College Project - 2014 by Pique: Fort Wayne Art & Culture

Fort Wayne ART Magazine Winter 2014

Featured photographer Bambi Guthrie rocks out

WUNDERKAMMER | HEDGEHOG PRESS | DIY PINHOLE CAMERA | JIRK COMEDY 1

? Where oN eArth DiD this CoMe FroM Realizing the amount of growth that has occurred within Fort Wayne’s art scene over the last few years, Mariah Hutcherson made it her goal to create something with her senior project at University of Saint Francis that would foster that growth. This is how Pique Magazine came into development in the fall of 2013.

sought out the help of a great friend, Kristin King. Kristin has taken this project on out of a mutual love for the arts and for Fort Wayne. She has been everything from an article writer, proofreader, and editor for the whole of the magazine, and has done so in a way that kept the integrity of Mariah’s original vision in mind.

An art magazine has the incredible ability to cultivate creativity and community and this is the goal of Pique Magazine. Through showing readers new and upcoming artists, musicians, and writers, the magazine will inform you of the types of art culture around you, as well as pointing out fun places of interest within the city and also some do-it-yourself projects.

In the future, we hope to continue this publication in a more professional sense, bringing the magazine to print in a more permanent manner and less in the way of a school project. It could not have been created without the help of artists and art lovers all over the city, many of which you will discover inside of this publication, and hopefully enjoy as much as we do.

In August of 2013, Mariah set out on this adventure – her goal was to manage, design, photograph, and market this magazine. She soon realized she couldn’t do it all alone and

Thank you for any interest you have in this magazine, and we hope it makes you excited about art in Fort Wayne!

“ I COULD CARE LESS ABOUT BEING RICH, BUT BEING FAMOUS? BRING IT ON.” BAMBI GUTHRIE PAGE 26

DO IT YOURSELF MATCHBOX PINHOLE CAMERA PAGE 19

PIQUE: fORT wAynE ART MAGAZInE cOnTRIBUTORs MARIAH HUTcHERsOn [ dEsIGnER/PHOTOGRAPHER ] The founder of Pique Magazine, Mariah, will be graduating from the University of Saint Francis in 2014 with a major in Communication Arts and Graphic Design, concentrating in computer graphics and photography. She is the sole designer and photographer of Pique Magazine. In her free time she hangs out with two cats, crochets scarves, and watches The Walking Dead.

kRIsTIn kInG [ wRITER/EdITER ] Writer and Editor at Pique Magazine, Kristin, will be graduating in 2014 with a degree in English Creative Writing from the University of Saint Francis. With a passion for literature, sheâ&#x20AC;&#x2122;s begun to establish herself as a young, emerging, and experimental writer, hoping to publish by the end of this year. Her work at Pique stems purely out of her willingness to help out friend, Mariah, and also to see more growth in the arts community within Fort Wayne. She enjoys crime dramas, medieval-themed board games, and Flying Cauldron Butterbeer.

8 FEATURED STORIES

PLAcEs Of InTEREsT

WhAt's iNsiDe...

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fORT wAynE MAP

fEATUREd ARTIsTs

BAMBI GUTHRIE

dIy PInHOLE cAMERA

1915 South Calhoun St. calhouncs3.com

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fORT wAynE’s nEw cOnTEMPORARy GALLERy

WUNDerkAMMer

Interview with Dan Swartz, owner and founder of Wunderkammer: What made you create Wunderkammer Company? So I started Wunderkammer Company in 2007, which was after about two years of me wanting to make it. So, that would have taken us to about 2005, which was when I was still at Saint Francis. I interned with Cashman Gallery downtown, and basically curated most of their shows and understood, locally, what was happening as far as a gallery situation, which, without being too negative wasn’t a whole lot because we don’t really have a gallery culture here. So then I moved to New York. I worked for a bunch of nonprofits, artists, profit galleries, and then a collector, as sort of an auction house liaison, and was hell-bent then on making “this”. I learned a lot about the way that organizations should run by working for organizations that were not run correctly. I kind of continued that when I moved back by working for a bunch of nonprofits locally. During that time, which would have been from late 2008 to just this last January (2013), Wunderkammer was sort of a curatorial collective. So it just did shows wherever it could, which was everywhere from the Dash-In to a couple of public places like One

Summit Square, to the Fort Wayne Museum of Art (which I am very happy about that), to Art Prize in Grand Rapids, to a few galleries in Chicago and New York. So that was basically finding artists and picking out different projects. I got a couple of grants and met a bunch of people. Is that when you started looking for a space? Yes, over that time I was looking for buildings. I looked at about 80 buildings. I don’t know the exact count; I kind of stopped counting at 84. I had a few bids on buildings at that time period. Both of them fell through because I freaked out. One was because the building wasn’t very good and the other one, well, I got through the inspection phase, but I went to China during that time and when I got back I had to make some quick decisions. And I was totally about it, basically. Then I found a basement that the realtors didn’t tell me about because it was behind a locked door that I was told was a closet and the realtor on their side basically tried to take 5,000 dollars from me. What was in the basement? Asbestos, and a boiler, and a room that could flood, and I was also told that there wasn’t a basement, so it wasn’t the deal that I went into. PLACE OF INTEREST

Then I had to fight with them once I got back, which would have been fall of 2011. So that one fell through, and I was all like “oh my god there’s no reason to live anymore.” Then I found this realtor who was just like, “why don’t you go look at the casa’s building,” because he lives over on South Wayne Street, and I was like, “EW! It’s a gross, old Italian restaurant and it’s not anywhere near where I want this to be, this is stupid.” Then I came out here and I was like “see told ya, this place is gross,” because this place was really, really gross! And, then I learned more about the neighborhoods around here, and I was like “oh that’s fucking awesome”. It was sad because it was such a shitty building and I still didn’t really want it, but I was more interested at the time. Then I realized that there was a little way to get in the attic, and that’s when I saw the girders and I saw that I could rip the ceiling and all the walls out. That made me realize that this could just be a giant room instead of all of these little rooms and basically I could white wash everything and get what I wanted – which was a big white box. That happened in early 2012. I closed on the building Friday the 13th of April 2012, which I think is interesting. Then spent from April to November renovating the building. I opened it for a holiday party December 15, 2012 and opened for business on January 2nd of 2013. 10

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What do you think that a nonprofit contemporary art gallery fulfills for Fort Wayne? Well, I think that contemporary art, in general, is the most important type of art because it’s what we think of ourselves right now. It’s the least valued art because there’s no market for it, but it’s basically telling ourselves what we think. So it’s that self-reflection, in the same way that an individual is like “am I an ass or am I a good person?” That’s basically what contemporary art is, but for society. So I think it’s incredibly, incredibly important that there are places to foster that. We already have a nonprofit art gallery, which is Artlink, so this space is basically meant to be complimentary to that space, as well as Cinema Center, the museum, and sort of a bunch of the different art organizations. And those are sort of focusing on a genre and we aren’t focusing on a genre necessarily. Our mission is revitalizing communities through contemporary art, so it can be anything. We just had bands, a play, and also art shows that rotate every four weeks, and these aren’t always fine art, we’ve done a couple of historical shows too. Among fine art, we do all genres. We’re much more interested in looking at individual artists and how they can engage in their communities, and how their communities

can become a place for a sustainable career. It’s much more looking at the business and the payoff of art in the individual artist than making a unit for a type of art. And is that number based off of art you sell? Or donations? No, not necessarily sales, but art funding leveraged through our programing. So, when we have bands they charge an admission, or if we sold their CDs but through our space and to our members, that’s how we make money. Basically I’m looking at any funding coming through the programming of the organization. I actually don’t want to touch as much money as possible. Like consignment sales, I would say, are the least important, I would rather it be referral sales so that we helped somebody sell something but it didn’t really have to go through our books because it’s easier than just balancing out how much money we took from or gave to a person, ya know? It’s much less complicated to just do leveraged funds. So that’s kind of the culture of the organization, I mean if we got a million dollars, that’s awesome, but it’s not really going to help the community. Where if we could help turn artists into millionaires then they’re going to have a big, nice house and maybe have kids, or dogs, and they’ll be eating out at local restaurants, and probably be coming into the gallery, coming to more shows, and donating more to us. So it’s more the idea of building up the community so that we can exist within the community so that our organization can exist. It’s kind of counterintuitive, but hey, it’s working so far! What would you want to see, art wise, in the Fort Wayne community, in the coming years? Okay, I want really specific things. Number one, I want to see more collaboration between different genres. I want to see an opera singer and a graffiti artist and a graphic designer make a zine together. I want something weird like that. A stronger zine culture in general, because it’s artists taking the initiative in a really big way, which usually doesn’t happen. I really want to see artists develop bodies of work so they could do solo shows; we don’t do those nearly as often as we should. And then ultimately I just want to see artists take things seriously to the point where they’re competing and not badmouthing. Right now I feel like we’re on this verge where there’s a lot of really great talent in town and some artists are just shying away from everybody because they don’t want to be competitive, which is sad because they’re geniuses and I’m not seeing them working. Then you see other artists who are being competitive but in a way that’s “I’m better than this person, or you should only work with me” instead of being like, “I’m just really

fucking killing it in what I do and I hope that you’re fucking kill it in what you do.” Which is what it should be. It’s very idealistic, but it happens all the time, so it’s not impossible. But you consider yourself an artist and an art enthusiast, so you’re a part of it? Oh yeah! But I’ve been sustained more in terms of feeling good about the community that’s being built. I’m not being paid for it and that’s stressful in certain ways but I’ve been able to see, just this year, over a hundred artists feel happy, and been able to be right next to them while it’s happening and that’s a really, really cool thing. What do you think you’re the proudest of that has happened so far, apart from owning your own company? You know, this is kind of a bad thing, but I haven’t had a lot of time to think about stuff. I mean I really like those numbers…like the year-to-date numbers of the number of artists we’ve worked with and the amount of money that we’ve gotten for them. So essentially if I can make my third quarter goal than we’ll have produced over $22,000 for artists. My goal for fourth quarter, because it should be our best if it follows any art trends, is $13,000 so we can reach that overall $35,000. So the fact that we’ve gotten this far is satisfying. I’m a little bit ahead of the game, sort of. I hope that sales can kind of pick up a little bit for commission stuff too, because the referral stuff is usually for very specific artists. Do you have goals that you want to see happen specific to Wunderkammer? Yes. I make a quarterly goal for myself based off of the quarter prior. These goals include attendance goals, funding for the operation of the building, and funding for the individual artist. These are the three numbers I’m always looking at. My goals for the current quarter (July 2013-September 2013) are 3500 people in attendance, $8000 leveraged for artists, and hopefully $6000 for the organization so that we can basically put some money in the bank, so if something like catches on fire we aren’t closing down automatically. Then I have annual goals, in excess of 12,000 people, then in excess of $35,000 leveraged for artists, but it’s the first year so it may be difficult, but I feel like it’s an important thing, I want that.

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Top to bottom: Wedding prints, metal letters for pressing, letterpress, Julie Wall Toles

ulie Wall Toles, an up and comer amongst local entrepreneurs, can now call Fort Wayne home to her new and innovative artistic print shop, Hedgehog Press. Opened in March of 2013, the independent shop specializes in a variety of printed materials such as handmade invitations, posters, handbags, coasters, and much more. Recently featured in the Fort Wayne Museum of Art from August to October, Toles showcased the process of printmaking, a practice that, for her, involves three varied presses, each over 100 years in age. Two of these are known as letterpress, used primarily as a way to imprint a series of letters onto paper, while the other is known as intaglio, a machine that allows the artist to etch out their design onto a canvas of their choice; copper plates being most commonly used in her shop. Having access to three distinct and unique presses allows for printing on

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multiple materials, giving her, other artists, and clients a chance to really express their individuality in the print, whether it be for artistic means, or for creative design of an invitation. Hedgehog Press supplies both the studio and the tools necessary to complete the printmaking process. Toles is offering local artists a chance to embrace their printmaking abilities, while also acting as a guide for those firsttimers who simply want to try it out. Workshops and classes are happening all the time at Hedgehog Press, and theyâ&#x20AC;&#x2122;re available for novices, kids, adults, and artists alike. They include private lessons of etching, letterpress, and relief printing; all of which can be combined with other amusing activities such as enjoying a pint with friends, or creating cards and gifts for loved ones. Hedgehog Press is certainly a noteworthy new addition to the growing Fort Wayne arts community.

yEsTERdAy’s LUncH [ A sHORT sTORy By kRIsTIn kInG ] You could say the line was extremely long, and the place reeked of both expensive perfume and shirts soaked in cigarette smoke. Ladder-climbing businesswomen, parents with their newly sixteen-year-old children, elderly who can hardly hear a damn word, and then a couple of those good old warm-blooded Americans who believe Dale Earnhardt is their personal God.

But it’s like the slowing of clocks in your head.

This is the place where you can learn exactly who a person is.

Really everything we’ve ever known about someone are the things we make up inside our own heads.

That may be saying too much, but don’t assume it isn’t true. The darkest sides of a person can be revealed here. You come in and imagine the scenario that will unfold, and its never really like what you would expect because even you can’t make up these people inside your head, but not for a lack of trying. They’re always giving excuses like how could I know that I needed two forms of I.D? or how could my child not pass the driver’s exam?, when the instructor has clearly stated, and more than once, that he tried to pull out his cellphone and ran three red lights. They argue against it all, even the things that seem completely unarguable. But they’ll find a way, and it will be with such ignorance and a constant flow of misused grammar so that meanwhile, the person behind the desk repeatedly nods their head in agreement and prays for death. You can see it in their eyes; it’s like a madness. All good things come to an end at the BMV. Then there are some people that you look at and can just tell that that switch, the trigger in their brain that tells them to no longer stomach all this shit eating, is almost always flipped. It isn’t necessarily something that can be learned, but more something that was burned into them like a hot poker. You can simply sit back and wonder what caused it. So you think about the older man beside you who fought in WWII, and tells you about the smell of concentration camp incinerators and how it still scorches the insides of his nose, while he’s patiently waiting for his wife to renew their license plates. They met in the war he says. And all you can think about is how could you stand to be together after you experienced such horrible things? But you don’t say anything, and he sort of nods off. And as this old man is sleeping in the chair next to you, the seat next to him becomes occupied.

The longer you stare, unbeknownst to her, you realize that she doesn’t really have to tell you anything at all, and she probably wouldn’t even if you asked her, because it’s all already there. Or maybe you’re just making it up.

Things that you actually know to be true: She has black hair, the purest shade there is, shoulder length, and straight, but not because its naturally that way, but because she intended it to be. Oh, and these bangs, which are almost childlike as they brush across her forehead, but nothing about her seems like a child. It seems like maybe she never really was one at all. Or she never really wanted to be. Because what she shows to the world screams of rejected innocence. So for a second you remember your childhood, and the way your father gave you his old glove and would throw the ball around with you until it grew overwhelmingly dark in the neighborhood. She probably didn’t do those things. Seems likely that she was the kind of girl who played with dolls, because most girls are the kind of girls who played with dolls. But the dolls she had were never supposed to be her. She was always using them as a way of becoming someone else. This is how she learned how to be alone. Which of course was also something she learned from books. This becomes apparent when, as she waits for her name to be called, she brings forth a tattered book from inside the spiked metal purse that’s strung across her body and looks intensely like a weapon. The purse, not the book, but it’s debatable that in a certain setting either one would suffice in a fight. It’s Fahrenheit 451. Old, beaten up, dog-eared, and highlighted profusely. You think of the only line in the story that you remember from high school English; it was a pleasure to burn.

She’s a small, slender girl with sort of a Lydia Deetz meets Audrey Horne look about her. And you wonder if she’ll tell you all of her secrets.

And as she’s reading, something that she’s clearly read before, you think that she must really dig this story. Or maybe it’s that she’s looking for something in it that she’s missed before. Or maybe it’s that she likes to know how things are going to end.

You don’t know what it is about her that makes you think these things.

She’s wearing this leather jacket, and its kind of this brown color, in contrast to her black boots, combat. It’s kind of this

KRISTIN KING “YESTERDAY’S LUNCH”

outfit that says fuck you, without really saying so. But you don’t imagine her ever in some kind of frilly dress like your ex-girlfriend used to wear. And then you’re suddenly thankful that ex is attached to the beginning of that word because one more question of “does this clash with my shoes?” would have forced you out the second story window of your cramped apartment, because who the hell cares about shoes? And you think this girl would probably say to hell with shoes, to hell with dresses, to hell with all of this. And so you think, what do you say to a girl like that even if you could, even if you somehow mustered up the courage to stop your incessant staring and just asked her her name, which is probably something haunting and mysterious, like Lenore or sweet and almost hip, like Cami. But you don’t do these things. Things like you don’t stop staring and you don’t ask her her name and all this time she still doesn’t notice you, and you wonder how someone can be so unaware of someone else’s presence, how someone can be so unaware that their own presence is lingering like both a madness and a stillness in the mind of someone else.

that meant nothing and could never mean anything because they didn’t allow you to form against their shape on cold December evenings. You want all of this. And while you’re having this moment to yourself, envisioning this imaginary crooked love, you notice that she’s still reading this book, and she’s so entrenched in it that she isn’t even really here. She isn’t allowing any of this to touch her. She isn’t where you are, which is this shitty BMV. She doesn’t notice that a woman has sat behind her, and her kid is doing this thing where he goes, “mom, mom, mom” and the woman just keeps tapping away at her phone, giving him that first finger in the air that means one second, but really means, I hear you but I don’t want to hear you.

So you decide something, and it’s sudden, but really it’s always been there and the realization is just happening right now.

And all the while you’re feeling rather awful for this kid, rather shit awful, but at the same time you’re fantasizing that this girl will love you in some way that means you’ll be both fulfilled and broken all in one wrapped up feeling, with this sweet little bow on top.

This is the kind of girl you want.

And you think this must be the way of the world.

The kind of girl who probably stood outside her parents’ bedroom door when they fought and listened to the sweetness of their swearing, learning what it meant to be in love.

That you must always take this overwhelming ability to behold someone with the possibility, and almost certainty, that you will also feel in the pit of your weak stomach, the moment that they no longer behold you.

What it meant to be mad with it. You want her dark fingernails to graze over the scars of your youth.

But you think she probably already knows these things, and feels these things. Which is why she gives off this vibe that says “fuck you”, without ever really saying so.

And not all are on your body.

And you think, what could you say to fix those things in her.

You want her to be this something that the girl who loved to ask you about dresses and shoes never was.

The things in her head that scream, men don’t protect you anymore!

Something that none of the girls ever were.

And, this is who you have to be, and whom you have to love, and what you have to do with it all.

Someone that you can communicate with in a way that isn’t trying to fuck the madness out of yourself. But you guys will try anyway. Because that’s what this whole thing is about, you’ve heard. And she probably heard through cracked doors and saw in the way that tears were licked like honey. It consumes you and it burns you, and in you, and one day you realize that your body has slowly spent years naïvely curving to fit the mold of this person. Your warm spine bows and revises its original lonely curvatures so that each one of your bones ache and afterwards all you taste in your mouth is blood and disappointment, but its tender, and you crave it and its nothing like what you felt with those other girls, girls

But then you think who the hell are you to assume that this girl needs to be fixed? As if she’s one of the hands on a wristwatch that no longer hover towards the proper time. This is the kind of girl who probably cut off her hair in the 5th grade, because her mother told her that it was something to be valued. And she thought, if it’s of such importance, then why do I feel nothing when it’s gone? You think about how liberating that moment must have been, and how you’ve never really felt a moment like that in your life. Nothing heavy enough in which someone looks at you and says, that’s the moment it all changed for you, that’s when you became who you are. Continued on next page...

But who is this girl but whomever it is that you think she is? Her dark eyes don’t look at you with sorrow for the experience you never had in which you didn’t cut off your hair to spite your parents superficial values, or when you didn’t tell your ex-girlfriend that you really just fucking hated her from the start but was too kind, and maybe even too stupid to throw her shit out on the lawn, even though you thought about it day after day. And instead you just let your cat pee on one of her favorite sweaters. That you suppose was a brief moment in which you tasted just the rim on the sugariness of freedom. The kind of freedom you read about in French revolution novels, where things begin after the close. This is the kind of girl who has been tasting freedom on the tip of her rough, curse filled tongue since the moment she was born, and reborn again. This is the kind of girl who just pulled an unwrapped Red Vine from inside one of her jacket pockets and preceded to eat it, and afterwards had this slight second in which she skimmed the underside of her nose with two fingers and breathed in deeply, yet with hesitation. And you acknowledge this so unmistakably as her attempt to inhale the bit of lingering smoke that rests between her skin and fingernails, which has probably been there for hours, never really dissipating, but slowly dying until it’s just the mere hint of menthol. You too have perfected this gesture. Or did back when you were still a smoker and you were still with that other girl, and she hated that you smoked and you hated that she was even there, watching Say Yes to the God-Damn Dress on your TV, and all you wanted to do was wait for the sweet cancer to take you. So then you think about that crooked love again, and how this girl two seats beside you, close but not enough, would one night crawl out of your window onto the fire escape, and there you would find her, naked and draped in the lilac of the moon, smoking a cigarette that she’s hid in the lining of her purse, because since you had stopped she decides maybe she should stop, but you don’t make her do this because it isn’t in you to try and turn someone into something they aren’t. And anyway she’s so much more something when she’s smoking, so raw, so open, so primitive. And you sort of adore this in a way like something that ultimately kills you is something to be adored. And in this make-believe world she gives you this look like, I slipped, but it isn’t really as sorry as most people would pretend to be, but that’s what you find so curious about her, that she doesn’t try to be anyone besides herself, and believes she owes nothing to no one, and she is right. So instead of acting like its some big deal, like her boyfriend before would have, the one who would have grabbed her hands and smelled her fingertips and cringed at the thought

KRISTIN KING “YESTERDAY’S LUNCH”

of her lies, you sort of slide your hand against the brick wall and she watches you, both wondering what it is your doing and remembering the way your hands had just recently been sliding over the spot on her back where she was singed by candle wax at age thirteen. And what you do is find this etching in one of the bricks, and it’s there that you can remove one, and behind it is the last of a crumbled pack. She thanks you for the exposure of this secret by lighting your cigarette with hers, dampening the corners of her lips with the edge of her tongue, and in the midst of recognizing that you’re both a little screwed up, it creates a bond. And afterwards you clasp her hand as she climbs back in the window and while she wrestles back in between the covers, hunting for the spots that have already grown accustomed to her form, and as the flicker from the television is now casting a new, terrestrial light upon her figure, one in which Agent Dale Cooper reflects against the soft side of her collarbone, she tells you that she’s hungry because of all the pie in this episode, and the two of you share bites from yesterday’s lunch. But this all sort of scorches up in your head like the end of a damaged movie reel, and what’s really happening is that she’s sitting two seats beside you, and you’re shaking your left foot back and forth underneath your right, and she’s still reading, and still doesn’t know that she’s become this vast part of something bigger than what you are right now, and where you are right now. Something that could never be touched by this place, or the dark things that hover here. But time lurks on once more. And suddenly there’s this echoing that you realize isn’t necessarily in your head, but is really your name being called overhead, because unfortunately you really are here, and it’s the only place you ever really were. So you clutch at the inside of your sweatshirt through your pocket and walk past her with one last glance, and this time your eyes finally meet, and they’re as dark as you expected them to be, but they’re lovely all the same. It’s quick, and it’s fleeting, but she sort of grins like she already knows everything you’d ever wanted from her. And then it’s over. And you’re sitting in front of a large man who’s asking if your place of residence is still 107 Irene Avenue. And then you think of something that someone said to you once, the someone being irrelevant, but the thought being much more so; that people want to believe what they know can’t be true. And you think, isn’t it damn pretty to think so?

Do it YoUrseLF MAtchBoX PiNhoLe cAMerA

GAther YoUr MAteriALs 1. Matchbox 2. 35mm film 3. Empty Roll of 35mm Film 4. Empty Aluminum Can 5. Electrical Tape 6. Plastic From a Spiral Binder 7. Fine Sewing Needle 8. Scissors 9. Xacto Knife 10. Sharpie Marker 11. Clear Tape 12. Thin Cardboard

stArt BUiLDiNG Remove the match tray and mark out a 24mm square exactly in the center of the tray. Carefully cut out the frame shape with a sharp knife, keeping the edges as neat as possible. Any rough edges and card fibers will appear around the edges of each photo. To reduce internal reflections in the camera, color in the inside of the tray as well as the inside of the match box sleeve with a sharpie marker.

Exactly in the center of the front of the matchbox sleeve mark out a 6mm square. Carefully cut this square out keeping the edges as neat as possible to avoid fibers from obscuring the image.

DO IT YOURSELF PINHOLE CAMERA

Cut out a piece of aluminum from the can, about a 15mm square. Using the fine sewing needle, gently press into the center of the aluminum. Twist the pin between your fingers while doing this so that it slowly “drills” a hole through the metal. Don’t push down hard with the pin so that it goes straight through, the idea is to produce a very small hole with clean edges. The ideal diameter of the pinhole is about 0.2mm. Place the aluminum onto the box so that the pinhole is exactly in the center of the square hole in the top of the box. Tape the aluminum onto the box, securing all four sides.

It is possible just to use a piece of tape across the pinhole to act as a shutter, but a sliding shutter can be easier to use. Cut two pieces of thin card, a square about 32mm, and a rectangle about 25mm x 40mm. In the square piece cut out a 6mm square in the center.

Place some black tape on one side of the rectangular piece to help prevent light leaks. Place the square piece over the pinhole and tape down three sides, leaving a gap in the top into which the rectangular shutter card can slide. Check that the shutter can be pushed down to fully cover the pinhole.

Deciding how far to wind the film between each photo can be a bit tricky. If you wind too far the film is wasted. Wind too little and you get double exposures. Here’s a way to accurately wind on between each photo. You need fairly stiff plastic which is thin, springy, and curved. The spine of a spiral ring binder is ideal. Cut off one of the loops, take the new film canister, place the pointed end of the plastic so that it just enters one of the sprocket holes of the film. Tape the plastic to the film canister securely. Test the clicker by gently pulling out some film. The clicker should ride on the back of the film smoothly and make a click as it drops into the sprocket holes. It does? Awesome! It doesn’t? Remove the tape, wind the film back into the canister again try repositioning the clicker slightly.

Now, to insert the film into the box you need to trim the leader off the film, cutting the edge as squarely as possible. If the film stub from the empty canister is not cut squarely across, trim it square too. Pull out a little more film and thread the film through the matchbox. Make sure the emulsion side (non-shiny side) is facing the pinhole. Using clear tape, splice the ends of the film together as neatly as possible. Try to make sure the edges are lined up together so the film can pass easily into the empty canister. Tape both sides and make sure the joint is secure.

Slide the match tray back into the box. Then, turn the spindle of the empty film canister so that the slack film is wound into it. Make sure the edges of each film canister are pushed up tight to the matchbox and no film can be seen. The film is now loaded but needs to be made light tight.

If you want your pictures to be free from light-leaks it’s very important that no light at all can get into the camera other than through the pinhole! Black electrical PVC tape is very effective at keeping out light. The most important places to seal are between the film canisters and the matchbox. Place strips of tape down the front on both sides. Use two layers and make sure it is firmly sealed all around.

Pay attention to the ends of each reel. Add more tape here, trim around the spindles so that the tape adhesive doesn’t stick and prevent the film being wound. Again, use a couple of layers and check all around both joints to make sure they are totally sealed. The cardboard of the matchbox will also leak a small amount of light, especially in bright conditions. This will give your photos a mottled red effect. If you don’t want this, tape all over the back and sides of the box so that no cardboard is showing.

DO IT YOURSELF PINHOLE CAMERA

shoot the CAMerA

When shooting the matchbox pinhole camera, there is no need to stress about exposure times. As long as you bracket your first or second roll, you should be comfortable and a pinhole professional in no time. The rule of thumb is to expose the film for 1 to 2 seconds when it is sunny and you are shooting outdoors, and when it is cloudy try around 5 seconds. If you choose to shoot inside with indoor lighting, the rule is 1 to 5 minutes. You will know when it is time to unload the film because it will not wind forward anymore. This means you need to rewind the film back into the original film canister. To do that, remove some tape with scissors and remove the clicker. Be careful not to leave the tape loose when rewinding the film, to avoid exposing the film you have shot. Finally, rewind the film and cut it by either canister. Now you can take the roll of film to any local photo shop or convenience store that develops film. When you take the film into the store tell the person that helps you not to cut the film, this is because the frames will be different than normal. They can also make prints or a digital CD for you of your images.

Fort Wayne

Museum of Art visit fwmoa.org

BAMBI GUTHRIE [ cOMMERCIAL PHOTOGRAPHER ] As someone who’s spent most of their life consumed in almost all aspects of music, it’s no question as to why Bambi Guthrie feels compelled to capture the intensity of live music with her photography. As a local artist, Guthrie’s name is certainly well known around the Fort Wayne music scene, not only for her presence as a photographer, but also for her past as a musician. Having performed in various bands over the years, she’s gathered a knowledge and a passion surrounding what it means to be a musician, and also what it means to be just another face in the crowd, waiting for that wave of sound and movement to crash over you. What stems out of that knowledge is more than an appreciation but an actual method to her shooting process. Guthrie describes herself as someone who waits for that timely moment. It isn’t just a simple point and click practice where she hopes to get the shot, but it’s something she can feel in herself and sense within a band’s performance that allows her to create what she does behind the lens. This moment for Guthrie is something where, “the singer screams his lyrics with the sincerest passion while sweat drips down his face and the microphone cord is wrapped tightly around his fists” She portrays herself as a sort of lion in the crowd, waiting for images to fall into her hands like a piece of meat. Photographs are more than just a visual retelling of the night; it’s something for her that encapsulates raw feeling and emotion. As a viewer of her work, you can almost taste that moment during a show where a tension rises up in the music and the crowd and it feels like the whole thing could collapse at any second. But even in the heat of drums clashing, liquids flying, and bodies being carried across the mass of listeners, Guthrie still finds a way to maintain stability in the way she goes about capturing every image. Surrounded ultimately by

FEATURED ARTIST BAMBI GUTHRIE

eager strangers and friends alike, she feels confident in her ability to both protect her camera and still get the best shots possible in the midst of raging fans. “I can sense liquids,” Guthrie says, “such as beer, water, soda, it’s like a sixth sense. I can totally dodge them all. It took awhile to feel out shows, venues, and the fans that different genres draw, but once I did, I became a Jedi of the music photography world.” Besides honing her photographer super powers, all Guthrie really wants out of her work is the chance to become a household name, someone recognized and cared for in the world of art and music. Her work grasps at this overwhelming essence of both the primal aspects of music and musicians while colliding with the imaginative and experimental sides of art. Photography is certainly a reproduction of what the eye can already see, but Guthrie doesn’t stop at pleasing visuals, she reaches down into the gut of a musician, or a crowd, exposing a rawness in their emotions, something that can’t always be interpreted while the moment’s actually happening. Guthrie doesn’t feel limited to the Fort Wayne area but travels the country, mainly the Midwest, searching shows and fests for those powerful moments where music and movement align, giving her reasons to remember what she or her subjects were feeling through photography. Several times a year she travels outside of her home, allowing each adventure to sort of take her where it needs to. But even amongst the travels and the hecticness of both music and photography, Guthrie still remains true to her artist roots, claiming that everything she’s doing isn’t for the money, although being a known artist wouldn’t be so bad. Ready to take on the world of music photography, Guthrie says, “I could care less about being rich, but being famous? Bring it on.”

Photo by Mariah Hutcherson

FEATURED ARTIST BAMBI GUTHRIE

All photography by Bambi Guthrie on pages 28-31, unless otherwise stated. 29

Photo by Mariah Hutcherson

“Bringing color, whimsy, and wonder (with a dash of punk rock) to an otherwise dull world.”

FEATURED ARTIST BAMBI GUTHRIE

Photo by Mariah Hutcherson

sunnyschickcamera.com 407 W. Washington Blvd, Fort Wayne, IN 46802 (260) 424-1615 32

FEATURED ARTIST

PETER LUPKIN [ FINE ART painter ] Emerging out of appreciation for traditional myths and motifs comes Fort Wayne artist Peter Lupkin and his modernizing approach to recreating visual narratives through the fine art medium of painting. His personal body of work focuses largely on the aspect of trying to grasp at ideas behind pre-existing stories and bringing those ideas into the more contemporary world of art. Lupkin has described a sort of passion for old literature and mythologies, although he believes they’re often forgotten, the value behind them, he feels, still carries a strong weight or foothold in our generation. Thus, his key focus is to bring those traditions forward in a way that begs the question, “how does this relate to my own life?” The emotions that humans felt then and what they feel now are extremely relevant to each other, for Lupkin explains that “there is no new human emotion, there’s nothing we’re gonna feel that’s even remotely different than what someone felt 2000 years ago.” The environments change but the core ability of humans to react and feel for something will always be a stabilizing force. In 2012, Lupkin created a piece, “Pygmalion Dream”, that truthfully encompassed his artistic philosophy by taking the traditional and twisting it into a more relevantly modern concept. He notes that the Pygmalion painting of the past uses a physical statue to express the give and take of life as an artist, but his rendering is focused more on an internal encounter with Galatea, who has both a nurturing and a threatening hold on the subject. Lupkin describes this as the positive and negative sides of being an artist while stating, “some things are wonderful about it, and there are other parts that will isolate you, the not so pleasant parts.” Lupkin is certainly an artist who knows the frequent isolation aspect well because his work is entirely self-created, right down to the canvas and supports in which he builds on his own. He believes that his process, although time consuming, is extremely effective for his work because it allows him to build a sturdy foundation, which reflects his concern for the overall outcome and permanence of the piece. Also as a way of maintaining longevity, he includes the use of oil paints, “connecting [himself] to generations of oil painters who used the same processes and materials,” which comments respectably on the importance of following his philosophy from concept to craftsmanship. Lupkin also has a strong background in stained glass, something that helped to influence his value on older stories, which began around the age of 14 when he would frequently spend summers helping in his father’s studio. As an apprentice, he grew an appreciation for the symbolism behind stain glass windows and how the simple use of a rose could tell a story in its entirety. Working with such large-scale panels then, Lupkin decided to structure his own work around generally large canvases as well. One of the paintings titled “Limbo”, is 7 ½ feet by 3 ½ feet, which he comments is rather large for a painting, but in terms of what he worked with in

stained glass it’s relatively small in comparison, so Lupkin notes that he “never actually felt intimidated by large figures or large spaces.” And you wouldn’t expect him to be with works like the commission piece he did for Our Lady Lourdes Church in Indianapolis that was 12 feet high and 6 feet wide, done locally and shipped for installation. He explained in length the process of being both in the business of selling art, usually thorough religious commissions or portraiture, and also wanting to create for the benefit of one’s own soul, “I think that also in the stained glass, it’s still very much a job. Like you have to do this and then this and a lot of times in art school we’re kind of told that you have to wait for inspiration and then you do it, but you also have to continue to work and the piece has to be done and you cant just wait for that. You know it’s wonderful, you get it and its fantastic, I would never downgrade that perfect glimmer where you get the idea and you go for it, and obviously you’ve done it on your own pieces, sometimes you’ll spend like two hours, you might have worked on it for twenty hours, but those two hours you were truly inspired and it turned out great, and those hours are worth more than those other 15 hours you spent on it, but you still have to sit there and slowly beat away at the piece…I mean you don’t get to choose what you do [in the business], which for any artist is always a little bit difficult but you know, its still a wonderful thing to be painting, like that’s your day job, you don’t have to wait tables and hate every day and just want to go home and sit in front of your easel.”

When asked which school of art was Lupkin’s preference, he said Venetian, without hesitation. Artists like Tintoretto, Titian, and Tiepolo are noticeable influences of his for their large-scale pieces, permanently located, that are essentially color oriented, something he believes is also a characteristic of his own style as an artist. He believes himself to be a “color theorist”. Tintoretto, was said to be Lupkin’s favorite of all the Venetians, in which he called him, “the most prolific painter of all time”. He admires the way Tintoretto approaches pieces in a very painterly way, and how he was a little before his time, predating the ideas of impressionism with gestural styles. 35

Northside Galleries 335 E. State Blvd Fort Wayne, IN 46805 (260) 483-6624 northsidegalleries.com

The piece mentioned above for it’s scale, “Limbo” was one that Lupkin initially felt was influenced by the Venetian style, but he later felt that in attempting to do so, he would make the piece much more “heavy-handed” than he would have liked. The piece includes an American figure sort of commenting on an Arab protester, which began as a hero in the original working of the piece before Lupkin’s trip to the Middle East, and then reworked after his experiences. Lupkin said that he went in with idealistic notions of the issues going on overseas, and had a rather eye-opening moment when he and a friend entered into a protest zone and saw some of the violence, “that night a Molotov cocktail doused a woman in gasoline and she was very heavily damaged and so for me, it changed how I viewed the figures, yes I get what they’re protesting for, but then there’s lots of other political issues that go into it.” Lupkin then went back to the piece and brought his new knowledge of the protests forward into the “hero” he had created beforehand, “The title is “Limbo” because I took the figure and put it into a traditional western saintly context, but on the top I have images of heaven and hell… you know limbo is being held in-between two places, so that’s what this painting is actually about, holding the figure between judgments.” Outside of his personal work, Lupkin noted that generally people come to him for paintings based on what they’ve seen his studio do with stained glass or other artistic projects for organizations and churches. He enjoys being able to work through both mediums for a large range of clientele. In the last few moments with Lupkin, he gave a bit of advice to young and established artists, mentioning that it’s really vital to go out and see as much artwork as possible because it provides such a positive influence for one’s work. “It’s really important to see not only what’s going on in your immediate area but what’s going on in other countries…everyone has different sets of influences from their environments…we rebel against the things that our parents and their generation before were doing…so if you have as many influences as possible from other areas, you don’t have to be limited by where you were raised, so I encourage to travel and go to museums, see the Louvre, see Rome. See there are other ways of achieving an end.” For local artists and Fort Wayners alike, make sure to check out his featured artwork at www.peterlupkin.com.

FEATURED ARTIST

Jirk Goes to the Movies

Cinema Center’s Midnight Movie Series recently hosted the comedic presence of Jirk Comedy in their viewing of Santa Conquers the Martians. Jirk is a combination of local individuals trying to build a community of comedy in Fort Wayne. Organized by few but open to all, Jirk is ultimately reaching out to those who enjoy performing or simply listening to what Fort Wayne standup-ers have to say, or rather joke about. Usually held in venues such as Pint N Slice or CS3, this specific event was rather different, but just as satisfying for those in attendance. Instead of the usual stand-up show, Jirk Comedy organized a screening of a holiday movie complete with commentary from some of the founding members, Jared Busch, Ian Anderson, and Dirk Walker, as well as themed drinking games and food provided by Bravas. The movie itself was something to be laughed

JIRK COMEDY

at with it’s men in leotards and cheesy dialogue, but the commentary provided by Jirk was extremely entertaining and resulted in a constant uproar of laughter from the entire audience, whether it be jokes at the expense of a character’s badly trimmed mustache or improvised sound effects. The night was made complete by the interactive moment at the end of Jirk members and friends dressed in character-themed costumes such as Santa Claus, the Mars Martians, and Torg the robot, throwing balloons into the audience and allowing pictures to be taken alongside them. All and all it was a night of pure comedic entertainment, something fresh and unique. Needless to say, Jirk is certainly making a name for itself by bringing a new form of amusement to the people of Fort Wayne, and we’re definitely okay with that!

cARLy scHMIdT [ fInE ART ILLUsTRATOR ]

Can you explain your artwork and the content behind it? I’ve been drawing since I was very young. I always gravitated towards drawing people because I felt it was easier for me to relate to a piece of artwork when there was something human about it. I started drawing seriously when I was around 13 years old by copying anime drawings of Sailor Moon and Cardcaptor Sakura. Through middle school and high school I slowly developed my own style by combining all the things I enjoyed; anime, beautiful women, and darker elements. After high school I attended Moore College of Art and Design for around a year and a half before I had to drop out because it was too expensive. I’ve continued to draw however, slowly honing my skills and finally being able to draw almost exactly how I want. My artwork is still heavily influenced by anime and my love for the female figure, as well as other interests I have such as symbology, horror, and occult themes. I like to draw my “characters” in a strange dream-like world where they appear as enigmas or phantoms. I have a love for unconventional beauty and androgynous, almost alienlike faces. I want people to look at my drawings and feel nostalgia for something they can’t quite put their finger on, as if from a dream that was forgotten.

FEATURED ARTIST

What more do you feel you still have to learn? Lately I’ve been trying to branch out of my comfort zone and draw more male figures. I’ve always drawn feminine shapes and features so I really need to work on my male anatomy! Achieving perfect anatomy has always been a goal of mine, since my drawings are primarily figurative. I’ve been studying a lot of old masters like Caravaggio and would love to have their grasp of anatomy and lighting. What does the idea of creative mean to you? Creativity, to me, means having a tool to escape reality and create worlds and stories not hindered by reason. Fantasy is much more appealing than reality to me, and I enjoy being able to share my visions with other people who are also bored with ordinary day-to-day life.

BOB sTOREy [ cOMMERcIAL dEsIGnER ] How would you explain your artwork and how it came to be? My art doesn’t really tend to have an underlying meaning or any deep political message. Although, my work has been reviewed as everything from sinister to innocent, as well as cute and organic. At the end (and beginning and middle) of the day I just have a need to create. I’m fond of primarily working in a cartoon style that has been sculpted from a number of different places. Some of my top influences are the sketches of Da Vinci, Ed Roth, Alphonse Mucha, Heinrich Kley, and Dirty Donny. My strong point, and most of my emphasis, has always been on illustration...pencils, ink, and lots of erasers! I have dominantly worked as a freelance artist and most of my work revolves around gig posters and screen-printing. I did have a short stay as a tattoo artist as well as an art director/photographer for a hot rod culture magazine. After those experiences, especially the magazine, I really appreciate working freelance. Deadlines are deadlines, and the clients wants don’t always satisfy the creative needs, however having the freedom to pick and choose projects will always rule! How do you balance both your fine art and graphic design work? There’s always a constant struggle to find a balance. I have a full time job on top of running my illustration and print company, Fort Waste Industries (FWI). I’m fortunate enough to work with and alongside fans or people with similar tastes when it comes to the art gig. Luckily, I get to illustrate things I want to more often than not. Screen-printing has probably been the main offender to finding any balance...don’t get me wrong I love the craft; it can just feel like a bit of a time burglar once and a while. Hand pulling that ink can also sometimes be just as exhausting mentally as it is physically, especially if I’m not particularly fond of the design. I’m in the process of trying to slowly step back a tiny bit to focus less on commercial projects so I can work on my own jargon. What would you say your job description is? I wear a lot of different hats when it comes to print and design. I end up being a little bit of everything. I’m equal parts student, teacher, producer, and designer. At the end of the day it’s all about being happy, humble, and productive. I try to cheer-lead for my wife and friends as much as possible; sometimes they push me. I love the community I have accidentally built around myself. The

FEATURED ARTIST

job or idea or parameters of what I do are constantly evolving. FWI was an idea I had in 1996 however it really didn’t take shape until 2007 when I started screenprinting out of my basement. I got to a point where I needed more room so I found a partner, moved street level and opened the Sweet Tooth Collective in 2010; my first studio behind Studio 13 on Calhoun. When the lease was up we found a bigger space a block north and founded the 1835 building in 2012. What is the 1835 building? The 1835 building has been a hard thing for the members to define over the past year and a half. There’s been a lot of things we’ve wanted to be but essentially it’s a studio/workspace that I share with several other freelance artists. It’s not necessarily a collective, however the spirit is there. There have recently been a few inspiring and positive changes to the space. We’re currently discussing workshops to invite the public to, as well as sketch nights. We’ve also had a few art shows and are working on more. The space and ideas have a lot of potential and all seem to make sense. There’s also now a very welcoming and talented group of people behind it, which doesn’t hurt. What exactly is FWI? That’s a question I’ve been asked a lot. Well, it’s Fort Waste Industries, but after that, I don’t know. Everybody has their different interpretation on the name as well as the function. First off, being from Fort Wayne, the name implies some sort of bitterness towards the city to some--which they find off-putting. There are some that take that same spin and agree…well, they would both be wrong! The name is a tribute to the punk rock community and locale on the handbills of my youth, good times. It has also been common lament from some of the people of this fair city. My meaning has always been a positive one and intends to build rather than tear down. I’ve now successfully illustrated posters to events that those same people go to and enjoy. Take that, “there’s nothing to do-ers”! The FWI star shines bright around this city, and is proud to be a part of it. Now, what is the function? FWI is simply just me. It’s my apparel brand, I sign all of my art with it and it represents my commercial printing and design. I am known as well for running FWI, as I am known for being “Bob Storey”. FWI is just me.

JARROd TOBIAs [ fInE ART PAInTER ] How would you describe your artwork?

Describe the content behind your artwork.

My work is about nature. I use the human figure as a vehicle to speak about culture. There is an inner connected nature of all things that reveals itself in many forms. Drawing and painting are a way for me to illustrate these connections, and rhythms that I observe. Art is also where I seek understanding.

The content of my work is drawing from a narrative on contemporary culture. Narrative figurative work offers a platform for social commentary. I try to shine a light upon the things that I love, and make fun of the things that piss me off. Consumer culture is my favorite thing to make jokes about. For a long time I tried to be positive and tell the hopeful story of organic farmers, local economy, grassroots culture, etc. But in reality, I really wanted to make fun of fat fucks at Wal-Mart. So I try to keep it in balance by doing a little bit of both. I believe it’s important to take responsibility as an artist and communicate the zeitgeist of the time. I’m trying to do my best to shine my light and offer an honest take on human matters.

What is your history as an artist? Drawing was something that I have loved and admired my entire life. I always wanted to be better at drawing and painting. I started going to figure drawing at Artlink when I was in high school. Then, I studied at The Cleveland Institute of Art and earned my B.F.A. in 2003. Since then I have lived in Fort Wayne with my family. We have a small family farm, and I turned the garage into my studio. I have a day job as a deliveryman, and I make art every chance I get. I’m quite grateful to have a simple life that’s very rich in the things that I love. How are you inspired? What/Who inspires you? Inspiration is relative to opening your heart and mind. My children’s imaginations are very inspiring to me. I am also greatly inspired by people who believe in their dreams and relentlessly pursue them. Music has also inspired me since I was a child.

FEATURED ARTIST

What are your goals as an artist? My goal as an artist is to be an honest, positive force in my community. I don’t want to have a lot of money, but I really want to make art full time and take on bigger public projects. I want to paint murals and never shave my beard.

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cHRIs scHREIn [ cOMMERcIAL & fInE ART ILLUsTRATOR/dEsIGnER ]

How would you explain your artwork? I come from a family of artists and have had the pleasure of growing up with a pencil in my hand. Art was always encouraged when I was younger, so it was an easy transition from doodling for fun to seriously considering art as a career choice. Painting has always been the foundation of my style even as I began to learn and incorporate digital media. I believe the ability to draw and produce fine art is essential in being an artist. This may sound like common sense, but I see a lot of contemporary artists that rely too heavily on technology and really can’t draw for shit. My work consists of oil/acrylic/aerosol paintings, murals, illustrations and designs. It’s a combination of realistic imagery and crumbling abstraction. What is the content behind the pieces you create? My work isn’t something your grandmother would hang in her house. It’s dark, graphic and sometimes offensive. It’s also beautiful, detailed and graceful. This duality between beauty and disgust is related to how I perceive the world. Call it god and satan, good and bad, light and dark or whatever you choose to believe, 48

FEATURED ARTIST

our existence centers around the balance between two opposites. However, I’m no philosopher and I fucking hate preaching to people about content. While I may give a short statement about my ideas behind the work, I want viewers to create their own ideas and stories. Do you feel as though you have more to learn? Art is a continuous learning experience. At the moment, I’m working on marketing myself and reaching larger audiences. What artists are you inspired by? Each day presents new artists to inspire me, especially with how easy communication and idea sharing is at this moment in history. I have infinite inspiration in the palm of my hand. However, some artists stick with me and I find myself going back to their work quite often. UK based fine artist Antony Micallef is one of the biggest inspirations for me and I have been into his work for a few years now. Other artists that really get to me include Jeremy Fish, NoseGo, Reka and Sylvia Ji. But the real gods of painting will forever be Renaissance portrait artists, specifically Raphael.

Fort WAYNe QUIck MAP Of fEATUREd PLAcEs

3 1. fort wayne Museum of Art 311 E Main st, 46802

3. wunderkammer contemporary Gallery 3402 fairfield Avenue, 46807

5. University of saint francis 2701 spring st, 46808

2. Artlink contemporary Gallery 300 E Main st, 46802

4. Hedgehog Press 1136 columbia Ave, 46805

6. sunny schick camera 407 w washington Blvd, 46802

2 8

7. fort wayne Outfitters & Bike 1004 cass st, 46808 8. cinema center 437 E Berry st, 46802

check out this map of fort wayne! It features just a few of the art locations that the city has to offer, all of which are mentioned in this magazine. 51

sNAZZY sCheDULe oF fORT wAynE MUsEUM Of ART October 2013 – February 23, 2014

Midwest Print Presse Variation Upon a Theme: Song of the Underground Railroad

November – January 19, 2014

National Photography Biennial

December – February 23, 2014

Lure of Mexico

February 9 – April 13, 2014

Scholastic Art and Writing Awards Exhibition

April 19 – July 13, 2014

Hard Edge Cool Logic: American Abstraction in the 20th Century

ARTLInk cOnTEMPORARy GALLERy December 13, 2013 – January 15, 2014

Expressions of Love and Loss, featuring work of J.R. Shimer with artists creating works commemorating a lost loved one. Open call, all media with a maximum size restriction of 8” in any direction. Award Winners from the 9th Regional Artwork by Linda Binek

January 24 – February 26, 2014

The Carnival, themed all-media open call exhibit to the region. Artists’ Sketchbooks AVA Award Winners Exhibit 5th Annual Postcard Show/Sale Watercolors by artists Cherie Droege and Dianna Miller-Pierce

March 7 – April 16, 2014

Neighborhood project in partnership with Wunderkammer Fusion Project with F.A.M.E. Paintings by Alan Mcluckie

GALLerY oPeNiNGs UnIVERsITy Of sAInT fRAncIs January 18 – February 26, 2014

New Media Exploration: Michael Dinges, Dennis Lee Mitchell, Brett Freund, Alessandro Bavari

March 6 - March 23, 2014

38th Annual High School Art Exhibition

April 5 – April 27, 2014

38th Annual SOCA Student Exhibition

November 18, 2013 – January 17, 2014

William and Joan McNagny Collection of Sacred Icons

April 5 – April 27, 2014

School of Creative Arts Masters Program Highlights Exhibition

OTHER GALLERIEs Wunderkammer

February 8 – March 9, 2014 Theoplis Smith: Can You Spare Change? ALT: An Alternative Sculpture Survey

Crestwoods Gallery

February 8 – March 1, 2014 Grace Harmon, Josh Wenning, Deb Burson, Marie Gardeski and more

Krull Gallery

March 1 – April 5, 2014 Yamamoto Masao, “Shizuka=Cleanse” Pam Posey, “Undergrounded” January 18 – February 22, 2014 D.J. Hall, “Into Plein Air” John Humble, “Pico Boulevard”

Orchard Gallery

February 1 – 26, 2014 Mixed Media Paintings by David Webb & Pottery by Michael Kifer

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