impact! - Exhibition at the UC Blue Ash College Art Gallery

MORGAN GRAIG • CHRISTOPHER MORGAN GRAIG • CHRISTOPHER MCGINNIS MCGINNIS REZA• RAFIEI RADSHINKO • KATHRYN SHINKO J POUWELS J• POUWELS REZA RAFIEI•RAD KATHRYN

31 – DECEMBER OCTOBER OCTOBER 31 – DECEMBER 2

OPENING• RECEPTION OPENING RECEPTION NOVEMBER 4• NOVEMBER • 5–8 P.M. 4 • 5–

UC Blue Ash Colle UC Blue Ash College Art Gallery 4131 Cooper Road • 4131 Cooper Road • Blue Ash, OH

Introduction to Impact! roduction An to Impact!

By H. Michael Sanders ichael Sanders

The works in this selected continuing crisis in Flint, Michigan concerning ks in this exhibition have beenexhibition selected have been continuing crisis in Flint, Michigan concerning because they shareinfeatures thatsafe result in delivery systems, safe water systems, and the decisions they all share features thatallresult water anddelivery the decisions pointed commentary on cultural, economic or made by political figures leading to this commentary on cultural, economic or made by political figures leading to this issues. Theredynamic is a fundamentally dynamic catastrophe. ues. There issocial a fundamentally catastrophe. hip betweenrelationship individualsbetween and the individuals and the societies in which live, and artists often Refiei Rad is an Iranian artist whose s in which they live, and artists they are often Rezaare Refiei Rad is anReza Iranian artist whose at the forefront of questioning ourphotographic values, workshim have refront of questioning our values, worksphotographic have often placed in often placed him in intentions andmost actions. One of thelegal mostjeopardy in his legal histo home ns and actions.

One of the homejeopardy countryin due theircountry due to their of art and artists in ourmatter. Withsubject matter. a persistent and sensational le functions venerable of art and functions artists in our subject a persistent andWith sensational culture has been draw attentionfocus to social on gender has been to draw attention toto social on gender andfocus feminist issues inand thisfeminist issues in this issues thatas involve such topics as exploitation, portfolio, Rad explores male at involve such topics exploitation, portfolio, Rad explores male encroachments on encroachments on economic disparity, gender, Thesovereignty the personal sovereignty of women through the ic disparity, gender, and inequality.

The and inequality. the personal of women through the impact of these works resides in their persistent surprising and unsettling of these works resides in their persistent surprising and unsettling motifs of menstrual motifs of menstrual suggestion of our collective failings. blood and napkins. on of our collective failings. blood and sanitary napkins.

Thesanitary ironically poeticThe ironically poetic of these reinforce and help articulate titles of these works titles reinforce and works help articulate on the in impact of the visual impact of the images.

Craig’s workMorgan focuses Craig’s on thework waysfocuses in theways visual images. our industrial architecture functions as a ur industrial which architecture functions as a choices or the valuemarker choicesfor of the our value society.

His of our society. His surprisingly vibrant imagery of disintegrating gly vibrant imagery of disintegrating factories and other rotting industrial In a similar and other rotting industrial structures In astructures similar vein, Kathryn Shinkovein, usesKathryn woven Shinko uses woven offers anofunsettling glimpse of thetapestries, slowing media conventionally tapestries, media conventionally associated with n unsettling glimpse the slowing associated with creeping of our consumer female artists and traditionally domestic craft g obsolescence of ourobsolescence consumer culture. female culture. artists and traditionally domestic craft The these fact that he renders these representational uses, to unexpectedly that he renders representational uses, to unexpectedly explore the violenceexplore the violence in the classical art medium of oil paint on embedded the language used to title the classicalworks art medium of oil paint on embedded in the language usedinto title linen only helps to underscore their functionvideos.pornographic videos.

Superimposing these ly helps to underscore the their function thepornographic Superimposing these as documents of decontextualized obscene ments of a vanishing aspectofofa vanishing aspect decontextualized obscene phrases culled from phrases culled from civilization. internet landscape over the innocuous landscape on. the internet over thethe innocuous imagery postcards, Shinko shocks us into imagery of postcards, Shinko of shocks us into Inspired byofthe matter of the regionallyof the debasing recognition of the debasing quality of the by the subject matter thesubject regionally recognition quality of the economic coal, in a manner language in a manner that is both poetic and nt economicimportant commodity of coal, commodity of language that is both poetic and Pennsylvania Christhe McGinnisalarming. explores the alarming. vania artist Chris McGinnisartist explores raw physicality of this substance in his visually sicality of this substance in his visually striking works, while simultaneously The impact works, while simultaneously suggesting Thesuggesting collective impact of collective the work in this of the work in this its economic value and the high environmental exhibition is intended toour provoke a pause in our omic value and the high environmental exhibition is intended to provoke a pause in and societal associated with thinking its extraction thinking about we often find ourselves etal costs associated withcosts its extraction about topics we often find topics ourselves and use. able to circumvent or ignore. able to circumvent or ignore.

The purpose is to The purpose is to stimulatethe dialogue between stimulate dialogue between artist and the the artist and the Pouwels addresses, in of his extended series of rarefiedviewer in the rarefied environment of the art els addresses,J. in his extended series viewer in the environment of the art works collectively titled Dysfunctional Systems, gallery, andone conversation ollectively titled Dysfunctional Systems, gallery, and conversation with another with one another thethat growing concerns thattowe facewhen in relation to ourselves when we in find wing concerns we face in relation we find back ourourselves everydayback in our everyday accessible and reliably pure of clean, safe environments. le and reliably pure sources of clean, safesources environments. water. from The works sampled he works sampled this series that from this series that are included in our show ded in our show were inspired by thewere inspired by the

MORGAN CRAIG MORGAN CRA

A more extensive collection of extensive work by Morgan Craig at Craig may be A more collection of may workbe byfound Morgan morgancraig.org. If you would like to know more about morgancraig.org.

If you would likehistowork, knowyou more about his may contact him at morganscraig@mac.com. may contact him at morganscraig@mac.com.

Artist’s Statement Artist’s Statement About the Artist About the Artist Architectural structures act as both repositories Architectural structures act and as both repositories andCraig is and Morgan Morgan an award-winning living Craig is andartist an award-winnin as vehicles for memory.

They profoundly influence as vehicles for memory.

They profoundly influence and working in Philadelphia.

He has exhibited He has e and working in Philadelphia. culture and identity by providing a tangible culture and identity by providing a tangible widely throughout the North America, Europe andAmeric widely throughout the North framework through which facetsthrough of society can facets be of societyAustralia. framework which can be His recognition includes the Pollock includes the Australia.

His recognition expressed. Consequently, I haveConsequently, been inspiredIto expressed. have been inspired to Foundation Grant, Krasner Elizabeth GreenKrasnerthe Foundation Grant, the Elizabe build a body of workbuild dealing withofhow identity is with how identity a body work dealing is Foundation Grant shields and two Individual shields Foundation GrantArtist and two In influenced by the types of architectural edifices influenced by the types of architectural edifices Fellowships from theFellowships Pennsylvania Council on the from the Pennsylvania Co present in a given landscape, post-in- specifically post-inpresent inspecifically a given landscape, Arts. Recently, he wasArts. visiting artisthe at Australia Recently, was visiting artist at dustrial edifices. My work is not merely method of merely a method dustrial edifices.

Mya work is not nationalofUniversity. national University. documentation, butdocumentation, a sociopolitical commentary but a sociopolitical commentary on the effects of hubris, avarice, free on the effects oftrade, hubris, avarice, free trade, outsourcing, deregulated capitalism, and technooutsourcing, deregulated capitalism, and technological obsolescencelogical upon communities obsolescencethroughupon communities throughout the world. I believe provides a clear outmy thework world.

I believe my work provides a clear trajectory of how one might merge concept and merge concept and trajectory of how one might technique into a cohesive bodyinto of work. technique a cohesive body of work.

d in Exhibition Work Included in Exhibition

pitalism, oil on linen, 54”ofx 72” (2015) , oil on linen, 54” x 72” (2015) • Cadaver Capitalism e Afterglow, •oilSoonMuch, linen, In 72”the x 54” (2015) , oil on linen, 72” x 54” (2015) Afterglow Reason, oil on linen, 72” x 54” • The Gravity on(2014) Reason, oil on linen, 72” x 54” (2014)

Artist’s Statem Every culture c family should o expressed, and The purpose o definitions. I do conventionally domesticity: em ing. I use these traditional ster from my "Vign industrially-wo

About the Art Kathryn Shink primarily wor as weaving, e address contr issues. She rec from the Univ and an MFA in University (Ke exhibited thro including sho Denver, Colum recently, she r Mention for th from the Surf national orga and fiber arts

Work Included in E

• Vignettes: Extreme Clo • Vignettes: Cute Girl, in • Vignettes: Two White

CHRISTOPHER CGINNIS KATHRYNMSHINKO A more extensive collectioncollection of work byofChristopher McGinnis may be be found at at A more extensive work by Kathryn Shinko may found chrismcginnisart.com.

If you would to know work you mayyou may kathrynshinko.com.

If you like would like tomore knowabout more his about her work, contact him at chris@chrismcginnisart.com. contact her at kathrynshinko@gmail.com.

Artist’s Statement Artist’s Statement About Artists juxtaposed with landscape imagery.

Every culture creates its own definitions of how a ofthe pornography The work in operate, this exhibition is from my “Ridges Chris By McGinnis is an artist, educator and cultural producer family should how sexuality should be bringing together pornographic video titles and Shafts” series, includes drawings, in Pittsburgh, Pennsylvania. has createdand projects expressed, and how which men and women should interact. working appropriated from the website He pornhub.com paintings layered inspiredthese by for theimages Westmoreland Museum of Americanthe Art,artwork SPACE of majestic, noble landscapes, The purposeand of my workobjects is to question physical (analog) deformation modeling Pittsburgh, Urban Contemporary Pittsburgh definitions.

I do so through media that has and been questions theInstitute violent of and sexist qualitiesArt, inherent in the coal-rich land of Southwestern PennsylvaCenterpornographic for the Arts, Schuylkill forhow Environmental language,Center and asks this affects our conventionally associated with womanhood and nia. These artworks explore a number oflatch-hook- Education, and TheofRivers of Steel Heritage domesticity: embroidery, cross-stitching, societal view women as a whole.

MyCorporation. goal is to He is materials andtraditional processes practices from castto graphite currently assistant at Indiana University ing.

I use these question question the professor definitionsofofarthow things “should be”of and and resinstereotypes. to wall drawn and is also co-founder chief curator art traditional Theinstallations works in this exhibit are Pennsylvania, assist theand viewer in revising andand reaffirming their of own poetic verse. My primary interest heresixrelates for Rivers of Steel Arts program at the Carrie Furnaces from my "Vignettes" series comprising large understandings. to the value of coal as bothexamining a physical material industrially-woven tapestries the language National Historic Landmark. and economic resource, and the complex circumstances surrounding its extraction. This subject matter is represented aesthetically through surface luster, layered mine maps, reflected color and mixed media approaches.

About the Artist Kathryn Shinko is a mixed-media artist primarily working in textile techniques such Included in Exhibition asWork weaving, embroidering and sewing to • Spoil Tip #2, graphite, ink and mixed media on duralar mounted on wood panel,10” x 8” (2016) address controversial social mixed media on duralar mounted on wood panel,18” x 24” (2016) • Seam #1, graphite, ink andcontemporary • PilesShe , graphite, ink and mixed media on duralar mounted on wood panel,18” x 24” (2016) issues. received a BFA in Graphic Design • Graphite Gem #1, castof graphite and(Akron, epoxy resinOhio) with florescent cad stock,12” x 10” (2016) from the University Akron • Graphite Gem #2, cast graphite and epoxy resin with florescent cad stock,12” x 10” (2016) and an MFA in Textiles from Kent State University (Kent, OH). Her work has been exhibited throughout the United States including shows in Chicago, Brooklyn, Denver, Columbus, and Cleveland. Most recently, she received an Honorable Mention for the Creative Promise Award from the Surface Design Association, a national organization dedicated to textile and fiber arts.

Work Included in Exhibition

• Vignettes: Extreme Close Up, industrially-woven tapestry, 55” x 65” (2014-2015) • Vignettes: Cute Girl, industrially-woven tapestry, 55” x 65” (2014-2015) • Vignettes: Two White Girls, industrially-woven tapestry, 55” x 65” (2014-2015)

J POUWELS J POUWELS

A moreofextensive of work

by J Pouwels may be found at jpouw A more extensive collection work by Jcollection Pouwels may be found at jpouwels.com.

If you would likehis to work, know you more about his work, you may contact him at If you would like to know more about may contact him at artblueash@jpouwels.com. artblueash@jpouwels.com. .

.

Work Included in Exhibition Work Included in Exhibition

• Dysfunctional Systems #08, ink on paper, 22” x 30” (2 • Dysfunctional Systems #08 , ink on paper, 22” x 30” (2014)

Systems #14, ink on paper, 22” x 30” (2 • Dysfunctional , ink on paper, 22” x 30” (2014) • Dysfunctional Systems #14 Artist’s StatementArtist’s Statement • Dysfunctional Systems #23, ink on paper, 22” x 30” (2 , ink on paper, 22” x 30” (2014) I’m interested in addressing I’m interested in addressing the concerns we the concerns we• Dysfunctional Systems #23• Dysfunctional Systems , cardboard, 18” • Dysfunctional Systems (two pieces), cardboard, 18” x(two 7” x 7”pieces) each (2016) face over our access to clean, reliable water face over our access to clean, reliable water global climate supplies. The globalsupplies. climate isThe in flux, there is is in flux, there is clear evidence concerning the reasons for clear evidence concerning the reasons for changes, and there is much political these changes, and these there is much political maneuvering unrelated of the Artist About the Artist maneuvering unrelated to the welfare of to the welfareAbout A native New Zealander, Pouwels constituents.

Mytowork asks viewers toA native New Zealander, J. Pouwels earned anJ. MFA in earned an constituents. My work asks viewers painting from Miami University (Oxford, Ohio consider our roles in determining leadership painting from Miami University (Oxford, Ohio) in 2004 consider our roles in determining leadership and has subsequently maintained an active s and the consequences of such decisions.

My and has subsequently maintained an active studio in and the consequences of such decisions. My Chico, California.

He has exhibited his work o current artistic exploration, Dysfunctional Chico, California.

He has exhibited his work on both current artistic exploration, Dysfunctional States as well as internat Systems, relates towater the Flint, Michigancoasts water of the Unitedcoasts Statesof asthe wellUnited as internationally, Systems, relates to the Flint, Michigan including most recently in artist Portugal during an crisisconcerns and more including most recently in Portugal during an crisis and more general forgeneral safe concerns for safe residency. and easily accessible water for all Americans. residency. and easily accessible water for all Americans.

REZA RAFIEI REZA RAFIEI RADRAD

If you would likethe to know more work of Reza Rafiei Rad, If you would like to know more about work of Rezaabout Rafieithe Rad, you may contact him at mystic.red.cube@gmail.com. you may contact him at mystic.red.cube@gmail.com.

Work Included in Exhibition Work Included in Exhibition

Suddenly We Were11”onx 14” the(2016) Cross, photograph, 11” x 14” (2016) • Suddenly We Were on the •Cross , photograph,

Shooting11” inxAll • We Were , photograph, 14”History (2016) , photograph, 11” x 14” (2016) • We Were Shooting in All History mentAbout the Artist • Much Blood Shed, photograph, 11” x 14” (2016) • Muchand Blood Was Shed , photograph, 11” xWas 14” (2016) Reza Rafiei Rad is an Iranian artist living s my body.

• No Way, Not Be Satisfied

by Me, photograph, 11” x 14” (2016) • No Way, You Will Not Be Satisfied byYou Me, Will photograph, 11” x 14” (2016) working in Teheran.

He holds a Master’s e bodies of women have been Shot Inside • Fish Was , photograph, 11” My x 14”Panties (2016) , photograph, 11” x 14” (2016) • Fish Was Shot Inside My Panties in painting from in Hit Me, photograph, • Your11” Plane Me, photograph, 11” x 14” (2016) e basisdegree of altruism.

The truth is Yazd University • Your Plane x 14”Hit (2016) My Blood Will Fall Apart Sky, photograph, 11” x 14” (2016) • Winds, Iran.

His in work been exhibited internain the Sky, photograph, 11” x in 14”the (2016) • Winds, My Blood Will Fall Apart ave the right, full has freedom, • Your Menstruation is Prettier Than My 11” Menstruation • Yourthe Menstruation is Prettier Than My Menstruation , photograph, x 14” (2016) , photograph, 11” x 14” (2016) tionally in the Middle East, Europe, and ons about the state of their United which States.are One of his photographic al pressures, from theAseries currently on exhibition w, areworks condemned. was recently featured in MetaDada: The y deserves its personal privacy, International Journal of on of this privacy is a violationDada Mining. ts. All encounters must be ent. Forced physical mestic violence, unwanted he male libido, honor killings, male genital mutilation are all he rights of the woman's body.

tist d is an Iranian artist living and heran. He holds a Master’s ting from Yazd University in has been exhibited internaMiddle East, Europe, and the One of his photographic e series currently on exhibition eatured in MetaDada: The ournal of Dada Mining.

KATHRYN SHINKO A more extensive collection of work by Kathryn Shinko may be found at kathrynshinko.com. If you would like to know more about her work, you may contact her at kathrynshinko@gmail.com.

Artist’s Statement Every culture creates its own definitions of how a family should operate, how sexuality should be expressed, and how men and women should interact.

The purpose of my work is to question these definitions. I do so through media that has been conventionally associated with womanhood and domesticity: embroidery, cross-stitching, latch-hooking. I use these traditional practices to question traditional stereotypes. The works in this exhibit are from my "Vignettes" series comprising six large industrially-woven tapestries examining the language

About the Artist Kathryn Shinko is a mixed-media artist primarily working in textile techniques such as weaving, embroidering and sewing to address controversial contemporary social issues. She received a BFA in Graphic Design from the University of Akron (Akron, Ohio) and an MFA in Textiles from Kent State University (Kent, OH). Her work has been exhibited throughout the United States including shows in Chicago, Brooklyn, Denver, Columbus, and Cleveland. Most recently, she received an Honorable Mention for the Creative Promise Award from the Surface Design Association, a national organization dedicated to textile and fiber arts.

Work Included in Exhibition

• Vignettes: Extreme Close Up, industrially-woven tapestry, 55” x 65” (2014-2015) • Vignettes: Cute Girl, industrially-woven tapestry, 55” x 65” (2014-2015) • Vignettes: Two White Girls, industrially-woven tapestry, 55” x 65” (2014-2015)

of pornography juxtaposed with landscape imagery.

By bringing together pornographic video titles appropriated from the website pornhub.com and images of majestic, noble landscapes, the artwork questions the violent and sexist qualities inherent in pornographic language, and asks how this affects our societal view of women as a whole. My goal is to question the definitions of how things “should be” and assist the viewer in revising and reaffirming their own understandings.

Acknowledgments The UC Blue Ash Art Gallery is supported by the Office of the Dean and the departments of Art & Visual Communication and Electronic Media Communications. This exhibition is curated by H. Michael Sanders and John Wolfer.

Gallery publications are edited by H. Michael Sanders and designed by Michael Ziepfel. John Wolfer is gallery director. A full online catalogue, including a PDF of this brochure, is available for this exhibition at the UC Blue Ash Art Gallery webpage at: ucblueash.edu/about/community/art-gallery.