 - Present

ARTIST STATEMENT

BIOGRAPHY

Wall was a part of my MFA thesis The Thunder Road and this particular piece is about how I’ve dealt with profound loss in my personal life. It is part ornamental decoration, part biography and part monument.

Ray A. Claxton is a graphic designer/art director and design educator based in Rochester, New York. He has over 16 years experience in the advertising and marketing fields and while his focus has primarily been print design and direct marketing solutions, he’s also created awardwinning television, web and interactive campaigns.

As a design educator, he’s worked across upstate New York with various positions at Alfred University, Nazareth College, and Rochester Institute of Technology. He’s currently a Visiting Assistant Professor at Miami University in Oxford, Ohio.

He earned his BFA in Graphic Design from Oklahoma State University, and an MFA in Graphic Design from Vermont College of Fine Arts. He also has an unhealthy obsession with ravens and pop culture, and is a superhero in an alternate reality.

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Ring Series #5, 2014 Mixed media (wood, plaster, paint) 30 x 30 x 12 inches

LARRY WINSTON COLLINS ASSOCIATE PROFESSOR

Art Studio, Painting Oxford Campus, 2005 - present

ARTIST STATEMENT

BIOGRAPHY

My recent work is inspired by observations of my surroundings and an awareness of the energies that create dynamic forms and patterns. Ring #5 is the second work created in the “Ring Series”, a group of wall sculptures inspired from African patterns and designs.

Larry Winston Collins was born in Cincinnati, Ohio and is currently an Associate Professor at Miami University.

Collins received his BFA from Columbus College of Art and Design, in Columbus, Ohio and his MFA from the Maryland Institute, College of Art in Baltimore, Maryland.

Collins also received a fellowship to attend the Skowhegan School of Painting and Sculpture in Maine. Collins has received many other awards including a grant from the Ohio Arts Council and two Residency Fellowships to Dresden, Germany from the Greater Columbus Arts Council. Collins considers himself to be a Mixed Media artist, working in a combination of drawing, painting, sculpture, collage and printmaking techniques, which he refers to as “Art Fusion.”

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Brand: Identity, Image, and Relationships, 2014 Art Education Magazine, January 2014 Art by Laurie Hogin

STEPHANIE HARVEY DANKER ASSISTANT PROFESSOR

Art Education Oxford Campus, 2014 - present

ARTIST STATEMENT

BIOGRAPHY

During the 2014-15 academic year, Miami University celebrated the 50th anniversary of Freedom Summer with a plethora of events, exhibitions and visual reminders of what it means to be called to action. As a university-wide theme, students, faculty and staff became involved in a communal call to remember, reflect and participate.

This chapter describes how various communities came together to remember and celebrate an important part of local (and national) history through interwoven visual experiences and dialogue.

Stephanie Harvey Danker is an assistant professor of Art Education at Miami University. She earned her undergraduate degree from James Madison University, an MA from Virginia Commonwealth University and a PhD in Art Education through the University of Illinois at Urbana-Champaign. A native of Virginia, she taught art in Fairfax County Public Schools for six years. In addition to teaching, she served as an education consultant for the Ulrich Museum of Art, Wichita, KS and Sawhill Gallery, Harrisonburg, VA. Research interests include: strengthening relationships between university museum educators and PK-12 educators, art integration, reflective practice, professional development, visual culture, contemporary art, collaboration and Art Education pedagogy.

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Phukamake Bisection: 1 part, 2014 Acrylic on paper 19 x 26 inches

TRACY FEATHERSTONE PROFESSOR

Art Studio Oxford Campus, 2003 - present

ARTIST STATEMENT

BIOGRAPHY

“Bisection Drawings” are part of a larger series titled “In Mid Translation.” The drawings function as isolated parts of a larger image. The original source image has been cropped and erased so that select parts remain. The viewer is required to fill-in the blanks between excerpts of the original image. He or she must imagine what happens in the space between the parts.

Tracy Featherstone earned a BFA from the University of Cincinnati and an MFA from the University of Arizona.

She lives and works in Hamilton, Ohio with her husband, Craig, and their two dogs. She has taught in U.S., China and Europe. In 2013 she was awarded an Ohio Arts Council Award for Creative Excellence in recognition of her creative work. In addition, she was supported by the U.S. Embassy for a three-month residency in Prague, Czechoslovakia. Featherstone recently completed an interactive sculpture for Cincinnati’s Contemporary Arts Center, which opened May 2016.

In the next stage of the series “In Mid Translation” the eraser drawings are used as literal bisections of a larger threedimensional object and “translated” into three dimensions.

Through this translation process, the stages between one definable form and another are explored. Something that begins as an academic or factual translation must default to subjectivity on the part of the artist/translator.

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“Masking and Money in a Nigerian Metropolis: The Economics of Performance in Calabar,� from Critical Interventions: Journal of African Art History and Visual Culture, 2016.

JORDAN A. FENTON ASSISTANT PROFESSOR

Art and Architecture History, Painting African & Oceanic Art Oxford Campus, 2015 - present

ARTIST STATEMENT

BIOGRAPHY

This chapter explores a masquerade event, the recently expanded Nyoro competition, as part of a West African city’s attempt to engage with modernity on a global stage.

The chapter demonstrates how masquerade competitors position themselves in such cosmopolitan displays and show how the “mask”or masquerader enters “modernity.”

In support of Ian Bascom’s argument for more nuanced investigations of modernity, the chapter focuses on the Nigerian city of Calabar and the rising importance of the longstanding Nyoro competitions currently held in December and January. The newly reformulated and economy-driven spectacle has offered masqueraders and participants calculated ways of reasserting and encouraging their culture on a global stage.

Dr. Jordan A. Fenton, Assistant Professor of Art History, received a BA and MA from Kent State University before earning a PhD in Art History from the University of Florida in 2012. Before coming to Miami, Professor Fenton was on faculty at Kendall College of Art and Design, Ferris State University, from 2011-2015.

Professor Fenton is a specialist of African Art History, with an emphasis on the visual and performed expression of Nigerian masquerade arts, secret societies, esoteric knowledge systems, funerary rituals and installations, dress, economics and ways in which so-called “traditional” arts and artists operate in metropolitan cities.

Dr. Fenton presents his work and convenes panels at professional conferences such as College Art Association, African Studies Association, the Triennial Symposium on African Art and Midwest Art History society. He actively publishes in peer-reviewed journals, edited volumes, exhibition catalogues, and collection tomes.

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Too Sharp, Etching and chine collĂŠ 19 x 23 inches

JOHN HANKIEWICZ VISITING INSTRUCTOR

Art Studio, Drawing Oxford Campus, 2014 - present

ARTIST STATEMENT

BIOGRAPHY

I try to impart monumental significance to the quotidian.

John Hankiewicz is a cartoonist and printmaker who lives in Oxford, Ohio.

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17 After Mi Fu Ink painting and photographic print on paper 24½ x 83 in 2010

“Texture and the Chinese LandscapePhotograph-Paintings by Michael Cherney and Arnold Chang,” in From Two Arises Three: Creating a Third Space, Collaborative Works of Arnold Chang and Michael Cherney. New York: Early Spring Press, 14-21, 2014. Exhibition Catalog Essay

MICHAEL HATCH ASSISTANT PROFESSOR

Art and Architecture History, East Asian Art History Other: Asian Art Oxford Campus, 2015 - present

ARTIST STATEMENT

BIOGRAPHY

This essay accompanied an exhibition of collaborative work by two friends of mine, Michael Cherney, a photographer based in China, and Arnold Chang, a painter based in New York. Combing the unlikely materials of photography and Chinese painting, their work stimulated a range of pressing questions concerning image and memory. How do images help us to see and understand the world around us? How does the material nature of a medium affect the way we use images to remember or visualize the world? And what happens when two drastically different traditions and media are brought together to amplify the advantages of one another?

Professor Michael J. Hatch teaches the history of East Asian art. He researches the history of Chinese painting from the 18th to the 21st centuries, with interests in: theories of painting, the historiography of painting, contemporary Chinese art, materiality and visual culture.

His current book project is a sensory history of painting and the literati arts in China from 1790 to 1840. He also has recently begun researching a second book project on ideas of linearity and brushwork in early modern and modern Chinese painting. He has written arts criticism for The Brooklyn Rail, Artforum International, Artforum. com, and Yishu: Journal of Contemporary Chinese Art. From 2006 to 2008 he lived in Beijing, where he was a client relations officer at China’s preeminent auction house, China Guardian, and before that he worked in New York at Kaikodo Gallery.

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Precambrian Shelf and Lichens, 2010/2016, 2016 Digital Photography 16 x 16 inches

MARK HARALD JENSEN VISITING FACULTY

Art and Architecture History, Drawing, Photography, Printmaking Oxford Campus, 2011 - present

ARTIST STATEMENT

BIOGRAPHY

In the lake-systems of the Canadian Shield, the Boreal Forest opens to reveal ancient lifeforms colonizing surfaces, once the igneous core of the American continent... my documentation activity is at once both ephemeral as my visit and held as deep memory. It is a situation of incident and record.

Mark Harald Jensen, Adjunct Faculty and Director of the Visual Resources Center, received his BFA in 1978 from Illinois Wesleyan University, Bloomington; MFA (1982) and an MA in Art History (1990) followed from the University of Cincinnati. He has taught courses in both Studio and Art History at the University of Cincinnati and Northern Kentucky University before coming to Miami University.

At Miami, he has taught and served as a curator in the Visual Resources Center since 1987.

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Cascade, 2015 Monoprint 34 x 24 inches

ELLEN JEAN PRICE ASSOCIATE PROFESSOR

Art Studio, Printmaking Oxford Campus, 1987 - present

ARTIST STATEMENT

BIOGRAPHY

In recent mixed media monoprints, fragmented plant forms occupy a fluid and indeterminate environment and are described by contour lines and diaphanous shapes.

The work draws on the relationship between varying languages of depiction as well as the tensions between flatness and spatial illusion. The accumulation of multiple layers on the membrane-like quality of the paper permits the investigation of surface nuance and the ability of ink to be both transparent and opaque. If pressed further about the all-consuming question of content, I would say that the particular attitudes of the selected plant forms are personifications of dissolution, loss and decay.

Important influences for this body of work are spending excessive time gardening, Ellsworth Kelly’s plant studies and Leonardo da Vinci’s anatomy notebooks.

Ellen Jean Price was born in New York City and completed her BA in Art from Brooklyn College. She earned her MFA in Printmaking from Indiana University, Bloomington, Indiana in 1986. She is currently a Professor of Art at Miami University where she served as Director of Graduate Programs from 2008 through 2016. Her work was included in recent print survey exhibitions including The Pacific States Biennial at the University of Hawaii and Beyond the Norm, International Print Exhibition at Illinois State University. Her prints are included in public and private collections and her creative work was recognized with Ohio Arts Council Artist Fellowship Awards in 1996, 2001 and 2009, as well as a 1998 Cincinnati Summerfair Artist Award.

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ViewFinder1, 2016 Digital Print and silkscreen mounted on panel frame 17 x 17 inches

JENNIFER PURDUM VISITING ASSISTANT PROFESSOR

Art Studio, Drawing, Painting, Photography, Printmaking Hamilton Campus, 2008 - present

ARTIST STATEMENT

BIOGRAPHY

Ordinary objects can often be the repository of our memories and our identities. In an effort to link personal connections with objects and places, the recent collection of digital prints titled “ViewFinder� Series is a combination of screen printed Plexiglass props that are used as view-finders to capture the changing neighborhood of Northside, where I live. The images are disorienting and fragmented, a combination of photo, printmaking and drawing in a desire to create a fleeting or temporary idea about these changing places.

Jennifer Purdum was born in North Eastern Ohio in 1975.

She graduated with a BFA from University of Cincinnati in 2000, and from American University, Italy and Washington DC program in 2003. For the last 10 years, she has taught at Miami University in the foundations program, printmaking and painting. She has exhibited regionally at the Cincinnati Art Museum, 21-C Museum Hotel and the Weston Art Gallery and nationally in New York City, New Orleans and Washington, D.C.

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Calcined Series - Industry Standard 002, 2014 Vitreous Enamel, Copper, Steel, Powder Coat, Patina 3 ¼ x 3 ½ x ¾ inches

GEOFF RIGGLE VISITING ASSISTANT PROFESSOR

Art Studio, Metals and Jewelry Oxford Campus, 2010 - present

ARTIST STATEMENT

BIOGRAPHY

Inspired from life’s events, dilemmas and day-to-day interactions, Geoff Riggle’s work is an exposé of a reflective dialogue. By combining a jewelry artist’s approach in a variety of mediums, his work explores and celebrates relationship, growth, progress and the human spirit.

Through the use of metaphorical constructs in conjunction with sacred archetypes and form, he points to the symbiotic relations of our shared existence.

Geoff Riggle received a BS in Art Education from Ball State University and an MFA in metalsmithing and jewelry design from Miami University. With a firm foundation in traditional metalsmithing techniques and jewelry design practice, his current body of work spans the mediums of metals/jewelry, sculpture, photography, and forges ground into the digital design and practice.

Riggle has exhibited nationally and internationally and has been featured in a number of publications, including Showcase 500 Rings: New Directions in Art Jewelry, Marthe Le Van, author, Lark Crafts, New York, 2012.

Currently, Riggle is Head of Jewelry Design and Metalsmithing in the Department of Art, Miami University.

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Reclining, 2016 Mixed media on canvas 96 x 72 inches

MICHAEL STILLION VISITING ASSISTANT PROFESSOR

Art Studio, Drawing, Painting Oxford Campus, 2013 - present

ARTIST STATEMENT

BIOGRAPHY

We remember, we forget, we make up the missing pieces.

Michael Stillion is an artist living and working in Cincinnati, Ohio. He received his BFA from the Columbus College of Art and Design and MFA from Indiana University, Bloomington. Stillion has been the recipient of full fellowships to the Vermont Studio Center and Roswell Artist in Residence and he was recently awarded an Ohio Arts Council Individual Excellence Award. He is a Visiting Assistant Professor at Miami University and is represented by Linda Warren Projects, Chicago, Illinois.

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Hover Sensing, 2014 Intaglio print on paper 20 x 16 inches

ANN E. TAULBEE ASSOCIATE PROFESSOR

Art Studio, Printmaking Oxford Campus, 2001 - present

BIOGRAPHY Curating and installing over 360 exhibitions to date, Ann Taulbee has been Associate Professor and the Director of the Merwin and Wakeley Galleries at Illinois Wesleyan University (1984-1995); and Director of Network: a project of Cranbrook Academy of Art at Cranbrook Art Museum (1996 - 2001). In 1999, she coordinated the exhibition, CRANBROOK: POSTOPIA, at the Craft and Folk Art Museum, Los Angeles and in 2009, served as a member of the Museum Panel for the National Endowment for the Arts (NEA). Currently, as Director of Hiestand Galleries, Taulbee organizes national and international visiting

artist exhibitions and programs, MFA and BFA degree exhibitions and coordinates the Yeck Competitions for the College Art Association (CAA). Her artworks are part of numerous public and private collections including Sonoma State University, Harvard University and the Nelson Atkins Museum. Her commission for Imagery Estate Winery, is included in Nugent, Bob. IMAGERY: Art for Wine, foreward by Donald Kuspit, 2006. Taulbee earned her BFA in Painting and Printmaking from Miami University in 1981 before receiving her MFA in Printmaking from the University of Massachusetts, Amherst in 1984.

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Cracked Mountain, 2015 Wood, paint and plaster 37 x 72 x 45 inches

ROSCOE WILSON ASSOCIATE PROFESSOR

Art Studio Hamilton Campus, 2003 - present

ARTIST STATEMENT

BIOGRAPHY

In 2010, I became deeply affected by the Deep Water Horizon (BP) oil spill in the Gulf of Mexico. Millions of gallons of oil spewed from the well into the ocean and the long-term effects are still unknown. Eighty-seven days elapsed before the well was capped but questions still remain about the long-term effects of the spill on the environment, safety regulations and company negligence. That tragic event changed my trajectory as an artist from making work about the over-consumption of material goods to fossil fuels. My recent work incorporates sculpture, paintings and prints that use the over-consumption of fossil fuels (non-material based consumption) as their central theme.

Roscoe Wilson was born and raised in northern Indiana and southern Michigan. His environmental values were shaped in this mostly rural Mid-western setting. Growing up in this region enabled Roscoe to experience nature and discover an awareness that only a forest, lake and field can offer. He went on to receive a BA (1997) from Wabash College in Indiana, an MA (1999) in Painting/Printmaking from Purdue University in West Lafayette Indiana, and an MFA (2002) from the University of Wisconsin - Madison where he furthered his interdisciplinary education by studying Printmaking, Sculptural Installation, and Painting.

While at the University of Wisconsin, he was able to study the history of environmentalism.

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Lydia, 2015 Tintype (wet collodion on aluminum) 20 x 16 inches

JON MASUO YAMASHIRO ASSISTANT PROFESSOR

Art Studio, Photography Oxford Campus, 1993 - present

ARTIST STATEMENT

BIOGRAPHY

The silver-based, historical wet collodion photographic process emphasizes the uniqueness and fragility of photography. Portraiture became an immensely popular genre of photography as equipment and techniques grew from the original invention. Reaching back in time to fully understand the essence of photography was my initial intent in making portraits with this antiquated, chemical process. The images are one of a kind, produced entirely in a few minutes, require lengthy exposures and physical dexterity. As I continue to make these photographs, I am even more amazed and seduced by the magic of drawing with light.

Jon Masuo Yamashiro was born the oldest son and raised as a third generation Okinawan-American in the “cultural pastiche� of Honolulu, Hawaii. He traveled from the islands to study at Washington University in St. Louis and received his BFA in 1985, then went on to earn an MFA in photography from Indiana University in 1991. He has exhibited his photographs in solo, group and juried shows nationally and internationally. Since the fall of 1993, he has had the privilege of teaching photography to college students at Miami University. In 2009, he was awarded the prestigious Effective Educator award by the Alumni Association at Miami University. Jon lives in Liberty, Indiana with his wife Jennifer and their daughter Lydia and son Luke.

47

Memento Mori Series: Form with Fungus (Blackening Polypore), 2016 Bronze, corroded steel, graphite powder 5 ½ x 8 x 6 inches

SUSAN EWING EMERITUS PROFESSOR

Art Studio, Metals and Jewelry Oxford Campus, 1981-83; 1984-2015

ARTIST STATEMENT

BIOGRAPHY

Polyporaceae is a fungus family of 100 genera of wood decomposers, including many beautiful multi-colored, patterned layers of growth, such as the very common Turkey Tail fungus, Trametes versicolor. These fungi assist their wounded and damaged host trees to die through their symbiotic relationship.

Susan Ewing was born and raised in Lawrenceville, Illinois, and earned her MFA from Indiana University, Bloomington. She joined the art faculty at Miami University in 1981. Ewing was a University Distinguished Professor since 2005 and Senior Associate Dean/Associate Dean of the College of Creative Arts from 2008 until her retirement in 2016.

“Form with Blackening Polypore” references this narrative of life and death in my Memento Mori series. Nothing lasts forever, especially not high carbon steel, the material used to create the best cutting knives. Hardened steel’s process of decay is visually reminiscent of the tree fungi, as it emerges from the cuts inflicted upon its host.

Ewing’s works are in numerous collections, including the Victoria and Albert Museum in London and the Alessi Museum in Crusinallo, Italy. She was a J.W. Fulbright Senior Lecturing Scholar at the Academy of Art, Architecture, and Design in Prague and as a Masterclass Guest Professor at the Royal College of Art in London. Ewing is a recipient of The Ohio Craft Museum’s Lifetime Achievement Award and was honored at The White House (1993 & 1994) by President and Mrs. Clinton as one of 80 artists in the first White House Collection of American Craft.

49

You Only Need to Sit, 2016-2017 Egg tempera, acrylic & metallic paint, beet juice, plasma and printed cotton 60 x 48 x 45 inches

JEANNIE LANGAN HEINS EMERITUS PROFESSOR

Art Education, Painting Oxford Campus, 1995 - present

ARTIST STATEMENT

BIOGRAPHY

“You only need to sit” is an exhortation of Tao Dong (Soto) meditation. Sitting is all we need to stop, relax, and begin anapana sati (concentration on the breath) for enlightenment. Our mindful energy then leads us to look deeply within, and we find we have the ability to let go of the feelings, the bondage, of separation.

Jeannie Langan Heins’ work seeks answers and provokes questions about man’s relationship to nature. In recent years, she’s turned to art installation as a means to express her ideas. Her current work is an exploration into inner space, the healing and transformation of the mind.

Previous artwork has dealt with issues of conservation, and the encroachment of man into the space of wildlife.

Her present work has a conservation message, as well—the conservation begins in the mind. Only with the right mindset, will we be able to clearly see man’s appropriate relationship to nature.

Langan has used egg tempera, beet juice, and plasma in this installation. The egg represents life; the beet juice, the sweetness of life; and the plasma (blood), both the life blood and (self-imposed) suffering of life.

Langan’s career as an artist began in Chicago. She trained at the Art Institute and the University of Illinois (BFA, MA, PhD). Her painting flew on the space shuttle, Atlantis; she participated in Christo’s Gates Project, NYC.

51

Black Lives Matter II, 2016 Acrylic on canvas 30 x 40 inches

DELE JEGEDE EMERITUS PROFESSOR

Art and Architecture History, Art Studio, Painting Oxford Campus, 2005-2015

ARTIST STATEMENT

BIOGRAPHY

As an art historian, my work attempts to disrupt the canonical imbalance in the historicization of texts by privileging the Black perspective. Our own lions must have their own historians lest the hunter write the story of the hunt. As a cartoonist, I drench acerbic issues in palatable coats of humor for public consumption, often at the expense of the powerful. As a teacher, I relished motivating my students to remain intensely committed to the pursuit of knowledge, be respectful of the essence of divergency even as they sought to embrace critical thinking and contribute to the construction of knowledge.

As a painter, I employ a variety of media to inveigh against economic constructs and political shenanigans that wreak unimaginable havoc on unsuspecting publics while perpetuating the subaltern condition of the underclass. My work attempts to rupture the boundaries that are installed in the way that we construct and affirm selfhood, in the way that we re-construct nationhood.

dele jegede earned his degree in Studio Art at the Ahmadu Bello University, Zaria, Nigeria, and his MA and PhD degrees in Art History at Indiana University, Bloomington. jegede was a Fulbright Scholar and Smithsonian Institution Post-Doctoral Fellow. He was a Professor and Chair at Indiana State University and at Miami University. He has published widely on African and African-American art, and has a string of solo and group exhibitions locally and internationally. Most recent, was a solo exhibition, Transitions, at Terra Kulture Gallery in Lagos, Nigeria, in July 2016.

53

Boyhood Places, 2016 Oil on canvas 40 x 30 inches

PHILIP MORSBERGER EMERITUS PROFESSOR

Art Studio, Drawing, Painting Oxford Campus, 1959-1968

ARTIST STATEMENT

BIOGRAPHY

I believe in Color Color Color! Color as music. Color as narrative. Color as prayer. And yes...color as laughter. In the 2007 book Philip Morsberger: A Passion for Painting, author Christopher Lloyd writes of my “mythical universe, comprising a whole cast of fantastical creatures, both human and animal...All these creatures inhabit a turbulent, chaotic world that is hugely energized and dominated by a mood of restlessness.” Lloyd continues by commenting that my “Color is a distinctive feature of the recent narrative paintings...The colors sing on the canvas.”

Philip Morsberger was born in 1933 in Baltimore, MD. He began his art studies at the Maryland Institute College of Art in 1946, finishing with his BFA at the Carnegie Institute of Technology in Pittsburgh, PA. In 1958, he was awarded the Certificate of Fine Arts with Distinction from the Ruskin School of Drawing and Fine Arts at the University of Oxford, England. After returning to the U.S., he joined the faculty at Miami University where he taught until 1968 when he became the artist in residence at the Rochester Institute of Technology in New York. In 1972, he returned to England where he obtained his MA and served 13 years as the Ruskin Master of Drawing at the University of Oxford—the only American to hold this position. His teaching career subsequently took him to Harvard University, Dartmouth University, UC Berkeley and the California College of Arts and Crafts.

Morsberger retired after serving 5 years as the William S. Morris Eminent Scholar in Art, Morris Museum of Art, Augusta, GA.

55

Ditch Lilies and Butterflies, 2016 Oil on linen 52 x 70 inches

ROBERT WOLFE EMERITUS PROFESSOR

Art Studio, Drawing, Painting, Printmaking Oxford Campus, 1963-1990

ARTIST STATEMENT

BIOGRAPHY

The subjects I use are usually discernible but the meanings of the work are more obscure. In some cases a subject is not necessary at all. The manipulation, exaggeration or simplification of colors, of lights and darks, of gestures and surfaces contain my intent. Personal experiences as I perceive them is that which I hope to present. My work is transformed by my reaction to subjects and become my motivation. I do not refer to actual delineation toward the photographic nor toward literary connotations. I hope my art may be of use in understanding and appreciating subjects that we discern, to be bemused, and to intensify our experience with color, light and shade and rhythms of nature.

Robert Wolfe, an Oxford native, received his BFA in 1952 and a Bachelor of Science in 1955 from Miami University.

After completing combat training in the U.S. Army, he served as an artist/illustrator at Fort Lee in Virginia.

Wolfe attended the University of Iowa from 1957-1960 where he received his MFA. While at Iowa he received a scholarship to study at the Cincinnati Art Academy and conduct research at the Tamarind Institute in Albuquerque, New Mexico. After European travel from 1960-63, Wolfe obtained a printmaking position at Miami University and directed theses in the Department of Art. Wolfe has exhibited in over 200 competitions, 30 exhibitions by invitation and 25 one man shows. In 1972, he was honored by the Governor of Ohio and the Ohio Arts Council for his contributions to the arts. In 1992, students and the Miami administration honored him with the Miami Effective Educator award.

57

4am, 2015 Oil on canvas, cast glass, acrylic mirror, door knob, found flooring pieces and LED light 60 x 84 x 36 inches

ANDREA BARONE ALUMNI

Studio Art, Painting & Metals Oxford Campus BFA, 2008

ARTIST STATEMENT

BIOGRAPHY

I am a painter and my aim is to emphasize, elicit, and transform light through a variety of means: incandescent canvases, light-fracturing formations, and surfaces that capture, reflect, or distort light such as glass and metal.

An Ohio native, Andrea Barone is a painter with a polymorphous studio practice; working to heighten visual awareness, distort expectations, and reward careful observation. She earned her BFA in Painting & Metals from Miami University and then worked as a jeweler for several years. She began her graduate studies with a Post-Baccalaureate Certificate from the School of the Museum of Fine Arts Boston and received her MFA in Visual Arts from the State University of New York at Purchase College. Barone currently lives and works in Maine.

My work begins with the need to recreate a lived moment of observation: the sun scattering prisms as it bounces through a glass of water; or a sliver of yellow escaping through the doorframe into a dark room. I allow the work to remain open to change and adaptation as it is made and experienced as this approach feels more sincere to the ephemeral moments I aspire to capture. I want my work to heighten visual awareness, distort expectations, and reward careful observation.

59

Untitled, 2016 (printed 2017) Multiple overlay inkjet print 72 x 54 inches

NATHAN BENNETT ALUMNI

BFA, 2001 Studio Art, Painting and Sculpture Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I make use of sculpture, photography, drawing and painting.

My practice vacillates between the use of appropriated images and constructed objects for their physicality and its relationship to space and the illusionary potential of the flat surface. I employ imagery from popular culture while referencing and redirecting towards something larger than the whole of the image, aesthetically I employ minimalism, and aspects of architecture and design. I use my studio practice as a malleable medium, as a site of contemplation, challenge and inspiration. As David Harvey describes “at times of crisis, the irrationality of capitalism becomes plain for all to see.� My work act as a crystallization of these crises a magnifying glass of these irrationalities through the manipulation of commercial culture and the everyday.

Nathan Bennett is a New York-based artist who uses photography, sculpture and drawing in his multidisciplinary practice. Bennett received a BFA in sculpture and painting from Miami University and an MFA in sculpture from Cornell University. He participated in the Whitney Independent Study Program and he has been a recipient of a College of Creative Arts (CCA) Individual Artist Grant, Summer Scholars Fellowship and a National Woodcarvers Association Scholarship. He was awarded a Lower Manhattan Cultural Council (LMCC) Workspace Residency as well as a Triangle Arts Association Artist in Residency. He had also been the recipient of a DAAD (German Academic Exchange Service) Fellowship to research and produce art in Berlin. Selected exhibitions include The Bronx Museum, Momenta Art and PS122 gallery in New York, and the Dayton Art Institute in Ohio.

61

In the Round: Forecast, 2016 Lithograph and monotype on paper 17 x 17 x 2 inches

CATHERINE CHAUVIN ALUMNI

BFA, 1988 Studio Art, Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

“In the Round” portfolio print Forecast relates to a recent collaborative project titled “Where Land and Water Meet.”

The prints in that series tended to have a man made element that interrupted the landscape. The net element in Forecast may be capturing something as fleeting as a thought, or a cloud, or allowing something to escape.

Catherine Chauvin is the Director of the School of Art & Art History and an Associate Professor at the University of Denver. After earning a BFA from Miami University, Chauvin earned an MFA from Syracuse University.

She trained at the Tamarind Institute and has since collaborated with artists such as Gladys Nilsson, Jaune Quick-to-See Smith and William Wiley in New Mexico, Texas, and the Anderson Ranch Arts Center in Colorado.

These experiences as a collaborative printer and artist combine in several ways in her artwork and teaching.

Residencies in New Zealand, Greece, Oregon and Wyoming have allowed her to develop bodies of work based on landscape. Catherine uses artwork to examine what is done to the environment in the name of progress.

63

13 Days Apart, 2014 Archival pigment print 25 x 18 x 2 inches

JOY CHRISTIANSEN ERB ALUMNI

BFA, 2001 Studio Art, Photography and Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

13 Days Apart explores the subject of motherhood and family, both from a personal and universal perspective. Part of a series, this photograph records the private moments within the lives of my family and our domestic space. The resulting images artistically document the growth cycles of my children, the successes and failures of motherhood, and focus on the body through sickness and healing.

Joy Christiansen Erb is a contemporary photographer whose creative research explores themes of motherhood and family. She resides in Youngstown, Ohio where she is an Associate Professor of Photography at Youngstown State University. She received her BFA from Miami University and her MFA from Texas Woman’s University.

Her work has gained recognition through national exhibitions and lectures. Recent exhibition venues include the Newspace Center for Photography in Portland, the Center for Emerging Visual Artists in Philadelphia and the Center for Photography in Woodstock. A portfolio of her work is housed at the Museum of Contemporary Photography as a part of the Midwest Photographers Project in Chicago and she received a 2015 Ohio Individual Excellence Award by the Ohio Art Council.

65

To Fall (To Springs), 2015 Oil on board Two 14 x 29 inch panels

TAIMUR (TIM) CLEARY ALUMNI

BFA, 2003 Studio Art, Painting and Photography Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Inverse recognition occurs when reality (a signifier) reminds us of a painting (a sign). Like a visual pun or aesthetic double entendre, my work subtly, but persistently, alludes to slippages between concepts of subject and object, illusion and abstraction, figure and ground.

Taimur (Tim) Cleary grew up standing over a compass rose on the shore of Lake Michigan. Indeed, some say he is there, still. Taimur painted as a child, and has found various ways to maintain the habit; including, but not limited to, undergraduate degrees in painting and photography at Miami University, and a MFA from Pratt institute. He has received a range of grants, awards and residencies as an artist and educator. Currently, he paints and teaches full-time as an Assistant Professor at Northern Michigan University, in Marquette, Michigan.

While the imagery does borrow tropes from classical landscape painting, (ruin and light) the compositions should simultaneously court minimalist aesthetics and de-familiarizing aspects of the uncanny (symmetry, the double and flatness). Compositional elements create tension between a centering of the gaze, and a subversion of singular focal points.

If a painting is a window, it only opens as we suspend our disbelief to meet suggestion with imagination. It can be a delicate balance. See for yourself.

67

Bird 7, 2015 Charcoal on paper 30 x 38 inches

VALERIE ESCOBEDO ALUMNI

MFA, 2005 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

My current body of work is an investigation of natural forms, specifically nests and birds. These drawings are a significant departure from the figurative work that I have engaged in for many years, and have proven to be technically challenging for me. The surfaces and structures of these objects rely very heavily on pattern and texture. I am forced to engage more intentionally with the marks that I make and to distill the most pertinent visual information.

Valerie Escobedo grew up in Northwest Ohio and attended Bowling Green State University, where she received a BFA in two-dimensional studies. After teaching in the public schools for six years, she attended Miami University in Oxford, OH, earning an MFA in Painting.

As an associate professor of art at The University of Findlay, she teaches painting, drawing, printmaking and 2-D design and serves as Chair of the Department of Visual and Performing Arts. She resides in Findlay, OH with her husband Eliseo.

69

Butterfly Effect, 2014 Mixed media on canvas 36 x 48 inches

SABRE ESLER ALUMNI

BFA, 1987 Graphic Design and Illustration Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

My work is exploring space as is relates to the body.

Within the body and surrounding the body. When one closes their eyes and explores the awareness of the body mentally, this experience is especially important in my investigation.

Sabre Esler’s work has evolved from her early years to a developed concentration concerning the human being.

The mind, body, spirit connection is her current focus.

Connections create experience and experience create a person’s perceptions and personal reality. Sabre’s work uses sculpture, painting and printmaking as a way to discover self appropriation and the evolution of thought processes.

I am focusing on the inner workings of the sense of spirit as it relates to the human condition. Words and phrases like residual memory, spiritual connection, psychological paradigms are themes that interest me in my exploration.

There are facets of mental awareness that I find quite exciting, such as mind over matter, mental paradigms.

The scientific components of the physical body and the existential awareness between mind and body as one identifies with the physical world. Ultimately for me, the question is: am I my body or am I my mind and spirit? My body allows me the experiences of this physical world.

Sabre’s work is showcased in galleries throughout the country and in numerous corporate and private collections.

71

Memory Map: Joan, 2016 Monotype on paper

KATHERINE FRIES ALUMNI

MFA, 2014 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I have always been aware of my relationship with the objects that have surrounded me. I contemplate their meaning, stories, and origins. As a storyteller, I grasp at any known narrative of who, what, when, where, and how. As a preservationist, I long to know its context, strive to understand its relevance today, and asserted its importance for posterity. With that in mind, these works share a carefully selected collection of objects, images, people, and events, reflective of narrative threads based on the personal experiences of Joan and my interactions with her as she succumb to Alzheimer’s. These prints are an accumulation of memories in that they seem random, yet are intertwined, becoming clues of values, interests, relationships, and experiences. The transfer process allows me to visually express the ephemeral existence of memory.

Katherine was raised in Lincoln, Nebraska where she was immersed in stories from and about her family and their friends. These stories captivated her and were illustrated with mementos/heirlooms, photos, and imagination.

Intrigued, Katherine wanted to know as much as she could about their lives. Eventually her interest would lead her to consider how she and her peers interact with history, memory, and the objects left behind.

Katherine is currently an Assistant Professor at the University of Indianapolis - teaching Foundations, Printmaking, and letterpress. In addition to her BFA and MA, Katherine completed her MFA from Miami University in 2014. Katherine has exhibited in a variety of juried, invitational, solo and group exhibitions.

73

Learning to Let Go of Sophie, 2014 Ziatype Print (photography) 21 x 17 x 1 ½ inches

AMY HOLMES GEORGE ALUMNI

BFA, 1997 Studio Art, Double Concentration: Photography and Graphic Design Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Learning to Let Go of Sophie contemplates my experiences as a mother of two, with all its wonders and woes. As a proud mother and passionate artist, I’m continually learning to embrace the beautiful chaos of parenting with its many gifts, pondering the everyday sense of hilarity, absurdity, uncertainty and emotional overwhelm. I find myself responding to this life metamorphosis through intuitive, creative collaboration with my young son and daughter. I seek inspiration directly from observation of my children, appropriating their artwork and often integrating texts. I composite scenes that are autobiographical and at the same time fictional, with concepts that are undoubtedly introspective yet laden with universal significance. I offer these images as an honest expression of the exhausting yet exhilarating journey through parenthood.

Amy Holmes George is Executive Director of the Texas Photographic Society and a fine art photographer based near Dallas, TX, where she has held teaching appointments at Collin College, Baylor University and the University of North Texas. As a former tenured professor of photography and digital media from Stephen F. Austin State University, she holds an MFA in photography from Clemson University and a BFA from Miami University. Exhibited widely throughout the U.S. as well as in Italy, England, France and China, Amy’s work has been featured in over 100 exhibitions and is housed in several permanent collections, including The Getty, The Kinsey Institute and the Fratelli Alinari Museum. Amy is a 2008 Fulbright grant recipient for a project based in Florence, Italy.

75

Filtered then and now, 2016 Glass 24 x 20 inches

SANDRA GROSS ALUMNI

BFA, 91; MFA, 04 Studio Art, Sculpture Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Utilizing burn drawings as templates from her MFA work from 2004, and her current work in 2016 for mark making via sifting glass, the conversation continues. The marks are layered but never able to be replicated or reversed like the influences of experience and time have on the individual.

Sandra Gross is an artist, educator and entrepreneur. She is the founder of Brazee Street Studios, a reclaimed 22,000 square-foot factory that is home to 30 studio artists, c-link gallery and Brazee School of Glass (SOG). As director of education at SOG, she and her team have created and presented nationally ground breaking curriculum in the field of glass education for children. Gross, in the past three years, has co-created Sleepy Bee—a breakfast and lunch restaurant that features local food as well as local art. She also maintains a studio practice at her studio at Brazee, where she creates glass installations throughout the city.

77

Sulking Crow, 2016 Liquid light on handmade paper 22 x 30 x 2 inches

JULIE HARRIS ALUMNI

MFA, 1994 Studio Art, Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Sulking Crow refers to all the fears I have and how those fears are played out.

Julie Harris has been included in over one hundred sixty five, regional, national and international exhibitions.

Currently, she is Head of Printmaking at Kean University and teaches printmaking, papermaking and the book arts in Union, New Jersey, in close proximity to Manhattan.

She continues to work primarily in intaglio printmaking, papermaking and the artist books.

79

Painting from Donut Series #44, 2015 Acrylic on canvas 70 x 62 inches

VINCENT INCONIGLIOS ALUMNI

BFA, 1967 Fine Art, Painting & Graphics Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

This painting is from the “Donut Series” done in 2015.

Vincent Inconiglios, born in New York in 1946, lives and works on Gansevoort Street in New York City and on Music Mountain in Falls Village, Connecticut.

He has been represented in regional and national exhibitions throughout the US and abroad. His first oneman exhibition in NYC was in SoHo in 1972 and he was a featured artists in “10 Downtown” in the 1970s. His work has been noted by Barbara Rose in New York Magazine, reviewed in ARTFORUM, seen in The New York Times and is in private and public collections.

Recent exhibitions include “Paintings from the Donut Series” and a show of major collage works,”The Gansevoort Girls.”

81

The Ecstasy of Saint Teresa, 2014 Linocut on paper 28 x 23 inches

DAVID JOHNSON ALUMNI

MFA, 1986 Studio Art, Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

The impact of German Expressionist woodcuts attracts me.

With a simple gouge on wood or linoleum one’s drawings are transformed and given a sort of visual insistence that is unforeseen. I also appreciate the low tech nature of relief prints, I like the fact that they can be done in the basement or on the kitchen table with an ink roller, a chisel and a wooden spoon for printing.

David Johnson was born and grew up in Fort Dodge, Iowa. He walked beans, baled hay, worked as a busboy and janitor and received a BFA in Drawing from the University of Iowa. After seeing the Mauricio Lasansky Retrospective, the Atelier 17 Show and an exhibition of German Expressionist prints, he studied for one year at the Cleveland Institute of Art and worked with Robert Wolfe at Miami. David has shown his prints and books in over 400 exhibitions. His work is in the collections of Yale University, the Boston Public Library, the New York Public Library, the University of Wisconsin-Madison and Indiana University, among others. He has taught Drawing and Printmaking at Ball State University in Muncie, Indiana since 1988.

83

Invasive Plants, 2013 Intaglio on paper, artist’s book 7 x 9 x 1 inches closed, 7 x 9 x 48 inches open

SAROJINI JHA JOHNSON ALUMNI

MFA, 1984 Studio Art, Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

This book takes invasive plants such as dandelions, bamboo and quack grass as subjects. Invasive plants were often brought to an area with good intentions by misguided people. These plants crowd out native plants and often take over and are hard to control.

Sarojini Jha Johnson studied with Professor Robert Wolfe at Miami University and earned an MFA in printmaking in 1984. She is professor of Art at Ball State University where she teaches printmaking, bookmaking and foundations. Her creative work is found in the medium of color printmaking and she also makes artist’s books that comment on the effects of climate change on flora and fauna.

85

Sun Fox, 2014 Gouache and cut paper 13 x 13 inches

SARAH LUCIA JONES ALUMNI

BFA, 2009 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

This little “sun fox” finds warmth amongst a nest of colorful and lush cut paper leaves. The bright clash of textures and colors creates a wild entanglement, providing a safe environment for this critter fit for a children’s book.

Sarah Lucia Jones is a 2009 Miami University Alumna who currently lives and works in Cincinnati, Ohio. After receiving her MFA from the University of Cincinnati in 2011, Sarah has gone on to teach college art courses, paint murals with ArtWorks and participate in local gallery shows, but has found her passion in writing and illustrating children’s picture books. Sarah’s Illustrations are often quirky, colorful and designed specifically to support developmental milestones of her little readers.

She has received recognition for her books, including a star review from Publisher’s Weekly, a Mom’s Choice Award and the 2015 books by the banks People’s Choice Award for best children’s book. Sarah’s recent art works have taken inspiration from the world of children’s books, often using cut paper.

87

Mount Katadhin, 2016 Mixed media 11 x 9 inches

LEAH KANDEL ALUMNI

BFA, 2010 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Maps and small sketches from hiking trips serve as initial visual references, which become abstracted through adding and subtracting from the surface. While I work I think about my footsteps over roots and rocks, the support of the people I hiked with, and the mental and physical challenge of the experience. I return to the things I thought about while I was there, I ask questions about my motivations for reaching the summit. I wonder about the inner dialogue of others whose steps and scrambles traced the same path.

Leah Kandel uses her artistic practice to explore concepts of nature, memory, and abstraction. Originally from Columbus, Ohio and currently based in Boston, Massachusetts, her work is strongly influenced by hiking and mountain climbing in the Northeast. She is curious about the way she feels drawn to spend time in the woods. Kandel is interested in the tactile and personal experience of making art as a way of contemplating her experiences on the trail after returning home, and exploring her relationship with wilderness.

Kandel earned a BFA in Painting and a BS in Art Education from Miami University in 2010. She currently works at the Isabella Stewart Gardner Museum in Boston and uses a small corner of her apartment as a studio space, which supports the small scale and intimate nature of her work.

89

Tree Peony (Paeonia suffruticosa), 2016 Acrylic and spray paint on reclaimed fabric over panel 40 ½ x 28 Ÿ inches

ANNA KELL ALUMNI

BFA, 2005 Studio Art, Painting & Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

In my new work, I stretch floral textiles over panel and use the fabric’s inherent patterns, textures, and colors as my canvas. The materials are sourced secondhand in Central PA, and most prominently feature an identifiable plant or flower. Poinsettia tablecloths, a sequined gown, vintage curtains, bedsheets, and aprons form a kind of regional index of the domestic as it intersects with idealized nature. With each new surface, I attempt to identify the prominent plant species pictured and match it to a corresponding silhouette derived from herbarium specimens. The silhouette of the plant specimen, through the painting process, becomes a window onto the original surface, which careful viewers realize is an alternate representation of the plant.

Anna Kell, originally from Columbus, IN, graduated from Miami University in 2005 with a BFA in painting and printmaking. She went on to earn her MFA from the University of Florida in 2009. Her paintings and installations are featured in exhibitions nationally and internationally. Kell is currently an Assistant Professor of Studio Art at Bucknell University in Lewisburg, PA. In her new work, she uses floral textiles sourced in Central Pennsylvania, as her canvas. Attempting to identify the prominent plant species pictured, she matches each canvas with a corresponding silhouette derived from herbarium specimens in digital databases. The silhouette, through the painting process, becomes a window onto the original surface, which careful viewers realize is an alternate representation of the plant.

91

Vanitas #1, 2016 Tintype (wet plate collodion) 12 x 9 x 1 ½ inches

TRAVIS LINVILLE ALUMNI

BFA, 1999 Studio Art, Photography Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

This image is one of a series in progress using subjects traditional and non-traditional as metaphors for the passage of time. The process underscores the metaphor as the aesthetic is usually associated with photographic imagery from the nineteenth century.

Travis Linville is an artist and educator based outside of Chicago working primarily in alternative and historical photographic processes. Currently teaching at Elgin Community College, he has taught photography and drawing at a number of schools since 2003 including Clemson University and Georgia Southern University. Travis continues to exhibit work nationally and internationally.

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...at home..., 2015 Mixed media 40 x 47 x 12 inches

JOSEPH MADRIGAL ALUMNI

BFA, 2005 Studio Art, Ceramics and Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

My studio practice focuses on material explorations orbiting around clay and ceramic processes. A sensitivity to clay and ceramic objects informs how I approach and tease out properties in other materials and objects. These material investigations are influenced by the complexity of memory and bodily experience through habitual, sensual and erotic connectivity. My recent work focuses on the domestic realm where the body and object collide and expand in both lived and imagined space. My aim is to find moments of shift, slippage and compression through material and conceptual relationships. Boundaries are permeable and arbitrary; the distances we impose between body, object and space are merely separated by semantic distinction.

Joseph Madrigal currently lives in Decorah, Iowa and is an Assistant Professor of Art at Luther College teaching courses in both ceramics and sculpture. He received his BFA from Miami University concentrating in both painting and ceramics, and received his MFA in ceramics from Illinois State University.

95

Stationary Effort, 2016 Performance with vintage stationary bicycle and custom record player 48 x 29 x 53 inches

EMILY MOORHEAD ALUMNI

BFA, 2004 Studio Art, Sculpture Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Originating from a desire for unattached musical enjoyment, Stationary Effort is a human driven vinyl album player.

A performer pedals the bike that turns a front flywheel, which hits an idler wheel, whose energy is transferred through bearings and gears to another idler wheel that spins a record platter, the round disc on which an album sits. As performers, the riders attempt to regulate the record’s rhythm. The record spins inconsistently causing audible distortions; familiar songs, tones, and pitches are altered. This discordant absurdity veils the observable lack of human control over the machine and uselessness of human as accurate timekeeper. There is a push and pull between recognizing the futility of the rider’s efforts and the humor found in deformed sounds.

Emily Moorhead is an art and artist advocate in Chicago, Illinois. She earned a BFA in Studio Sculpture from Miami University and an MFA in Interdisciplinary Fine Arts from Washington University in St. Louis. Moorhead’s work is exhibited nationally, predominantly showing in the central U.S. She has been a featured lecturer at various institutions including Capital University in Columbus, Ohio and Northwestern University in Evanston, Illinois among many others. She has been an artist in residence at The Torpedo Factory in Alexandria, Virginia, FugScreens in Chicago, Illinois, and the Springer School & Center in Cincinnati, Ohio. Additionally, Moorhead is the Board of Directors President for Chicago Sculpture International, a non-profit organization devoted to championing sculptors and the creation of sculpture through public exhibitions and programming.

97

Moon Weather, 2016 Mixed media on canvas 50 x 29 x 2 inches

MARJORIE MORROW ALUMNI

BFA, 1967 Studio Art, Painting and Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I paint from inside out, working from my intuition, emotions.

That said, introspection does involve observation and awareness of one’s surroundings. The natural world outside my studio is a constant reference for line, color, movement. Even since a student at Miami, I have been an abstractionist and a colorist. My artistic process involves filtering feelings and information, then spontaneous execution. The result: emotional landscapes.

Marjorie Morrow is an abstract painter living, since 1969, in the Chelsea section of Manhattan. She divides studio time between NYC and upstate Sullivan County where she exhibits regularly. In the recent “River and Biota” group exhibit, to bring awareness to our country’s rivers, she participated as both artist and collaborator, traveling the show from its original venue at the Catskill Art Society in upstate NY to Penn State University. Morrow’s multipart 9/11 project involved an exhibit near Ground Zero in lower Manhattan of her pastel drawings created in the aftermath of 9/11; a creative writing seminar at Drew University where students wrote in direct response to her artwork; and a reading of their original poetry on the tenth anniversary of 9/11.

My newest paintings incorporate collage elements of words, writings of mine that are often about the painting itself. And I incorporate some techniques of my earlier printmaking work, particularly relief and rubbing/frottage, making use of industrially fabricated grids, expanded metal mesh, and trees. My work is about energy, freedom, juxtaposition.

99

The Joker, 2016 Chromogenic print, Dibond and plexiglass 24 x 30 inches

BRIDGET MURPHY MILLIGAN ALUMNI

MFA, 1997 Studio Art, photography and painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

The Joker, is both fictional and autobiographical. Through photographing the everyday life of my children within a familiar landscape, I am exploring the nature of curiosity and the powerful discoveries that come from play. I intend for these images to demonstrate the delicate awakenings experienced by a child playing while suggesting the tensions, the push and pull, of a child’s physical and mental purity/ vulnerability. Moving beyond the documentary, it attempts to visually weave together normal real life situations with the unexpected fictional narratives my children reenact.

Rural landscapes along with handmade props transform the images into dreamlike fleeting moments, merging the real with the unreal. As both a mother and artist, I believe some of life’s most meaningful moments come from the ability to fuse fantasy with reality.

Bridget Murphy Milligan was born in Columbus, Ohio in 1975 and spent most of her childhood years growing up on a farm in central Ohio. Milligan received an MFA from Indiana University in 2000 and a BFA from Miami University in 1997. Exhibited widely throughout the U.S. as well as in Italy and Ireland, Milligan’s work has been featured in over one hundred exhibitions and is housed in several permanent collections. She was a finalist in Photolucida’s Critical Mass competition in 2011 for her recent series Fireside Tales. She is also the recipient of the Jacob K. Javits Fellowship from the U.S. Department of Education and two Ohio Arts Council Individual Artist Fellowships. Milligan is Associate Professor and Chair of the Department of Art at The College of Wooster.

101

Foot With Rootworm, 2015 Oil paint on carved wood relief 20 x 84 x 1 inches

DANICA OUDEANS ALUMNI

MFA, 2006 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

The foot is the base upon which dreams, passions, and desires are nourished. The body presses forward ignorant of anything amiss, blindly sapping a quickly depleting energy source. The Rootworm burrows into the most delectable spaces and brightens each time passion is consumed from the foot. It becomes fat on the sadness it leaves behind and glows with gluttony as the foot withers into itself.

Danica Oudeans received her MFA in Painting from Miami University in 2006. After graduating she taught within the University of Wisconsin System for 10 years.

Currently, she is Creative Lead at the Artisan & Business Center designing collaborative artworks created by the community and displayed throughout NE Wisconsin.

Danica’s current work uses the concept of metamorphosis to create symbolic narratives that explore the relationships between the past and the future. The artworks investigate the present grappling with what has been lost and what might be found. Experiences are translated into vivid colors of emotion and drained textural surfaces that feed and deplete one another. Time is presented simultaneously creating rich narratives that interact and discover what it means to be human.

103

We Took The Stars, 2015 Oil on canvas 36 x 24 inches

TIM PARSLEY ALUMNI

MFA, 2013 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

My work navigates American history and the complicated effect of its constructive ambition. With a focus on the originating stories of America, I appropriate and piece together scraps of historic imagery and collective memory, reconstructing the American narrative of progress to reveal and reinterpret a nostalgic anxiety about the past.

Tim Parsley is Assistant Professor of Painting and Drawing and Program Director for Studio Art at the University of Saint Francis in Fort Wayne, IN. Previously he served as Assistant Director for Manifest Creative Research Gallery and Drawing Center in Cincinnati, OH. He holds degrees from the University of Cincinnati (BFA, 2007) and Miami University (MFA, 2013).

105

Double Visage, 2016 Screenprint and solvent transfer with torn and pasted screenprints 22 x 18 x 1 ½ inches

ALAN POCARO ALUMNI

MFA, 2009 Studio Art, Painting and Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Collage, the joining together of the unrelated, is the aesthetic of the 21st century. Pastiche materials and patchwork mindsets move with the speed and curiosity of a social media stream. Cat videos juxtaposed against ISIS beheadings. Marshal McLuhan, prophet and seer.

Alan Pocaro is an artist, writer and educator based in Illinois.

These works embody the simultaneity, narrative incoherence and perceptual instability of life at the end of Western cultural hegemony.

107

Interference: Landscaping, 2014 Acrylic on canvas 48 x 36 inches

JEROME POUWELS ALUMNI

MFA, 2004 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Interference, or 131313, is a series of paintings about signal degradation. What happens when a simple message suffers a loss of information that compromises the entire message? And what if the message is not simple? This can take place between two people, where only they are affected, or perhaps between nations, rattling sabers. The imagery I use for this body of work comes exclusively from a call for images through social networking sites like Facebook and Twitter. I consider this body of work an experimental collaboration with social practices. The use of the PIXEL references, in part, the digital nature of the internet. It also has an interesting visual effect acting as an obstruction, altering the potential of a shared narrative, building a whole from two disparate halves that ultimately work in conjunction with each other.

Jerome Pouwels is an artist from New Zealand. He is currently an Assistant Professor and Coordinator on Foundations and Drawing at California State University, Chico, California.

109

Tarred and Feathered, 2013 White Earthenware/Mixed Media 12 x 7 x 12 inches

DEREK REEVERTS ALUMNI

MFA, 2009 Studio Art, Ceramics Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

The idea of identity carries much of my attention. What makes us who we are and why do we do the things we do? In my work, I try to pay a great deal of attention to addressing the questions that I ask myself in order to help define the world around me as well as the events that take place. The intent of addressing these questions is not necessarily to come to an answer.

Derek Reeverts grew up in rural Illinois surrounded by faith and farming. He received his MFA in ceramics from Miami University in 2009 and his BFA in ceramics from Western Illinois University in 1999. He has been the Ceramics area Teaching Lab Specialist for the University of Florida since 2013. His work continues to be a part of many regional, national, and international exhibitions and is represented in many private collections. Derek’s recent showings include—the solo show “The Devil you Know...” at The Clay Studio in Philadelphia. His work deals with satirical reflections of human nature through small-scale figurative ceramics.

My inspiration comes from the flaws and foibles of human nature, to me they are the most interesting and defining part of what makes us human. By examining these flaws I try to create a dialogue of the universal so that the work has the ring of truth that everyone can access on some level. I attempt to create expression and predicament that has a subtle sense of gravity while, at the same time, adding levity with an element of satire.

111

Homesickness Series, 2016 Ink on paper 19 x 21 x 2 inches

WHITNEY SAGE ALUMNI

BFA, 2008 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

As a native of suburban Detroit, the city’s rich cultural heritage and its relevance the “American way of life” are things that I’ve always found influential to both my artwork as well as my own identity. Detroit’s a place of increasing cultural relevance with parallels to larger American struggles; big industry and suburban flight failing Detroit whilst leaving behind ghostly architectural skeletons and scarred empty plots of land. The imagery employed in my work often focuses on architecture as language for discussing Detroit’s rich history, it’s disappearing past and the hotly contested vision of its future. While my practice is rooted in a deeply personal and specific history, the work seeks to appeal to many through universal notions of home, loss, hope and the protective impulse that we share for the people and places we love.

Whitney Lea Sage, a native of suburban Detroit, currently lives and works in Columbus, Ohio, serving as Lecturer of Art and Art Gallery Director at two Ohio University regional campuses. Whitney graduated cum laude from Miami University in 2008 with Bachelor’s degrees in Art Education and Painting. Sage earned an MFA in Studio Art from the Sam Fox School of Visual Art at Washington University in St. Louis.

Notable professional exhibitions include Detroit: A Brooklyn Case Study at Superfront LA, Utopia/Dystopia at the Urban Institute of Contemporary Art and Extreme Fibers: Textile Icons and the New Edge at the Muskegon Museum of Art. Whitney’s work has been featured in Maake Magazine, Qua Magazine, and Post-Industrial Complex Catalog, published by MOCA Detroit.

113

Bruno’s Boy, 2014 Acrylic and oil on panel 48 x 43 inches

NICHOLAS SCRIMENTI ALUMNI

BFA, 2009 Studio Art, Painting and Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

My work is derived from my experience being employed by a hoarder to help develop a strategy to clean and organize his property. My paintings, investigate the correlation between the process of creating art and the act of hoarding/cleaning up a hoarders mess. I am influenced by the array of art garbage that accumulates through my process of working. When dealing with such an overwhelming amount of excess, decisions regarding what stays and what goes must be made quickly. These are hard decisions for a hoarder, or the composer of a painting. These three paintings are somewhat different looking than the older paintings from this series, and I see them as a bridge to what I am currently working on.

The main differences are their lack of an obvious linear narrative, and they begin to incorporate aspects of my tendency to be an “Art Hoarder.”

Nicholas Scrimenti is an artist based in Cincinnati, Ohio.

He received his MFA in Two-Dimensional Media from the University of Cincinnati in 2012. He taught Drawing, Painting, and Design at The University of Dayton for three years, and Miami University’s Hamilton campus for three semesters. Recently, Nicholas was part of a 4-person crew who completed a mural located at 1 Hotel South Beach in Miami Florida. The mural was designed by artist Robert Lazzarini, and commissioned

by Architectural Digest. Being part of a group exhibition titled “Refuge at Basel,” the exhibition kicked off last year’s Art Basel Miami Beach. Nicholas has worked on other large scale murals in Cincinnati, OH for companies such as Samuel Adams Brewing, Kroger, Rhinegeist Brewing/Beer Company, Kenner Toys and many more.

115

Limits of Construction #10, 2013 Mixed media (acrylic and photograph) on panel 9 x 12 inches

MICHAEL SEELEY ALUMNI

MFA, 2014 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

With this ongoing series of paintings, the initial starting point is usually a photograph taken by others without any pretext of composing or framing, for the sole purpose of documenting a specific time and place in the arc of a construction process. I explore the translation of that snapshot moment into something else, sometimes by adding clues of space and time or orientation back into the photograph, or sometimes by deleting any clues that might tie it to a specific time or place or scale. The result could be something that is receptive to the initial photograph, or something that resists it. I’m not coming at this work from a ‘storyteller’ or narrative point of view; it’s more about taking advantage of unusual or unexpected visual possibilities.

Having spent much of my professional career as an architect working with building types and structures that most people would not associate with having the potential for much visual aesthetic, such as parking garages and industrial facilities, I have come to recognize and appreciate compositions and textures in the incomplete construction that are frequently more intriguing than the completed building. In my painting practice, I’m interested in depicting these temporary conditions, because there is usually more going on than one might initially think or notice.

117

SnS_No. 1, 2014 Acrylic on canvas 36 x 60 inches

ASHLEY SHELLHAUSE ALUMNI

MFA, 2010 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I work using two disparate techniques. The first is the technique of stain painting, where watered down acrylics are poured on an unprimed canvas. I can choose the colors and guide where they go, but chance is almost as important as my deliberate decisions. The second technique is to trace detailed patterns onto my pieces.

Sometimes I use paint and a brush. Other times I use contact paper to stencil the pattern onto the painting.

These two techniques are opposite ways of working that reflect my subject matter, which is the comparison of natural and synthetic systems. Man-made systems are often rigid and geometric. Natural systems appear more chaotic. I like to experiment with how different those two systems can be, and how similar. At times, they even switch roles.

Ashley Shellhause is a contemporary artist working in painting and drawing. Born as Ashley Hughes in Columbus, Ohio, she currently lives in Simi Valley, California. She received her BA from Otterbein College in 2008 with concentrations in painting and visual communications, and a minor in biology. In the spring of 2010 she completed her MFA in painting at Miami University. She was also a recipient of the 2010 Joan Mitchell MFA Grant. Since graduating, she has been accepted into numerous exhibitions and has completed several mural and commission pieces.

119

Cut Hair and Hydrangeas, 2016 Archival pigment print 24 x 30 inches

ALISON A. SMITH ALUMNI

BFA, 2006 Studio Art, Photography Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

The works in this series titled, Excruciatingly Correct Behavior, capture arranged, small-scale domestic scenes inspired by the classic and contemporary still life genre.

Using “antique” objects -- purchased or inherited, cultivated or wild plantings from the land around my home or newly purchased mass-produced goods, I create a subtle tension between the natural and artificial. The tensions created by the various objects serve as a metaphor for clashes and ambivalences between personal and societal expectations. Each scene is built on loose reinterpretations of advice found in vintage etiquette guides for women to current day lifestyle blogs and brands. Using available natural light, analog-film capture and working seasonally provides a counterbalance to the pace and productivity focused existence of the everyday.

Alison A. Smith is a photographer who is interested in the built environment, suburban landscapes, and domestic spaces. She earned an MFA in studio art photography with Distinction from the Lamar Dodd School of Art at the University of Georgia in Athens, Georgia in 2010. She earned a BFA in Studio Art Photography with a minor in Women’s Studies from Miami University in 2006. Her work has been exhibited in national photography galleries, centers, university galleries and museums. Alison is currently serving as a Senior Lecturer at Southern Illinois University Carbondale, in the Department of Cinema & Photography, College of Mass Communications & Media Arts.

121

Chicory and Stiff Gentian Ruff, 2016 Waterjet cut aluminum with powder coat 20 x 20 x 7 inches

RACHEL SMITH ALUMNI

BS in Art Education, minors in Metals and Spanish, 2012 Art Education, Jewelry and Metals Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I chose chicory and stiff gentian as two wildflowers to focus on this past year. Their shapes and colors make them already ideal, but they also can be used to make tea and coffee. Using flora that can have a ceremonial use seemed fitting in this formal ruff format.

Rachel Suzanne Smith earned her BS in Art from Miami University in 2012, majoring in Art Education with minors in Metals and Spanish. She earned her MFA degree at Kent State University (2015) with an emphasis in jewelry/ metals. Since graduating, she has taught Jewelry/Metals/ Enameling at Kent State while continuing to make and exhibit work.

123

Daunting Courage, 2016 Cardboard with digital video Approx. 34 x 144 x 32 (boat), 15 minutes (video)

STEVE SNELL ALUMNI

B.A. and B.S., 2006 Art Education, Painting and Art Education Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

The Missouri River has a bad reputation. It is dangerous and polluted. There are barges and snags and flying carp.

It is full of unknowns and very few people. It is also full of wonder and beauty. It is full of potential for adventure.

Steve Snell calls his work adventure art. His adventure and community-based practice has led him to a variety of experiences, ranging from floating the Connecticut River in a couch-boat to a random encounter with Alec Baldwin while hiking across Western Massachusetts.

Steve has been an Artist-in-Residence at the HUB-BUB in Spartanburg, South Carolina, the Wassaic Project in upstate New York, and along the Chilkoot Trail in Alaska and Canada. His work has been shown in galleries and film festivals throughout the U.S. Steve earned his MFA in Studio Art from the University of Massachusetts Amherst (2011) as well as a BFA in Painting / BS in Art Education from Miami University (2006). He currently is an Assistant Professor of Art in the Foundations Department at the Kansas City Art Institute.

For one week in August 2016, I floated the Missouri between Nebraska City and Kansas City in search of inspiration, meaning and adventure. Like artist-explorers from the past, I recorded this experience and landscape along the way, with the intention of rediscovering this often overlooked stretch of river and bringing awareness to its important place in our region and history.

125

The Spaces Between Horizontally Adjacent Arabic Numerals, 2015 Heavy black bristol paper 174 x 72 inches

ALFRED STEINER ALUMNI

BS, BA, 1995 Mathematics, Philosophy, Logic and the philosophy of mathematics Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Dimensions variable.

Alfred Steiner was born in Cincinnati in 1973. He graduated from Talawanda High School, and earned a BS in mathematics and a BA in philosophy from Miami University in 1995. He then attended Harvard Law School, graduating magna cum laude in 1998. He’s had one-person shows at galleries in New York, Los Angeles and Copenhagen, as well as group shows at the Weston Art Gallery (Cincinnati), The Drawing Center (New York), Mass Gallery (Austin), Guerrero Gallery (San Francisco) and Gildar Gallery (Denver).

The 100 unique shapes created by the empty spaces between horizontally adjacent arabic numerals.

Edition of three with one Artist’s Proof.

127

Super Cool Party People, 2016 Oil and gold leaf on canvas 70 x 46 x 2 inches

NICOLE TRIMBLE ALUMNI

BFA, 2011 Studio Art, Painting and Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Working as an oil painter, I’m interested in both the history of the medium and how this material can be translated to a contemporary context. When making images, my aim is not to eschew the vast and diverse history of painting, but call back to it. I draw inspiration from historical images and compositional devices, the language of portraiture and figuration, and support systems and means of display.

Using the human body and its artifacts in combination with these familiar images and painting devices, I seek to engage my viewer in their shared experiences while indulging the personal and emotional, expanding the scope of portrait language and its signifiers.

Nicole Trimble is an Ohio-based artist and educator with a studio practice grounded in painting and observation of the human figure. Her work has been exhibited in galleries throughout the United States and in publications such as Studio Visit and Professional Artist Magazine. She holds a BFA in painting and printmaking from Miami University, and an MFA from the University of Cincinnati’s College of DAAP. She currently lives and works in Cincinnati, Ohio.

129

Knot Equivalence, 2013 Digital painting 44 x 44 inches

KELLY URQUHART ALUMNI

MFA, 2007 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

This chapter explores a masquerade event, the recently expanded Nyoro competition, as part of a West African city’s attempt to engage with modernity on a global stage.

The chapter demonstrates how masquerade competitors position themselves in such cosmopolitan displays and show how the “mask”or masquerader enters “modernity.”

In support of Ian Bascom’s argument for more nuanced investigations of modernity, the chapter focuses on the Nigerian city of Calabar and the rising importance of the longstanding Nyoro competitions currently held in December and January. The cash prizes and the fame of Nyoro competitions within the newer venues of Calabar’s urban environments offer masqueraders an economic opportunity for young people in an otherwise almost nonexistent Nigerian economy. Additionally, the expansion of the Nyoro into a Super Bowl-like competition and spectacle of heritage has changed the fields of knowledge that determine competition results.

The newly reformulated and economy-driven spectacle has offered masqueraders and participants calculated ways of reasserting and encouraging their culture on a global stage.

In 2007, Kelly Urquhart received her MFA from Miami University in Oxford, OH. She currently lives and works in Kent, Ohio. Since 2008, Kelly Urquhart has exhibited her artwork in over 20 national and international exhibitions, including Infinitum - Create, Lead, Learn Exhibition, Hebei Provincial Museum, China, 2014-15; Kent State University Museum, Kent, OH, 2015-16; Materializing New Space, Pearl Conrad Art Gallery, The Ohio State University, Mansfield, OH; the 24th International Juried Exhibition at the Visual Arts Center of New Jersey juried

by Susan Kismaric, Curator of Photography, Museum of Modern Art, New York, NY; Texas National 2009 at the Cole Art Center, Stephen F. Austin State University, Nacogdoches, TX juried by Mel Chin.

131

Architectural Setscape, 2014 Acrylic on vinyl 82 x 26 inches

RICHARD VAUX ALUMNI

BFA, 1963 Studio Art, Painting, Drawing and Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Architectural Setscape, (2014) is one of a series of recent Abstract Impressionist paintings dealing with light and illumination, the visible and the invisible. Created with acrylic on layers of translucent vinyl.

Richard Vaux was born in 1940 in Greensburg, Pennsylvania and lived on Long Island, New York from 1945 to 2015. After graduating from Miami University in 1963 and receiving his MFA in 1969 from Northern Illinois University, he served as professor of Painting and Drawing at Adelphi University from 1967-2008 (Professor Emeritus, 2007).

Through those years he also established his studio on Long Island, and exhibited nationally and Internationally from 1963 until today.

Vaux exhibited at the Dayton Art Institute in 1963 and was invited to present his work at the 1964 New York Worlds Fair. Since then his art has been represented exhibitions throughout the U.S.A., Europe, South America and in the Far East. In 2015, Vaux relocated his residence and studio back to Northeast Ohio.

133

Summer Evening, 2016 Wood relief and serigraph 28 x 11 inches

KIM VITO ALUMNI

BFA, 1986 Studio Art, Printmaking Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

This series, Scipio Garden Plan, is perhaps the most personal series I have ever created. It is about navigating through loss and tragedy. Although the work is fragmented and abstract, the visual elements within the layers are highly personal motifs, shapes, patterns, and tracings pulled from objects in my environment. Some shapes are carved into boards or drawn on mylar, whereas others are printed from found objects or jig-sawed blocks. The patterns are both interrupted and linked; the rhythms are sequential and cyclical as found in nature with growth, decay, and regeneration. Of most relevance would be the incorporation of voids and chaos, counterbalanced with elements displaying clarity and openness.

Kim Vito is Professor of Art/Printmaking and Drawing at Wright State University, where she has been teaching since 1992. Vito works in Dayton, Ohio and maintains a summer studio and home in Harlan, Indiana. She gathers most of her inspiration for her prints from this location, working directly from the plant forms in her backyard and the surrounding rural landscape. She exhibits her artwork in regional, national, and international exhibitions, including Dayton/Kyoto International Print Exchange, Springfield Museum of Art and JARFO Art Forum, Kyoto, Japan. Vito is currently an active member and VicePresident of the Dayton Printmakers Cooperative. Vito attended Miami University (BFA/Printmaking) and Florida State University (MFA/Printmaking).

135

Mellow Yellow, 2016 House paint, marker, collage, resin on panel 24 x 24 inches

CASEY VOGT ALUMNI

MFA, 2009 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I create ornate, mandala-like compositions that serve as a backdrop for politically charged figurative scenes. The most recent paintings explore Americans’ relationships to drug use, the war on drugs, and the pharmaceutical industry. The backgrounds are composed of masses of layered dots of house paint in myriad colors, recalling a pharmacopoeia of pills. They act as a painterly and metaphysical contrast to the socio-political narratives presented by the figures. With their euphoric colors and psychedelic compositions, my work proposes painting as another mind-altering substance.

Casey Vogt grew up in Fort Collins, Colorado. He grew up with family friends who were cowboys. Their struggle and love for life are the basis of my work. Life for them was never easy but always seemed rewarding.

Riding horses and tending to the cattle was part of his lucky upbringing. Vogt makes his paintings as a way of highlighting the mystique, beauty and hardship of this noble endeavor.

137

Crown, 2016 Graphite and gouache on Yupo 24 x 18 inches

LESLEY WAMSLEY ALUMNI

BA, 2004 French, Painting and Drawing Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I am interested in an experience that is both beautiful and brutal. Tropes like hair, ribbons and flowers describe a feminine archetype of purity, innocence and ideal beauty.

This description is genuinely poetic and, yet, completely cliché. My work expresses the conflicted desire to be this ideal and an awareness of its inherent sexism; the cycle of objectification. These drawings strive to be pretty, they want to be liked; but there is a disquieting overtone. The objects that I draw are associated with the body and it is their separation from it that suggests violence. More still-life than portrait, the disembodied objects are arranged and displayed like trophies. This work reflects my experience and describes femininity as a combination of seduction, cliché and violence.

Lesley Wamsley earned an MFA from the State University of New York at New Paltz in 2012, and a BA from Miami University in 2004. Her work has been in national and international exhibitions including a three-person show at the Kingston Museum of Contemporary Art in Kingston, NY. A collaborative project, Face to Face: Blind Date, was included in the 2015 Graphics Biennial in Ljubljana, Slovenia and acquired by the International Centre of Graphic Arts. Residencies include Wassaic Project, Wassaic, NY and Endless Editions, New York City, NY. Her work is held by the Museum of Modern Art Artists’ Book Collection, New York City, NY. She is a professor at the State University of New York at New Paltz and the recipient of a Merit Award for excellence in teaching.

139

Laguna Sagaponack, 2016 Video

ROGER WELCH ALUMNI

BFA, 1969 Studio Art, Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Laguna Sagaponack is a video artwork that unites two distant places, the Atlantic Beach on Long Island and the Pacific at Laguna Beach, California. In each location, I set a video camera in a predetermined position to record selectively from early twilight, throughout the day and into the following night. By careful dissolves, I create the illusion of a natural progression of time. Laguna Sagaponack loops endlessly from nightfall to nightfall and the beaches join in a central blurred line that appears as a passageway for beachcombers at the speed of light.

The work of Roger Welch is in many public and private collections and exhibited worldwide. Among the museums who own his work are the Guggenheim Museum in New York, the Reina Sofia Museum in Madrid, the Boston Museum of Fine Arts, the Museum of Modern Art in New York and the Georgia Museum of Art in Athens, Georgia. Over his career, Mr. Welch has had one person exhibitions at the Whitney Museum of American Art in New York, the Milwaukee Art Museum, the Albright Knox Museum in Buffalo, New York, the Museum of Modern Art in Mexico City and the Museum of Fine Arts in Havana, Cuba. His work was featured in the Sports Show at the Minneapolis Art Museum in 2012 and in the Art in America Now exhibition at the Museum of Contemporary Art in Shanghai, China.

141

Rab-Bot, 2014 Ceramic, underglaze, glaze, decals, luster, paint, plastic tubing, Arduino board, servo motor, brass tubing, toggle switch 20 x 16 x 11 inches

AUSTIN WIELAND ALUMNI

BFA, 2011 Studio Art, Ceramics Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

My ceramic sculpture addresses both the intersection of technology with craft and the versatility of clay. Many recognize ceramics as an art medium, but fail to consider its applications in industry. I reference this versatility by creating a juxtaposition of surface treatments incorporating decals applied in patterns for highly decorative finishes combined with distressed metallic surfaces. The notion of function is further explored by incorporating interactive elements using Arduino boards and other electronic components. Viewers may use switches and buttons to activate text screens and motors within each piece.

The resulting actions are often influenced by personal experiences with technology. Many create narratives referencing how machines impacted our artistic processes and our daily lives by producing repetitive, futile tasks.

Austin Wieland was born and raised in Bryan, Ohio. He received his BFA from Miami University in 2011 with a BFA in Ceramics and a Minor in Arts Management. In 2015, he graduated from Edinboro University of Pennsylvania with an MFA in Ceramics and a Minor in Sculpture. Wieland has completed summer residencies at the Cub Creek Foundation for the Ceramic Arts, the Watershed Center for Ceramic Arts, and the Medalta International ArtistIn-Residence program in Alberta, Canada. He has been featured in many National and International Ceramic Exhibitions. Recently, his solo exhibition Interactivity II was reviewed in World Sculpture News Magazine. Currently, Wieland is the Assistant Professor of Ceramics and Sculpture at LaGrange College in LaGrange, Georgia.

143

Painting has no Name, 2016 Acrylic and glitter resin on panel 12 x 12 x 1 ½ inches

BEN WILLIS ALUMNI

BFA, 2005 Studio Art, Sculpture Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

I was largely interested in oil painting throughout graduate school, where I created a series of portraits that identified the community of artists who shaped my experience in the MFA program. I grew tired of rendering form and wanted to explore more of what I had learned about color relationships, layering, composition and texture.

Ben Willis was born and raised in Cincinnati, Ohio. Ben holds a BFA in studio art from Ohio’s Miami University and an MFA in Painting from Arizona State University’s Herberger Institute for Design and the Arts.

The pattern paintings I make now derive from concepts of optical art. In contrast, I use materials that allow me to go beyond creating a visual depth, adding a third dimension by suspending paint, iridescent pigment and glitter in many layers of resin. My patterns do not just end in paint. Their repetitive nature has provided a fluid outlet for collage, digital, mixed media and installation projects.

Professionally, Willis is a preparator at Phoenix Art Museum and adjunct faculty at Phoenix College. Ben’s work is currently represented by Fort Works Art located in Fort Worth, Texas.

145

A Sun that Never Sets: Hiroshima, 2014 Watercolor on paper 22 x 17 inches

JOSHUA WILLIS ALUMNI

BFA, 2003 Studio Art, Printmaking and Painting Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

These images are part of the series of woven watercolor paintings made while in residence at the Misaki-Cho Arts & Crafts Village in Okayama, Japan. These particular paintings deal with World War II, more specifically how the US and Japan--once bitter enemies--have become international partners, and how this about-face coupled with the passage of time, has made it even more difficult for Japanese and American people of my generation to imagine the atrocities visited upon both countries during the war.

Joshua Willis received a BFA from Miami University and an MFA from Brooklyn College. He was an artistin-residence at the Misaki-Cho Arts & Crafts Village in Okayama, Japan in 2014 and at the Jentel Foundation in Wyoming in 2009. His work has been exhibited nationally at venues including the Carnegie Center for the Arts, Manifest Creative Research Gallery, Montclair State University, Harper College, Lockhaven University and Eastern Michigan University. In New York, Willis’ work has been exhibited at the Painting Center, the Katonah Museum of Art and the Pelham Art Center.

He was formerly a Visiting Assistant Professor of Art at SUNY-Purchase College, and is now a New York City Firefighter at Engine 83 in the South Bronx.

147

“Parts” Red Bulb, 2016 Ceramic 23 x 9 x 8 inches

STEPHEN WOLOCHOWICZ ALUMNI

MFA, 2005 Studio Art, Ceramics Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

My current work utilizes abstracted industrial shapes combined with organic features like a bag, balloon or bulb.

Through the use of form, vivid color and texture, I add a playful aesthetic to my more serious underlying concepts.

They deal with the human invention, environment and progress through networks of industrial themes. Viewers can reveal many layers of content from various clues.

Some examples are; the dizzying effect of the dots as it relates to environmental issues, the post nuclear age ooze hinting at the interior substance within the bulbs, and the metallic surfaces drawing a link to industrialization.

Stephen Wolochowicz was born and raised in Central New Jersey. He is currently Assistant Professor of Art in Ceramics at Weber State University in Ogden, Utah. He also has taught ceramics at other institutions including The University of Notre Dame, The University of Central Missouri, and Central Michigan University. He holds a BFA from the University of Delaware and an MFA from Miami University. Wolochowicz has exhibited his work extensively and has conducted numerous workshops and lectures around the country. His current work utilizes abstract industrial shapes with organic features.

Through the use of vivid color and texture, he adds a playful aesthetic to his underlying concepts. They deal with the human invention, environment and progress through networks of industrial themes.

149

Wings, 2016 Argentium silver and feathers 4 ½ x 3 x 6 inches

DUKNO YOON ALUMNI

MFA, 2003 Studio Art, Metalwork and Jewelry Oxford Campus

ARTIST STATEMENT

BIOGRAPHY

Perceiving the machine as a replacement or extension of nature, or mechanical form as a way of understanding nature, is the fundamental idea beneath my series of kinetic jewelry and sculpture, Wings.

Dukno Yoon is an Assistant Professor at Kansas State University and has taught at several universities in South Korea. He received his MFA in metalsmithing and jewelry design at Miami University and a BFA at Kookmin University in South Korea. His work ranges from jewelry, costume work for films to conceptual small sculpture.

The main focus of his research is on interactive kinetic artworks in wearable form and small sculpture. His works, particularly the Wings series, have been exhibited and published internationally and received several awards.

A pair of feathered wings flap as the wearer bends the finger with hinged rings. These interactive flapping wings on the tip of the finger evoke an emotional connection from the wearer as if holding a fragile life.

In regard to process, I create main parts by computer modeling, 3d printing and casting. Then mechanical parts are fabricated from tubing and wire using traditional silversmithing techniques.

This merge of new technology and traditional hand work blurs the border among designer, engineer and craftsman and gives me a true liberation as a maker.

151

Bowling Jar, or Without a Lid a Jar is Empty, 2016 Ceramic, porcelain with glaze, soda fired 16 x 12 x 12 inches

ADAM YUNGBLUTH ALUMNI

BFA, 2005 Studio Art, Ceramics Oxford Campus

BIOGRAPHY Adam Yungbluth is currently a Visiting Assistant Professor of Art and Design (Ceramics) at Morehead State University, in Morehead, Kentucky. Adam received his BFA from Miami University in 2005 and an MFA from The University of Mississippi in 2009. Adam currently resides in Huntington, WV with his wife Melissa, and pets, Alien and Sassafras.

153

Book Design Kara Sauer Design Supervisor Ray Claxton Editing Jason E. Shaiman, Laura Stewart and Sherri Krazl Fonts Museo Slab, Jos Buivenga, 2009

Proxima Nova, Mark Simonson, 2005 Printing Lulu, lulu.com All photography is courtesy of the artist, unless otherwise noted.

All work pictured is from the collection of the artist, unless otherwise noted.

Copyright Š 2017 Miami University Art Museum Published 2017. All rights reserved.

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