Global Feminisms @ Brooklyn Museum


Image Credit: Ryoko Suzuki (Japanese, b. 1970). Bind, 2001. Lambda print. Tokyo Metropolitan Museum of Photography. (Photo: Courtesy of Zeit-Foto Salon, Tokyo)

March 23–July 1, 2007
Elizabeth A. Sackler Center for Feminist Art and Morris A. and Meyer Schapiro Wing, 4th Floor

In celebration of the opening of the Elizabeth A. Sackler Center for Feminist Art, the Museum presents Global Feminisms, the first international exhibition exclusively dedicated to feminist art from 1990 to the present. The show consists of work by approximately eighty women artists from around the world and includes work in all media—painting, sculpture, photography, film, video, installation, and performance. Its goal is not only to showcase a large sampling of contemporary feminist art from a global perspective but also to move beyond the specifically Western brand of feminism that has been perceived as the dominant voice of feminist and artistic practice since the early 1970s.This exhibition is arranged thematically and features the work of important emerging and mid-career artists.

This exhibition is co-curated by Maura Reilly, Ph.D., Curator of the Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, and Linda Nochlin, Ph.D., Lila Acheson Wallace Professor of Modern Art, Institute of Fine Arts, New York University.

Adam Harrison


Adam Harrison’s work is concerned with notions of visibility and invisibility in relation to the nature of art and photography, and of seeing as a visual phenomenon. His practice acts as a self-reflexive examination of how artworks might prompt a deeper consideration of art through an attempt to understand its fundamental aspects. ‘Making Work’, his upcoming exhibition at Dyan Marie Projects, features a group of photographs that that depict the creation of various forms of art, including painting, drawing, sculpture and photography.

Harrison is a Vancouver-based artist-photographer. He began his career under the mentorship of Jeff Wall, and is part of a tradition in Vancouver photography that approaches picture-making with an intellectually rigorous, self-reflexive understanding of the medium. Recent exhibitions of Harrison’s work include the Belkin Satellite, Vancouver, Helen Pitt Gallery, Vancouver, Lee Ka-Sing Gallery, Toronto, and the Cooley Gallery, Reed College, Portland, OR. His work has been featured or reviewed in Lapiz Magazine, Toro Magazine, Ripe Magazine, NOW Magazine and Geist Magazine and was included in Carte Blanche, an anthology of Canadian photography published Magenta Foundation. In addition to his photographic practice, he is co-editor of Doppelganger Magazine, co-curator of CSA Space, and an active art critic. His writing on art has been published by Canadian Art, Fillip and Terminal City, as well as in various other publications, catalogues and artist monographs.

Friday March 30th to Sunday, April 29th, Dyan Marie Projects
Opening Reception Friday, March 30th, 6pm to 9pm, artist in attendance
Artist talk Sunday, April 1st, 3pm

Dyan Marie Projects
1444 Dupont Street West, Building D, Unit 31
Toronto, Ontario, M6P 4H3

April 2007 Exhibits and Artist Talks

April 2-6
RCVA: Graphic Design Group BFA Thesis Exhibition
East Hall Rotunda: Zachary Hemsteger – BFA Ceramics
East Hall South Gallery: Daniel Nunez – BFA Sculpture
Sangren Gallery II: Sara Goodrich – BFA Painting

April 9-13
RCVA: Graphic Design Group BFA Thesis Exhibition
East Hall Rotunda: Katie Cooper – BFA Painting
East Hall South Gallery: Rebecca O’Gorman – BFA Painting
Sangren Gallery II: Kellen Buskirk – Art History Curatorial

April 12
Visiting Artist Lecture Series
Annie Varnot (participating artist in the NEW NY Drawing Exhibition)
5:30 pm
RCVA Lecture Hall, 2nd Fl.

April 12 – May 12
New New York Drawing
Nina Lola Bachhuber, Sean Bluechel, Adam Helms, Frank Magnotta, Yuri Masnyj, Judy Glantzman, Wardell Milan, Dasha Shishkin, Annie Varnot, Toby Kress

April 12 – June, 2007
RCVA: Dick Keaveny – Modern Sins

April 16-20
RCVA: Andrew McNair MFA Thesis Exhibition
RCVA: Patrick Trimbath MFA Thesis Exhibition
East Hall Rotunda: Ceramics BFA Group Show
East Hall South Gallery: Ceramics BFA Group Showg
Sangren Gallery II: Kara Dembowski – non-degree show

April 19
Gallery Talk with Dick Keaveny
5:30 pm
RCVA Netzorg/Kerr Gallery

April 23-27
RCVA: David Ninham MFA Thesis Exhibition
RCVA: Mindi K. Bagnall MFA Thesis Exhibition

Detroit. Demolition. Disneyland. a project

In the “D”, “D” doesn’t really stand for “Detroit”, but “Demolition.” Take a look around and you’ll notice a great number of buildings marked on the front with a circled “D” in faint chalk. Off to the side, many of these same buildings will also have a noticeable dot, courtesy of our own native son, Tyree Guyton. These dotted buildings have stood for so long that they have become, arguably, the most memorable landmarks of our fair city.


In addition to Tyree Guyton, Detroit has had more than its fair share of artists who have taken notice of this situation and done something about it. Recently, however, we have taken up a particular project that has actually netted results – faster than anyone, especially us, could have anticipated.

The artistic move is simple, cover the front in Tiggeriffic Orange – a color from the Mickey Mouse series, easily purchased from Home Depot. Every board, every door, every window, is caked in Tiggeriffic Orange. We paint the facades of abandoned houses whose most striking feature are their derelict appearance.

A simple drive would show you some of our most visible targets.

Just off I-75, around the Caniff/ Holbrook exit, on the west side, towers a three story house, saturated so deeply in orange that it reflects color onto the highway with the morning sun. Also, on the east side of the highway by the McNichols exit, is another house screaming orange. In that same area, where the Davison Highway and John C Lodge M-10 Highway intersect, sit a series of two houses painted orange, most visible from the Lodge side. In our only location not visible from the highway, on the Warren detour between 94 and 96 on Hancock Street, sat a house so perfectly set in its color that it garnered approval from the Detroit Police Department.

Two of four locations have already been demolished. Of the four, the building on Dequindre, by the Caniff/ Holbrook exit, remains, as does the site that intersects the Lodge and Davison. There was no “D” on any of the façades, only burnt boards, broken glass, and peeling paint. Rallying around these elements of decay, we seek to accentuate something that has wrongfully become part of the everyday landscape.

So the destruction of two of these four houses raises a number of interesting points. From one perspective, our actions have created a direct cause and effect relationship with the city. As in, if we paint a house orange, the city will demolish it. In this relationship, where do the city’s motivations lie? Do they want to stop drawing attention to these houses? Are the workers simply confused and think this is the city’s new mark for demolition? Or is this a genuine response to beautify the city?

From another perspective, we have coincidently chosen buildings that were set to be demolished within the month. However, with so many circled “D”s on buildings, it seems near impossible that chance would strike twice.


In any case, what will be the social ramifications of these actions? Each of these houses serves within the greater visual and social landscape of the city. If the city doesn’t rebuild, will it be better to have nothing there rather than an abandoned house? In addition, each of these houses served as a shelter for the homeless at some point in time. Now there are, at least, two less houses for them. Why didn’t the city simply choose to renovate? Everything affects not only our experience now, but also that of the next generation.

So before they are all gone, look for these houses. Look at ALL the houses in Detroit. If you stumble upon one of these houses colored with Tiggeriffic Orange, stop and really look. In addition to being highlights within a context of depression, every detail is accentuated through the unification of color. Broken windows become jagged lines. Peeling paint becomes texture. These are artworks in themselves.


See also, The Heidelberg Project

The Heidelberg Project began as an outdoor art environment in the heart of Detroit, but it has grown into much more. Today the project is recognized around the world as a demonstration of the power of creativity to transform all those whose lives it touches. The Heidelberg Project offers a forum for ideas, a seed of hope, and a bright vision for the future.

Sydney Underground Film Festival

** Students welcome to submit

Deadline: June
Categories: Features; shorts; students
Requirements: DVD only (Pal or NTSC / any region code)
Fees: See Festival site for details
Administrative address: Sydney Underground Film Festival, PO Box 202, Summer Hill, NSW 2130, Australia
Director: Katherine Berger
Director: Stefan Popescu

2007 Windsor Biennial


Image Credit: Christopher Dean, Your Crushing Defeat 2006, lenticular giclée print, 81.3 x 101.6 cm, Photograph courtesy of the artist.

2007 Windsor Biennial
Opening reception: Friday March 23 7:00 P.M.
continues to July 15, 2007

The Art Gallery of Windsor pumps up the volume with a cross-over hit: an exhibition of 22 artists from the Windsor/ Detroit area. In the place best known for fast cars and dance music, we considered over 140 artists from both sides of the Detroit River who wanted in. The question remains: is this an international or a regional show?

With globalization, contemporary art has become more international. Increasingly, artists from diverse cultures and geographies are participating in the universal language of visual _expression_, often using new media to create their work. At the same time, artists are moving around more than ever. Many have been born in one country, and educated in another; others live in Canada and work state side.

With so many artists working within an expanding international context, it has become difficult to define regional tendencies in art. In this climate of permeable identities, the 2007 Windsor Biennial is an attempt to reveal what is happening in visual art in this place at this time. The curatorial committee — Jessica Bradley, Toronto, Aaron Timlin, Detroit, and Theo Sims, Winnipeg — selected the following artists to participate in the exhibition:

Alana Bartol, Windsor; Douglas Bedard, Windsor; Matthew Blake, Detroit; Sara Blakeman, Detroit; Steven Matthew Brown, Detroit; Mira L. Burack, Bloomfield Hills; Jack Byng, Windsor; Christopher Dean Ferndale, Angela Desjardins, Windsor; Janet Hamrick, Ferndale, Chido Johnson, Detroit, AndrewandAndrea (Andrew Lochhead and Andrea Slavik), Windsor; Cyndra MacDowall, Windsor; Melanie Manos, Ann Arbor; Dennis Michael Jones, Ann Arbor; Toby Millman, Ann Arbor; Zeke Moores, Windsor; Troy Ouellette, Windsor; Margaret Parker, Ann Arbor, Nancy Patek, Gross Pointe Woods; Mike Richison, Oak Park, and Mark Schwing, Detroit.

For more information, please contact:

Gilles Hébert, Director:
James Patten, Curator, Contemporary Art:

Art Gallery of Windsor
401 Riverside Drive West
Windsor, Ontario
(519) 977-0013


3/19 – Metropolis, 1927


Plot Synopsis: It is the future, and humans are divided into two groups: the thinkers, who make plans (but don’t know how anything works), and the workers, who achieve goals (but don’t have the vision). Completely separate, neither group is complete, but together they make a whole. One man from the “thinkers” dares visit the underground where the workers toil, and is astonished by what he sees…

Metropolis is a silent science fiction film created by the famed Austrian director Fritz Lang. Produced in Germany in the Babelsberg Studios during the brief years of the Weimar Republic and released in 1927, it was the most expensive silent film of the time, costing approximately 7 million Reichsmark (equivalent to around $200 million in 2005) to make.[1] The screenplay was written in 1924 by Lang and his wife, Thea von Harbou, and novelized by von Harbou in 1926. It is set in a futuristic urban dystopia, and, like its contemporary The Battleship Potemkin, addresses the then-current political themes of capitalism v. communism.

Note: There are multiple versions of Metropolis. The original German version remained unseen for many decades. Of this version, a quarter of the footage is believed to be permanently lost. The U.S. version, shortened and re-written by Channing Pollock, is the most commonly known and discussed.

The film is set in the year 2026, in the extraordinary Gothic skyscrapers of a corporate city-state, the Metropolis of the title. Society has been divided into two rigid groups: one of planners or thinkers, who live high above the earth in luxury, and another of workers who live underground toiling to sustain the lives of the privileged. The city is run by Johhan ‘Joh’ Fredersen (Alfred Abel).

Tonight we watched Metropolis – any comments for this film? Any comments of the film in relation to the readings?

Next up Blade Runner on 3/28

Proposals for Student Gallery Fall 2007

DeVries Student Art Galleries

We are now accepting applications for student exhibitions for the fall semester 2007. GRADUATING AND NON-DEGREE EXHIBITIONS

The deadline for proposal submissions is:
April 3, 2007

Proposal forms for student exhibitions at the Richmond Center for the Visual Arts can be obtained at the yellow bulletin board in the hallway next to faculty office #1430.

BFA candidates must submit a Verification Form in addition to a Graduation Exhibition Proposal form signed by their committee chair. Students who are submitting a Non-Degree Proposal need a faculty sponsor to sign their forms. When the forms are complete, place them in Mindi Bagnall’s mailbox in the art office at the Richmond Center.

If you have any questions regarding the exhibition proposal process, please contact Mindi Bagnall:

3/22 Artist Talks


Image Credit: Michael Souter
Portrait. Mixed media on paper, 60”x40”

On Thursday, March 22, WMU Alumni artists Michael Souter, Tom Lollar, Mary King, and Mary Hatch will meet together to speak about their art, and lives after graduating from WMU. The symposia will be held at the RCVA second floor lecture hall, beginning at 5:30 pm. This event, as with all programs scheduled at the Richmond Center for Visual Arts, is free and open to the public. . It is a great pleasure to invite these amazing artists home to open the Richmond Center for Visual Arts.

The inaugural season at the RCVA will feature three exhibitions that highlight the capabilities of this sophisticated cultural center:

March 9 through April 7 — Distinguished Alumni from WMU’s School of Art (Albertine Monroe-Brown Gallery). Organized by the RCVA Director of Exhibitions, Don Desmett, this will be the first in a series of programs focusing on outstanding alumni. Two of the artists, Michael Souter (’76) and Tom Lollar (’73), are enjoying successful careers in New York. Souter works as a cutting edge designer and Lollar as an artist, teacher, and director of the Lincoln Center/List Collection Print Program. Mary King (’70) lives in Chicago where she paints, prints, and produces wonderfully engaging works of art. Mary Hatch (’70) remains committed to the Kalamazoo community while exhibiting her paintings and prints throughout the United States. She has helped keep the local art scene vibrant with her artwork and support of other artists in the community. It is a great pleasure to invite these amazing artists home to open the Richmond Center for Visual Arts.

Also in the Galleries:

March 9 through March 24 — Annual School of Art Student Exhibition (DeVries Student Gallery). Wardell Milan, a recent graduate of the Yale Art School, is the juror for the exhibition. Mr. Milan will also give a public lecture on his work as well as the process of jurying a student exhibition. Mr. Milan’s talk will be at 5:30 p.m. on February 22 in Sangren Hall, Room 2302.

March 9 to April 7 — Contemporary Prints from the University Art Collection (Netzorg/Kerr Gallery). This exhibition has been organized by School of Art Printmaking faculty member Nichole Maury and highlights eighteen major works from the collection, as well as recent acquisitions.

Sarah Hobbs


Image Credit: Sarah Hobbs, Untitled – C-Print 2002

In the ongoing series Small Problems in Living, Sarah Hobbs explores the psychological terrain of phobias and neuroses. Set in fabricated domestic spaces that are constructed in the artist’s studio, the photographs are conceptual exaggerations of various pathological thought processes. Collectively, they function as metaphors for issues that plague the contemporary human psyche such as perfectionism, obsessive compulsiveness, social phobia and paranoia.

Seeking to visualize discomforting aspects of human psychology that viewers can both identify with and find humor in, the artist concerns herself with tendencies toward various pathologies rather than their more severe clinical manifestations. The conceptual nature of Hobbs’ series is reflected in her image-making process, where she makes use of everyday objects such as paper, paint swatches and candy bar wrappers to create a constructed environment that juxtaposes the physical reality of a recognizable domestic setting with elements of fantastical exaggeration.

The end result are near life scale prints (48″ x 60″) whose sheer magnitude prompt the viewer to assume the subject role by placing them in the space both physically and psychologically. Visible strings and exposed tape foreground the materiality of the construction and serve as visual metaphors for the way in which phobias and neuroses construct the mental landscape of the human psyche.

Sarah Hobbs was born in Lynchburg, Virginia, in 1970, and received a BFA in Art History and an MFA in Photography from the University of Georgia, Athens. Hobbs currently lives and works in Atlanta.

Blog Merged

Welcome to the merged blog.

At any point on this blog you would like to isolate the posts for your specific class simply go to the categories on the top left side and click on your class – you can separate any category in this way.

RCVA Galleries Open


On March 9th 2007 Western Michigan University will officially open the new James W. and Lois I. Richmond Center for Visual Arts (RCVA) to the public. Named for philanthropists James and Lois Richmond, this exciting new venue will be a major cultural asset for WMU, southwest Michigan, and the Midwest region.

The RCVA is composed of The Albertine Monroe-Brown Gallery for rotating exhibitions, the Netzorg/Kerr Gallery for special exhibits and showings from the University Art Collection, and the Eleanor R. and Robert A. DeVries Student Art Gallery for student and alumni exhibitions. The RCVA will introduce a calendar of year-round events, inviting thousands of participants to learn, enjoy, and be educated about regional and national topics in modern and contemporary art. The Richmond Center will have a unique ability to challenge and educate the public about innovations in contemporary society through a broad range of exhibitions, lecture series, outdoor sculptures, videos, and performance art.

March 2007

March 12-16
RCVA: Annual Student Art Competition
East Hall Rotunda: Jackie Juhasz – BFA Metals
East Hall South Gallery: Jennifer Moss – BFA Metals
Sangren Gallery II: Nicole Miller – MFA non-degree show

March 19-23
RCVA: Annual Student Art Competition
East Hall Rotunda: Christina Chobot – BFA Painting
East Hall South Gallery: Jana Sluizas – BFA Painting
Sangren Gallery II: MFA Group Show