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Exhibition: February 23–April 1, 2009 Reception: Thursday, March 5, 6–8pm Gallery Talk by curator Aletha Jones at 7pm
Participating Artists: Amy Arnston Donne Bitner Katherine Chang Liu Paul Ching-bor Cindy Craig Randy Eckard Patricia Tobacco Forrester Charles Greenholdt David Hamill Alex Powers John T. Salminen Lee Weiss H. Dean Willis Cathy M. Woo Russell Yerkes
Curated by Aletha Jones
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Curator’s Statement In selecting a primary focus for “The State of the Art
choice brings to mind the pages
2009,” I explored several possible themes. But I kept
of one’s diary, pages that not only
returning to the one quality that links us together in this
record immediate experiences,
exhibition: the very deliberate selection of the medium
but also challenge expectations,
itself. It is this choice, and the intensely personal nature of
explore new possibilities, and play
this choice, that joins us. For some of us, this preference
in the margins. As Oscar Wilde
for watercolor is our life-long passion. For others, it is a
stated, “I never travel without my
decision we make spontaneously, selecting from a wide
diary. One should always have
array of materials as we sit down to create. But we each
something sensational to read…” So I have selected these
have chosen this medium because we feel that it can
watermedia paintings of fellow travelers because each
best express our unique vision, best speak our own truth
“writes” with a distinctive brush and an unmistakable
on the pages we create. Art critic Robert Hughes refers
voice on the paper. This exhibition is an evocative
to watercolor as a “virtuoso’s medium.” To paraphrase
selection of “pages” of the collective watercolor journal,
his description of the medium: “watercolor, in its special
some large and others small, but each one, sensational to
freshness and immediacy,” gives artists “access to
behold—like watching the artists themselves at work.
moments of vision” that may evade their expressions
in other media. The profoundly personal nature of this
—Aletha Jones
Aletha Jones Behind Every Painter Stands a Critic Watercolor 30 x40 inches 2008
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Amy E. Arntson Growing up in the Great Lakes Region, water has always been a powerful symbol for me. It is intimately connected with the passage of time...of stability and change. Most of my current paintings do not reference the surrounding land. They focus on light, texture, shape and movement of water. Without a horizon line, viewers are encouraged to meditate on the water, projecting themselves into the painting. The wave patterns are at once expressionistic and photo-realistic.
I’ve examined a wide variety of media and
A m y A r n t s o n is an emerita professor of art at the University of Wisconsin-Whitewater. She was born and grew up in Frankfort, Michigan. Her BFA is from Michigan State University, and her MFA from the University of WisconsinMilwaukee. Arntson’s many lectures and presentations have spanned the globe. She has exhibited paintings internationally in the Florence Bienniale as well as several locations including China and England. A full time artist, she is also an author of college art and design textbooks. Her paintings of water surfaces include the Great Lakes Region and various national and international waters.
concepts, but line and wash and watercolor are consistently the most beautiful to my eye.
) ichigan Afternoon M Transparent Watercolor 22 x 30 inches 2007
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Donne F. Bitner I begin my work by layering thin washes of acrylic, watercolor and gesso on paper, canvas, or wood. There is no definite image in mind at this stage and I am often surprised by the end result, which is so unlike the beginning. Oil pastel, charcoal, and graphite add texture and line to the surface. Interesting shapes can come from stamps, stencils, textured paper, and wood blocks. This is painting by discovery.
D o n n e B i t n e r was born in New York, then lived in Ohio and Pennsylvania before moving down to Florida where he has lived for 30-plus years. Graduating from Pennsylvania State University, he currently teaches at Crealde School of Art in Winter Park, Florida, and exhibits his work in art festivals and museum shows throughout the country. He was honored with a State of Florida Individual Fellowship in 2002 and a Professional Enhancement Grant in 2006. Signature memberships include National Watercolor Society, Watercolor USA Honor Society, and Southern Watercolor Society.
Quiet goes the Dawn Watermedia 31 x 30 inches 2006
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Katherine Chang Liu For a while now, I haven’t looked to visual information as the source or stimulation for my work. Most often, the visual images come from a few words I jot down earlier, or from some current reading. This “Island Series” derived from the fact that I grew up on the island “Taiwan,” and the idea seems to me appropriate for a wider range of content: the isolation and the connections, the
K a t h e r i n e C h a n g L i u was born in China, raised in Taiwan, and came to the U.S. to attend graduate school. She received her Master of Science at the University of California at Berkeley. Liu now lives and works in southern California. She teaches the occasional workshops around the United States. Katherine’s recent exhibits have been in San Francisco, Santa Fe, Los Angeles, as well as France and Denmark.
entry and the portals…island as an icon therefore supplied me with the seed for various metaphors and images.
Island Series- Survey Mixed Watermedia 18 ¾ x21¾ inches 2006
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Paul Ching-bor The perception in the grey zone where psychology
overlaps with landscape—where soul seeks both
up watercolor, and then to dematerialize it to
inspiration and liberation from environmental
the parallel notion of material (visceral) and
constraints…
immaterial (cerebral), which is also reminiscent
of the eastern philosophy—between like it and
The medium, watercolor is as delicate as it
can be, in opposition to the scene, which contains the narration of the existing human condition. The steel, depicted in my work, is provocative and
My practice in the medium is about building
not like it.
P a u l C h i n g - b o r was born
in Guangzhou, China, where he attended the Youth Arts Center and the Guangzhou Fine Art University. He also attended the Jing De Zhen Ceramic Institute in China and the National Academy of Design in New York. Ching-bor presently lives and works in New York. His recent exhibits have been in New York, Pennsylvania and Ohio, as well as Austria and Australia.
brutal, in opposition to a New York state of mind. And the motion, perhaps, is the realization of a displacement, and the effort, restlessness in the on going search of the sublime mental idealism…
I am only a part of the work I have created.
I strongly sense that time and space has been playing their incontestable roles, through me, on to the work.
Parallel Passage - 1+9 North III Watercolor on Arches Paper 94 x 155 inches 2008
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Cindy Craig My work is a social commentary that explores the psychology of “purchasing happiness”. On one level, the works are aesthetically appealing images of beautiful people, designer goods and grandiose shopping centers. On another, they are subtle commentaries on the tendency to define oneself through one’s purchases.
My work questions whether our freedom to
buy infinite material goods has created a world of wish fulfillment or blatant materialism. Are we free to satisfy our material needs or have we become enslaved by our belief that products are essential
C i n d y C r a i g is a native of the
San Francisco Bay area and a graduate of UCLA. She currently resides in West Los Angeles with her husband, her son Ben, and two dogs. In the past several years, Craig has had solo and group shows at museums and galleries in New York and Los Angeles. Her work has been featured in “I WANT Candy: The Sweet Stuff in American Art” at the Hudson River Museum, “Greetings From the American Dream” at the Riverside Art Museum, and “Liquid Los Angeles: Currents of Contemporary Watercolor” at the Pasadena Museum of Art. She received First Place for watercolor at the Beverly Hill’s Affaire in the Garden and the Art Competition Award sponsored by The Artist’s Magazine.
to our happiness? Harry Winston $92,000 Ruby Ring Watercolor 10 ¼ x 12 ¾ inches 2005
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Randy Eckard Light plays an essential role in my paintings. It is as if the subtle or dramatic interplay of light and shadow become the subject more than the objects themselves… The alternation of lighted and shadowed planes produces powerful repeated patterns and can be an important element of design.
The subjects or objects that I choose to paint
have always been of paramount importance to me, especially with their tendency to come unexpectedly. Quiet, patient observation will
Ra n d y E cka r d was born in 1949 and raised in Hickory, North Carolina. “It was as a child in the long, hot Southern summers that my awareness and appreciation of the changes in natural light began. As the day’s heat subsided in the late afternoon, I saw the light take on a cool intensity. This quality of light is a recurring presence in my painting.” Eckard attended the Ringling School of Art and Design as well as the Haywood Technical Institute. His gallery, Blue Hill, is currently celebrating its sixteenth season. His work has recently been exhibited in Maine, Florida, and New York.
always reveal the life of a subject, although frequently, the focus of my initial inspiration will change throughout the course of painting. No Place Away Watercolor 20 ½ x 14 inches 2008
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Charles Greenholdt Transparent watercolor is employed exclusively. There is no over painting using opaque white. There is no projection of photos to accomplish a layout. A minimal of pencil sketching is done to retain perspective and proportion prior to using watercolor. My technique combines dry brush with minor usage of traditional wet-in-wet wash. Therefore I do not soak or stretch my paper beforehand. The surface is a dry 300lb. hot press
C h a r le s G r ee n h o ld t
currently resides in Cape Coral, Florida. He is member of the National Association of Independent Artists and a Signature Member of the American Watercolor Society. Greenholdt’s award winning work appears in many public collections including Purdue University and the Elmhurst Museum of Fine Art. He exhibits nationally and has been included in the Water Color U.S.A. exhibition, Butler Institute of Art, the St Louis Art Fair, and the Coconut Art Fair, among others.
100% rag paper. My tools consist of sable round brushes. Transparent watercolor and simple tap water are my sole medium. I pride myself on the total absence of any additives whatsoever.
Third Base Dry Watercolor 29 x 17 inches 2007
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David Hammill My work is an attempt to visualize human
my memory of them… it is an attempt to re-create,
existence as seen from a great distance over a
in simple materials using only hand tools, the
great expanse of time… An individual lifetime
structures that I had only been able to conceive
would pass in an instant and never register in
of through the help of a computer and 3D
our field of view but the structures that those
modeling software.
individuals build would; appearing and dissolving and building on each other in an abstract mass.
So I attempt to replicate this idea in a
virtual space with a 3D model as a stand-in for
D a v i d Ha m m i ll received his
BFA from Purchase College (SUNY) in 1995 and his MFA in painting from the San Francisco Art Institute in 2004. He received a post-MFA studio residency from the Headlands Center for the Arts and has shown widely throughout the Bay Area. In 2006 he moved to New York to take advantage of a one-year grant for studio space from the Marie Walsh Sharpe Art Foundation and in 2007 he was awarded a grant from the PollockKrasner Foundation. He currently lives and works in San Francisco.
the structures we create and the process of my manipulating that model standing in for the effects of time. I start by creating a flat plane of geometric structures and then stretch it, twist it and transform it in fits and starts causing the geometry to do unexpected things and develop into new forms I hadn’t anticipated. The sculptural work is not drawn from specific models but built from
series4, v6.59 Watercolor and Graphite on Paper 30 x 55 inches 2007
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Alex Powers My painting style has evolved into a personal content-dominated imagery. Using gouache, charcoal, pastel, and sometimes collage on illustration board, my loose realism combines an emphasis on drawing with an awareness of the art of our times. I attempt to deal with issues such as human origins, religion, philosophy, economic inequality, etc. These overwhelming issues are difficult to deal with, but they are what interest me. And, since I believe in the singularity of life and art, these issues are the content of my life and my current work.
A le x P o w e r s was born in 1940
and raised in Coeburn, Virginia. He has a BA in mathematics from Emory & Henry College, Emory, Virginia. He studied art with teachers he liked in Florida, Massachusetts, Connecticut, and New York. Powers has lived in Myrtle Beach, South Carolina, and has been a painter and self-employed art teacher since 1970. He exhibits in galleries in six states, and among his many national juried exhibition awards is the Gold Medal at the 1997 American Watercolor Society Annual Exhibition. He travels the United States and Canada, teaching six or eight workshops per year. Powers has juried dozens of national exhibitions. He is the author of Painting People in Watercolor, A Design Approach, which is a Watson-Guptill publication.
One and All 3 Gouache, Charcoal, and Pastel 32 x 42 inches 2005
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Patricia Tobacco Forrester These paintings, ostensibly landscapes, are really abstract works. From an actual site, I get the idea for an image, but the trees, plants, etc., are not quite what I want for the concept that has come to mind. So I begin with the spatial configuration observed, but know that I will substitute other trees, plants, etc., that I find more interesting than what is actually there in the initial space. Always, I try to express the energy that I feel in a tree, in a plant, in the way that I move the paint. These paintings are composites from different sites, but always from an image that occurs from the first viewing, the first clicking of something in my head.
P a t r i c i a T o bacc o F o r r e s t e r was born in
Northampton, Massachusetts. She received a BA at Smith College, and a BFA and MFA from Yale University. She has been the recipient of numerous awards including and Artist Fellowship from the D.C. Commission on the Arts and Humanities and a Guggenheim Foundation Fellowship. She has participated in numerous residencies including the MacDowell Colony, The Yaddo Foundation, and the Alfred and Trafford Klots program in Rochefort-en-terre, France. She has shown nationally and internationally and is represented by ACA Galleries in New York. Her work is in many public and private collections including The Art Institute of Chicago, The Corcoran Gallery in D.C., and the University Art Museum in Berkley, among others.
Middlebury Falls Watercolor on Paper 40 x 60 inches 2005
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John T. Salminen When I’m in a big bustling city I’m fascinated
recreate for the viewer the sounds and smells,
by things that often go unnoticed by the city’s
as well as the sights. To this end I often change
residents. This happens, in part, because my home
colors, add or eliminate figures and details, and
and studio are located in the quiet solitude of the
dramatically alter the light quality and mood. My
northern Minnesota woods—about as far removed
ultimate goal is to impart some of the excitement I
from New York’s Lower East Side or Downtown
experienced as I discovered the wealth of images
Los Angeles as it’s possible to be. In large urban
generated by daily life in the city.
areas I feel visually bombarded. I use my 35mm camera with a zoom telephoto to help me discover and create compositions out of all of the visual chaos. Once I’ve found a composition I like, I face the challenge of translating that image into a convincing painting.
As source material, photos can record detail
but they often lack the emotional impact of the original experience. It becomes my responsibility as an artist to breathe life back into the work—to
J o h n Sal m i n e n was born in
Minneapolis and earned his bachelor’s and master’s degrees from the University of Minnesota in Duluth. He lives and works in Duluth with his wife, Kathy. Salminen is a signature member of many watercolor and art societies, including the American Watercolor Society, Allied Artists, the Transparent Watercolor Society of America, and the National Watercolor Society. He is a Dolphin Fellow of the AWS. He has been appointed an honorary member of the Jiangsu Watercolor Research Institute in China. He has won more than 175 major awards in national and international exhibitions including the American Watercolor Society Gold Medal and the National Watercolor Society Silver Star First Place Award. His work has been exhibited in the National Academy in New York. On the Train Watercolor 30 x 40 inches 2008
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Lee Weiss Nature has always been my refuge and my resource—the ever-changing landscape seen in different seasons and in changing light and the advantage of travel to view varying land forms and conditions gives me rich material to paint. Many years ago I discovered that if I painted from the remembered image I could capture the essence rather than the actual.
I think of watercolor as the freedom medium.
Working as I do wet pigment into wet paper, I can quite literally “go with the flow,” allowing the beauty of the merging colors to dictate the direction the painting will go. It is more about
L ee We i s s was born in Inglewood,
California, in 1928. She attended California College of Arts (1946-47) and studied briefly with Alex Nepote and Eric Oback. Her works are in the permanent collections of the Smithsonian’s National Museum of American Art, the National Air & Space Museum (NASA), the Phillips Collection, and the National Museum of Women in the Arts in Washington, D.C., among others. Weiss was made a Fellow of the Wisconsin Academy of Sciences, Arts and Letters in 1985 and named a Dolphin Fellow of the American Watercolor Society in 1991. She is past president of the Watercolor USA Honor Society. Her paintings have been exhibited in Japan and China numerous times between 1988 and 2008.
creating than recreating, about doing a painting rather than an illustration.
Grass and Morning Light Watercolor 41 x 55 inches 2004
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H. Dean Willis My paintings reflect both art and life. My goal is to react and present my rendition of the gap between the two. All (of my) works are either transparent watercolor on cold presses paper or egg tempera (egg yoke and pigment) on masonite. I am comfortable with the materials used. I am familiar with the methods and development of hues, contrast and composition. However, the final results are known only after completion.
Painting is my way of rediscovering the
world—a learning process involving the ability to see, which is much more than looking with the eye.
D ea n W i ll i s was born in southern Illinois in 1944. At a young age, he moved to the suburbs of Chicago. He began his formal education at the American Academy of Art in Chicago. At the Academy, he was mentored by Irving Shapiro; the results are in his appreciation and respect of transparent watercolor. Willis’ work portrays his interpretation of the Midwestern farming environment. He initially concentrated on one property, but has recently ventured onto other farmlands to fully engage himself more intimately in the disappearing landscape of our communities. When Willis researches his subjects, it is either early in the morning or late afternoon when shadows and contrast are the most dramatic. This interaction of light and form reveal compositions that otherwise could be overlooked.
Coiled Sprocket Transparent Watercolor 20 x22 inches 2007
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Cathy May Woo This recent series of paintings explores my
way in the world. Painting has been my friend
interest in the dualistic nature of the universe
during the most rewarding and challenging times
and the constant cycling between good and
of my life.
evil, symbolized by structure and disorder. This dynamic is expressed by the pattern of random dots superimposed on the casual grid of color in this piece. The collaged “Lovingkindness” meditations reflect my current commitment to be a part of a more expansive and peaceful world.
Some who think “you can never make a
mistake in watercolor” might be surprised to hear that this medium provides me great flexibility.
C a t h y W o o is a painter, author, and teacher who has been working in the Seattle area for over 25 years. Her paintings have been exhibited in galleries and juried shows both regionally and nationally. She is also an author, specializing in issues related to creativity. In addition Woo has taught numerous workshops, classes and demonstrations. Woo’s work has been published in numerous national magazines. Woo is a signature member of the National Watercolor Society and won that organization’s top prize in its open juried competition in 2000. She is also a signature member and past president of the Northwest Watercolor Society as well as a longtime member and past president of Women Painters of Washington.
Color and values can easily be manipulated using overpainting, glazing, scrubbing, erasing, and washing. Fortunately, the days of being perfect are long gone… The act of painting is how I process life. I have always painted while I was finding my
Never Give Up Mixed Watermedia 28 x28 inches 2008
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Russell Yerkes The process begins with my imagination. Whatever
that are so different and unforgiving.
the subject, I begin each painting the same;
painting from the foreground working towards
in a large format. I am able to create images that
the background. My images evolve as I paint. I do
invoke a response because of my method and
not pre-draw the whole image prior to applying
technique. These images today are primarily of an
the watercolors. It is more like a puzzle I am
aquatic theme. After seeing different underwater
piecing together as I draw and paint. This process
environments from a diving mask with limited
enables me to control the lines, the amount of
peripheral vision, I began painting from more
color and texture I want to utilize. Each image
of an “in your face” imaginative point of view.
evolves through the time spent in the process of
With this in mind, I have added personality.
applying layer upon layer of color, and utilizing
Unconsciously, we are creating from our inner
patterns, texture and shape. With this technique I
feelings. I am fortunate to be doing what I love,
am creating a “hard edge” line between the colors
painting and selling art and my final product is a
and patterns that I am utilizing. By enhancing the
fun, clean, crisp, colorful image created with the
foreground, I finish with a dramatic non-traditional
use of transparent watercolors.
watercolor painting. Remember, it is water, paint, and paper that I am working with; three factors
My images vary in sizes, but I prefer working
R u s s ell Ye r ke s was born
1955 in Charleston, South Carolina, and attended Mansfield State College in Mansfield, Pennsylvania, where he studied art education. He is a self-taught watercolorist and has been a full-time professional artist for the past 15 years. He lives in Tarboro, North Carolina. Russell has recently showed work in Florida, Virginia, and New York.
Shake, Rattle and Roll Watercolor 22 x30 inches 2008
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Acknowledgements Parkland Art Gallery is indebted to Aletha Jones for curating an exhibition that is fresh, exciting, and encompassing of a broad spectrum of artists using watercolor as a medium. Also deserving thanks are the participating artists and galleries that have so graciously loaned their work to share in this special exhibition.
We recognize Ricki Moore, Parkland Art Gallery’s exhibitions coordinator, who tirelessly
collected all of the artist information; award-winning graphic designer and Parkland Associate
What an artist is trying to do for people is bring them closer to something, because of course art is about sharing: you wouldn’t be an artist if you didn’t want to share an experience, a thought. —David Hockney
Professor Paul Young, who generously donated his time to this project; the Parkland Art Gallery Advisory Board, which supports and contributes to the gallery in ways too numerous to mention; the Parkland College Foundation, which shepherds our contributions from donors; Parkland College for its support of the arts; and the students at Parkland whose enthusiasm for learning and engaging in the arts is a constant source of inspiration. Parkland Art Gallery would also like to give special thanks to the Illinois Arts Council, which has consistently supported us for over 10 years with grant funding for visiting artists and exhibitions.
Special thanks go to Patricia Rannebarger Ford, who sponsors this exhibition in honor of retired
Parkland Art Professor Donald K. Lake. Lake, who was instrumental in developing both the gallery and the State of the Art: National Biennial Watercolor exhibitions, is a great supporter of the arts. He has left a huge legacy to this community, both through sharing his talent and knowledge with our students and through his guidance to the Parkland Art Gallery.
— Lisa Costello Director, Parkland Art Gallery This program is partially supported by a grant from the Illinois Arts Council, a state agency.
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Parkland Art Gallery Contributors: Parkland Art Gallery would like to express sincere thanks to the many individuals who have enabled this project through their ongoing support.
Parkland Art Gallery Contributors Friend $25 Shirley Axel Carol Barkstall Mary Connors George Ann Danehower Victor & Judy Feldman Viki Ford Susan Gnaedinger Laura Grabbe Stacey Gross Rebecca Grosser Chas F. Halpin Alan Leder Laurence & Bernice Lieberman Jody Littleton Klara Lueschen Patricia & Roger Martin JoAnn McGrain Melissa Merli Michael Morgan Betty Murphy Fay Rouseff-Baker Pat San Soucie Evelyn Schapiro Elizabeth Otto Gretchen Wieshuber
Patron $50 Charlene Anchor & Charles Collinson Mildred & Norman Barnett Dede Kern Karen Decker Delsie & Harold Dorsett Ann Ehrlich Barbara Gladney George & Ondline Gross John & Anne Hedeman Edit Holloway Dr. Joanne Huff Karen Keener & Kristi Mercer Maryann Kohut Seth & Ann Mendelowitz Joseph Miller Georgia Morgan Sarah & Robert Nemeth Robin Riggs Ed & Carol Scharlau Barbara Seif Martha Seif David & Annilee Shaul Rimas VisGirda & Billie Theide Sally F. Wallace Julie Weishar Charles & Sarah Wisseman
Champion $100 Sandra Batzli Chuck & Dianne Beetz Lisa Costello Craft League of Champaign-Urbana Frances & Stanley Friedman Leroy & Mary Heaton Bev & George Kieffer Patricia Knowles Robert Laible & Denise Seif Nancy & David Morse Russel & Elaine Peppers David & Kathline Smith Mary Lou Staerkel John & Joy Thorton-Walter Karen Weis Marilyn Whittaker Dale & Karen York $150 Chris Berti & Laura O’Donnell Sandy & Ed Hynds Don & Susie Lake Melvyn Skvarla
Fellow $250 Jean Costello Bob & Judy Jones Bill & Jamie Kruidenier Gay & Donald Roberts Rachel Schroeder Guardian $500 Judy Dethmers Cindy & Tim Smith Bob & Bonnie Switzer Watercolor Exhibition Sponsor Patricia Rannebarger Ford Corporate Sponsors Calico Kids Electric Pictures Rick Orr Florist WDWS-AM Parasol Records That’s Rentertainment
Parkland Art Gallery Advisory Board Christopher Berti, Advisory Board Chair, Faculty Representative, Visual Arts Lisa Costello, Art Gallery Director (Ex-officio) Michael Hagan, Parkland College Foundation Representative (Ex-officio) Sandra Hynds, Community Representative, Artist Jody Littleton, Administrative Representative, Director of Community Relations Robin Riggs, Community Representative, Artist Umeeta Sadarangani, Faculty Representative, English Denise Seif, Faculty Representative, Program Director for Art Department Peggy Shaw, Faculty Representative, Visual Arts Joan Stolz, Faculty Representative, Visual Arts Nancy Sutton, Fine and Applied Arts Chair, Professor of Speech Kenton Visser, Student Representative, Scholarship Student Matthew Watt, Faculty Representative, Program Director for Graphic Design
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2400 West Bradley Avenue Champaign, Illinois 61821-1899 Gallery Office 217 /351-2485 www.parkland.edu/gallery
Gallery Hours: Mon–Fri 10am–3pm Mon–Thur 6–8pm Sat 12 noon–2pm