PARCHED | INVERTED LANDSCAPES by Penland School

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PARCHED | INVERTED LANDSCAPES Susan Goethel Campbell August 1 â&#x20AC;&#x201C; September 17, 2017

Penland Gallery & Visitors Center Penland, North Carolina

This exhibition contains formal expressions of our relationship with the physical environment. From picture to process, the complex system we know as earth is portrayed through a variety of materials and formats. Our attention is focused on familiar materials i.e. grass, earth, seeds that are decontextualized from their natural environment and molded into unnatural forms. Our perception toggles between object and field, solid and void, nature and culture. There are moments of confusion, what we are looking at is not easily defined as landscape in the sense of the Picturesque. Uncertainty may be uncomfortable but it offers up the possibility of mystery. Not being able to name something realigns imagination with the body. I come to my work with a deep connection to the tradition of printmaking but I am always searching for ways to move it forwardâ&#x20AC;&#x201D;choosing a process or material that relates to the complex ecology of what landscape is in the twenty-first century. Inverting a singular ecosystem reorients our relationship to landscape. All systems are linked; up close or far away, nature and culture, object and field.

SUSAN GOETHEL CAMPBELL

What childishness is it that while there's a breath of life

in our bodies, we are determined to rush

to see the sun the other way around?

from Questions of Travel, Elizabeth Bishop

EXHIBITION ESSAY JOHN CORSO ESQUIVEL Doris and Paul Travis Associate Professor of Art History, Oakland University, MI

Susan Goethel Campbell turns landscape art upside down to dislodge humankind’s assumption of its centrality within the natural environment. An innovative printmaker, Campbell redefines the medium, accepting as a "print" any art object made—with or without a printing press, flat or volumetric—by transferring images between different surfaces. Campbell expands the scope of printmaking to examine the contact border between human consumer culture and its imprint on the natural environment. For instance, in her Ground series of installations, Campbell makes printing “plates” or molds from human garbage like packaging trays and disposable water bottles. Into these molds, Campbell sows grass seeds and soil. As these seeds germinate, they slowly grow into the hollow spaces of the molds, forming biological 3-D prints. Dense root fibers now take the shape of water bottles and iPhones while tufts of green grass flow out of the printing trays. When Campbell ceases watering the trays, the sculptures dry into sisal-like mats. Campbell then arranges these clumps in grids on the floor, pulling many from their molds and turning them upside down to expose the root shapes. These installations illustrate nature's ability to flourish even in refuse while documenting consumer culture through its trash. With her Ground artworks, Campbell inverts the environmentalist’s critique of planned obsolescence, the capitalist practice of ensuring a product’s limited shelf life to encourage its replacement rather than repair. Campbell does not discount the environmentalist rebuke that obsolete plastic goods wind up overwhelming our landfills and oceans. She insists, however, not on the product's obsolescence, but on our own: when humans disappear, new life will instantly sprout in our footprints. This critique joins the trend in eco-art against anthropocentrism—the

narcissistic practice of framing all environmental crises in exclusively human terms. Her inverted root installations—which effectively offer us a subterranean perspective as if we were looking at these roots from six feet underground— destabilize our self-centered views and insist that we approach nature with humility and on its own terms. Many of the other works in this exhibition similarly challenge the centrality of human perspective. In Chasing Venus: 180 degrees, a lyrical time-lapse video diptych with accompanying video stills, Campbell positions a camera upward over the Canadian Rockies. One video monitor traces Venus’s gentle, steady trail across the night sky while the other screen shows the same scene upside down. The two views show a planet in transit entirely indifferent to its human gazers. Similarly, in her Dune digital prints, Campbell juxtaposes the transient nature of sand dunes with human figures, offering a memento mori not focused on human mortality so much as on the universal conditions of movement and change. It would be wrong to interpret Campbell’s art as pessimistic in its assessment of our environmental predicament. Though cautionary, these works ultimately pay homage to life's ability to thrive in inhospitable situations. Like the dandelion's parachute seeds that Campbell carefully gathers for her Seasonal Flyers series, life is always poised and ready to regenerate in even the most parched, damaged environments. 2017

SUSAN GOETHEL CAMPBELL Huntington Woods, MI

Selected Solo Exhibitions 2017

Parched: Inverted Landscapes, Penland School of Crafts, Penland, NC

2016

Chasing Venus, David Klein, Detroit, MI

2015

Detroit Weather: 365 Days, The Detroit Institute of Arts, Detroit, MI Field Guide, Oakland University Art Gallery, Rochester, MI

2014

Portraits of Air: Pittsburgh, 709 Gallery, Pittsburgh, PA Resisting Certainty, Grand Rapids Art Museum, Grand Rapids, MI

2013

Rotations, Re:View Contemporary, Detroit, MI

2011

Field Work, Lemberg Gallery, Ferndale, MI

2010

Susan Goethel Campbell, Academy of Merksem, Antwerp, Belgium

2007

Book Not/Book, Lemberg Gallery, Ferndale, MI

2006

Unknown Distance, Kathryn Markel Fine Arts, New York, NY

2002

New Work, Lemberg Gallery, Ferndale, MI

2001

Drawings and Books, Lemberg Gallery, Birmingham, MI After the Deluge, Mott Community College Fine Arts Gallery, Flint, MI

1999

Recent Drawings, Oasis Gallery, Marquette, MI

1997

New Work, Network, Pontiac, MI

1995

Old Bones and Coal, Bunting Gallery, Royal Oak, MI Passive Flyers, Birmingham Bloomfield Art Association, Birmingham, MI

Selected Two Person and Group Exhibitions 2016

The Scent of Rain on Dry Earth, Detroit Artist Market, Detroit, MI

2015

Art Position, Fribourg, Switzerland Read Image See Text, Cranbrook Art Museum, Bloomfield Hills, MI Permanence/Impermanence, University of North Texas Art Gallery, Denton, TX 25th Anniversary Exhibition, Galerie Tim Blaess, Bern, Switzerland

2014

State of the Art: Discovering New American Art Now, Crystal Bridges Museum of American Art, Bentonville, AR Two â&#x20AC;&#x201C; Person exhibition, Gallery Tom Blaess, Bern, Switzerland I Just Want the Paper, The Mine Factory, Pittsburg, PA

Landscape and Abstraction, Detroit Artist Market, Detroit, MI Adaptation, Birmingham Art Center and Kalamazoo Institute of Arts, MI 2013

Observation, Galerie Pinsart, Brugge, Belgium Learning from Detroit, Kunstverein Wolfsburg, Germany Un/Natural Occurrences, Central Booking, New York, NY Works on Paper, Light Art + Design, Chapel Hill, NC

2012

Natural Structures, K & K Entenmann, Esslingen, Germany New Prints, Visual Arts Center, University of Texas, Austin, TX Material Assumptions, Columbia College, Chicago, IL Once Upon a Time: Prints and Drawings That Tell Stories, Detroit Institute of Arts, Detroit, MI The Order of Things, Butter Projects, Ferndale, MI

2011

New Prints/Autumn 2011, International Print Center New York, NY Live from Detroit, Fred Torres Collaborations, New York, NY No Object is an Island: Dialogues with the Cranbrook Collection, Cranbrook Museum of Art, Bloomfield Hills, MI Art X, Museum of Contemporary Art Detroit, MI 40 for Forty, Lemberg Gallery, Ferndale, MI

2010

Detroit Works, Media Nox Gallery, Maribor, Slovenia All This Happened, More or Less, Penland Gallery, Penland, NC Warp, Gallery Project, Ann Arbor, MI I Will Cut Thru: Pochoirs, Carvings and Other Cutings, The Center for Book Arts, New York, NY In Your Dreams: 500 Years of Imaginary Prints, Detroit Institute of Arts, Detroit, MI Ten Years of Contemporary Art at Oakland University Art Gallery, Rochester, MI The Art of the Artistâ&#x20AC;&#x2122;s Book, Oakland University Art Gallery, Rochester, MI Black and Blue, Lemberg Gallery, Ferndale, MI

2009

Queens International 4, Queens Museum of Art, Queens, NY The Book as Art: Artistsâ&#x20AC;&#x2122; Books from the National Museum of Women in the Arts, McMullen Museum of Art, Boston College, Boston, MA Susan Goethel Campbell and Lynne Avadenka, Birmingham Bloomfield Art Center, Birmingham, MI

2008

New Prints, 2008/Autumn, International Print Center New York, NY Summer Mix, Lemberg Gallery, Ferndale, MI Conceptually Bound, California State University, Chico, CA

2007

Non-Declarative Art: Selections, The Drawing Center, New York, NY The Book as Art, National Museum of Women in the Arts, Washington D.C. Imprint of Place, Gallery Project, Ann Arbor, MI

2006

Mutilated/Cultivated Environments, Center for Book Arts, New York, NY Contemporary Realism, Fort Wayne Museum of Art

2005

Intelligent Distribution, Sonoma State University, CA

2004

Super-Sized: Large-Scale Drawing, Meadow Brook Art Gallery, Oakland University, Auburn Hills, MI In Two Words, The Torpedo Factory, Alexandria, VA Terrestrial Forces, Florida State University Museum of Fine Arts, Tallahassee, FL

2002

The Liquid Language of Artistâ&#x20AC;&#x2122;s Books, University of Wyoming Art Museum, Laramie, WY The Bones of Clouds: Some Recent Experiences of Chance, Center Galleries, College for Creative Studies, Detroit, MI Hopscotch: Associative Leaps in the Construction of Narrative, Painted Bride Art Center, Philadelphia, PA

2001

A Century of Collecting 1900-2000: Drawings from the DIA Collection, Detroit Institute of Arts, Detroit, MI

1999

Origin of the Species, Catherine Smith Gallery, Appalachian State University, NC

1998

Art and the Natural World, Jean Paul Slusser Gallery, University of Michigan School of Art and Design, Ann Arbor MI

1996

Selected Grant Recipients, Michigan Council for the Arts and Cultural Affairs Gallery, Detroit, MI Print and Process, Paint Creek Center for the Arts, Rochester, MI

1995

Carbonari, Michigan Gallery, Detroit, MI Land, Alexa Lee Galllery, Ann Arbor, MI Polemical Prints and Multiples, Center Galleries, Detroit, MI

1994

Small Works, Bunting Gallery, Royal Oak, MI

Projects 2013

Portraits of Air: Pittsburgh, Project Launch, Three Rivers Arts Festival, Pittsburgh, PA

2011

Air/Launch, Flux Factory, Long Island City, NY

2010

Founded Press Here Projects

2009

Founded weather2250

2008

Commission, 8 works of art for Zekelman yacht, Amsterdam, Netherlands

Selected Awards 2017

Prix de Print, Feature, Art in Print publication, Vol. 6, Number 6

2015

Artist in Residence, The Banff Centre, Alberta, Canada Artist in Residence, P.R.I.N.T., University of North Texas, Denton, TX

2012

Beisinghoff Printmaking Residency, Rhoden, Germany

2009

2009 Kresge Artist Fellowship, Kresge Arts in Detroit, The Kresge Foundation

2008

Printmaking residency, Frans Masereel Centrum, Kasterlee, Belgium

2006

Cash award, Contemporary American Realism, Fort Wayne Museum of Art, Fort Wayne, IN

2004

Best of Show Award, “In Two Words”, The Torpedo Factory, Alexandria, VA Award of Recognition, Mid-America Print Council, University of Nebraska, Lincoln, NE

2002

Fellowship, Jentel Foundation, Banner, WY

1994

Creative Artist Grant, Arts Foundation of Michigan

Selected Collections Arkansas Art Center, Little Rock, AK Allen Art Museum, Oberlin, OH Central Michigan University, Mt. Pleasant, MI Cranbrook Academy of Art, Bloomfield Hills, MI Detroit Institute of Arts, Detroit, MI Grand Rapids Art Museum, Grand Rapids, MI The New York Public Library, New York, NY National Museum of Women in the Arts, Washington, D.C. Spencer Museum of Art, Lawrence, KS The Toledo Museum of Art, Toledo, OH University of Michigan, Special Collections Library, Ann Arbor, MI Wayne State University Art Collection, Detroit, MI Yale University Art Gallery, New Haven, CT Selected Publications Art in Print, Vol. 6, number 6, March/April, 2017 Der Bund, Die Petitesse Bern, Martin Bieri, January, 20, 2015 Detroit News, Of Earth and Air, Michael H. Hodges, January 8, 2015 Michigan Quarterly Review, Landscape as Process: The Art of Susan Goethel Campbell, Robert Sparrow Jones, October 13, 2014 Re:Sculpt, Outside-In and Upside-Down, Johnathan Rinck, International Sculpture Center, May 1, 2014 Composite Arts No 12, Pattern, Zach Clark, Summer, 2013 Pittsburgh Post-Gazette, Pondering Pollution with Artist Susan Goethel Campbell’s “Portraits of Air, June 10, 2013 Masters: Book Arts, Sterling Publishing Co., April, 2011 Detroit Free Press, Susan Goethel Campbell, Artist, Mark Stryker, Sunday, April 3, 2011 Gallery Projects ‘Warp’ exhibit looks at interconnectedness, John Carlos Cantu, December 23, 2010 Detroit News, Art Crawl dazzles on canvas, video, Michael H. Hodges, September 23, 2010

Detroit News, Book art is a treat for the eyes at Oakland University, Michael H. Hodges, January 14, 2010 Detroit Free Press, Kresge gives 18 local artists $25,000 each, June, 30, 2009 Palo Alto Weekly Weekend Edition, Books Unbound, Alexa Tondreau, May 16, 2008 Drawing Papers, Non-Declarative Art, The Drawing Center’s, The Drawing Center, Selections, Fall, 2207 The Book as Art, Artists’ Books from the National Museum of Women in the Arts, 2007, Princeton Architectural Press MetroTimes, The Dissolution of Detroit, Vince Carducci, March 7, 2007 thedetroiter.com, Two-in-One: Gallery Project/Lemberg Gallery, Nick Sousanis, February 28, 2007 X-TRA: Contemporary Art Quarterly, Postcard: from Detroit, Allan deSouza, Spring, 2005 MetroTimes, Plus-Sized Art, Larger Than Life-Sized Drawings Meadow Brook, Vince Carducci, November 17, 2004 Tema Celeste, Susan Goethel Campbell, Lemberg Gallery, Ferndale, Michigan, November/December, 2002 Detroit Free Press, Susan Goethel Campbell at Lemberg, Keri Guten Cohen, September 29, 2002 MetroTimes, Stratus-Seeking: Susan Goethel Campbell Has Her Mind On the Clouds, George Tysh, September 25, 2002 Art in America, Susan Goethel Campbell at Network, Vince Carducci, January 1999 The Ann Arbor News, At U-M, Artists Hear Nature’s Call: ‘Art and the Natural World’ opens at Slusser, John Carlos Cantu, January 17, 1998 The Detroit News, Susan Goethel Campbell, ‘Old Bones and Coal’, Joy Hakanson Colby, April 28, 1995 Selected Teaching and Professional Experience 2016- 2018

Interim Head, Print Media Department, Cranbrook Academy of Art, Bloomfield Hills, MI

2015

Lecturer, University of Buffalo, Buffalo, NY Visiting Artist, University of North Texas, Denton, TX Instructor, Penland School of Crafts, Penland, NC Panel Moderator, Detroit Institute of Arts, Detroit, MI

2014

Lecturer, Crystal Bridges Museum of American Art, Bettonville, AR Panelist, Art/Science, Crystal Bridges Museum of American Art, Bentonville, AR Panelist, Detroit Artist Market, Mid-America Print Conference Visiting Artist, Pratt, New York, NY

2013

Panelist, Artist and Scientists, Central Booking, NY

2012

Instructor, Penland School of Crafts, NC

2011

Lecturer, Air Launch event, Flux Factory, Long Island City, NY Lecturer, Cranbrook Institute of Science Planetarium, Bloomfield Hills, MI Lecturer, Detroit Science Center, Detroit, MI

Panelist, “Taking it to the Streets”, Guyton Studio, Detroit, MI 2010

Visiting Artist, Academy of Merksem, Antwerp, Belgium Visiting Artist, University of Virginia, Charlottesville, VA Lecturer, Arts and Minds Series, Detroit Institute of Arts, Detroit, MI Panelist, Artists’ Books: “Initiating Multidisciplanary Approaches to Art Making,” Oakland University, Rochester, MI

2009

Artist/Mentor, The Art Institute of Boston, Boston, MA Panelist, Art 21, Museum of Contemporary Art Detroit, MI

2008

Visiting Artist and Reviewer, MFA program, Wayne State University, Detroit, MI Juror, “From Our Perspective: National Woman’s Art Exhibition”, Oakland Community College, Farmington Hills, MI Juror, Drawing, Painting, Printmaking, The Ann Arbor Art Fair, Ann Arbor, MI Juror, Grosse Pointe Art Center, Grosse Pointe, MI Instructor, Hollanders School of Book and Paper Arts, Ann Arbor, MI

2007

Artist/Mentor, Vermont College, Montpelier, VT Visiting Artist Syracuse University, Syracuse, NY Visiting Artist, SUNY Oswego, Oswego, NY

2006, 2008

Instructor, Penland School of Crafts, Penland, NC

1990-2005

Instructor, College for Creative Studies, Detroit, MI

2005

Panelist, “Re-locating the Wilderness” Society of Literature, Science and the Arts, Chicago, IL

2004

Panelist, “The Intimacy of Drawing”, Oakland University, Auburn Hills, MI

2003

Panelist, “Revolutionary Landscapes: Place, Perception and Representation”, Southern Graphics Conference, Boston, MA

2001

Visiting Artist, Sabbatical replacement, winter semester, Cranbrook Academy of Art, Bloomfield Hills, MI

Education 1989

MFA, Cranbrook Academy of Art, Bloomfield Hills, MI

1979

BFA, Alma College, Alma, MI

SUSAN GOETHEL CAMPBELL | BIO

Susan Goethel Campbell creates multi-disciplinary work that considers the contemporary landscape to be an emergent system where nature, culture and the engineered environment are indistinguishable from one another. Central to her practice is the collection, documentation and observation of seasonal change and ephemera in both natural and artificial environments. Her work is realized in several formats, including installation, video, prints and drawings, as well as projects that engage communities to look at local and global environments. Campbell earned an MFA in printmaking from Cranbrook Academy of Art. Her work has been exhibited internationally in Belgium, Germany, the UK, Switzerland and Slovenia and nationally throughout the US, including, National Museum of Women in the Arts, Queens Art Museum, Crystal Bridges Museum, Museum of Contemporary Art Detroit, Grand Rapids Art Museum, the Detroit Institute of Arts, The Drawing Center, and The International Print Center New York. In 2009 she was one of 18 artists selected for the inaugural Kresge Artist Fellowship. Campbell has been awarded residencies at the Banff Centre for the Arts, Flemish Center for Graphic Arts, the Jentel Foundation, Beisinghoff Print residency and the Print Research Institute of North Texas. She is currently the interim head of the Print Media Department at Cranbrook Academy of Art. Prior to this she taught studio art for 15 years at the College for Creative Studies in Detroit and has been a visiting artist in numerous institutions in the United States and abroad. Her work is in the collection of the National Museum of Women in the Arts, New York Public Library,

Yale University Art Gallery, Detroit Institute of Arts, Grand Rapids Art Museum, Toledo Museum of Art and the University of Michigan Special Collections Library. She is represented by the David Klein Gallery, Detroit, Aspinwall Editions, New York and Galerie Tom Blaess in Bern, Switzerland where she will have upcoming exhibitions in late 2017 and 2018.

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