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    James Volkert

    Re: Imagining American Art
    July 22 - October 1, 2017
    Art League Gallery

    Reception: September 1, 2017
    5 - 9 p.m.

    July 8 - Oct. 1, 2017
    Warner Gallery

    Reception: Friday, Sept. 1, 2017
    5:00 - 9:00 p.m.

    A diverse look into contemporary artwork made by artists living in the Midwest.

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    The 2017 Artlights Gala will be held on Thursday, October 26th!

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The Art of Valor

August 26 – November 12, 2017 
Jerome J. Crowley Community Gallery

The Art of Valor is a collaborative exhibition between local veterans, the South Bend Vet Center, and artists from the University of Notre Dame and Indiana University South Bend. Veterans from the South Bend community volunteered to share their military experiences with the artists, who each created a piece of art reflecting what the artist interpreted from the veteran. This tremendous exercise in trust is brilliantly displayed along the walls in the gallery to allow visitors to witness a glimpse into the veteran’s experience.

Included in the exhibit will be the masterful and moving portraits produced with a thermal-imaging camera. Professor Richard Gray uses his unique art to capture the viewer’s imagination and creativity by showing a different perception of the veteran.

The Art of Valor provides a unique first-hand perspective into many aspects of the lives of local veterans across generations. We hope that visitors will utilize this experience to reach out and learn how they can assist in the veteran community.

 

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The Studios at LOGAN

Finding a Voice, Collaborating Together

May 27 – August 6, 2017 | Community Gallery
Reception: August 4, 2017 | 5:00 – 9:00 p.m.

Photo courtesy
The Studios at LOGAN

The arts often reward the struggle with our physical limitations with an opportunity for expression and connection with others that goes beyond what we can say in more concrete ways. In this exhibit featuring artists from The Studios at LOGAN, we see another facet of this process by celebrating the work created by people with developmental, physical, and/or intellectual disabilities.  

The exhibit shares some of the history and evolution of the arts at LOGAN. Individual pieces include the work of the late Martha McMillian, whose spirited depictions of South Bend landmarks can be found on display by friends of LOGAN around our town. Her work shows how much more vibrant her life became when she left a segregated institutional setting to participate more fully as a connected member of the community. Other contributions by current Studios participants include work by a young woman whose muscle function gives her the use of only one hand, but whose brushstroke cannot be matched, a young man who had limited opportunity to work with the arts but with opportunity and instruction quickly began creating freehand drawings, and an exuberant young woman who has found a focus for her tremendous energy and personality through paint, clay, and other media. There is also abstract work showing the beauty that individuals who have significant intellectual disabilities can create when given materials to use and the chance to freely express themselves.

Photo courtesy
The Studios at LOGAN

The exhibit also features collaborative projects, further exploring what we can create when we connect and work together. There are large group efforts such as a “tie-dyed wave” of brilliantly colored splashes of paint diffused on filter paper and painted walking sticks that show how diverse individual contributions can come together to form a cohesive whole.  A bison painted by a class as part of Indiana’s 2016 Bison-Tennial project represents the St. Joseph County community. This design, implemented by artists who are often overlooked, uses visual icons to be accessible to everyone and to draw viewers into seeing and discussing what our community has to offer. Some works are the efforts of small groups—one person may paint the background, and another may add pictures and words. One person may sand, another add a base coat, and a third may add details. Textures created by one person may be shared to be incorporated into someone else’s work. Looking for what everyone has to offer, we find more than any of us could do on our own.    

For these artists, disability is part of their story, but should not limit or define their work. Just as rhythm and rhyme give structure to poetry, or painters work in 2 dimensions, or sculptors factor realities of gravity into their design, we all seek to transcend limits.  Seeing the work artists create at LOGAN challenges all of us to believe in everyone’s potential, to appreciate diverse ways to communicate, and to find creative ways to work through challenges.

About LOGAN

  • LOGAN is a not-for-profit organization that offers resources and opportunities to people with intellectual and developmental disabilities so they, and their families, may achieve their desired quality of life. Since 1950, LOGAN has reached out to friends and families with help and hope through advocacy, resources and services for individuals with intellectual and developmental disabilities. The organization invites people in our community to join in this mission by opening their doors and their hearts to Discover the Potential in all of us. For more information, visit www.LoganCenter.org.
  • The Studios at LOGAN is a weekday adult day services program where age- and skill-level appropriate activities are provided to engage men and women creatively, socially and mentally. The goal at Studios is to support individuals in making a valued contribution. This may occur through building relationships, expressing creativity, earning a commission on selling their creations, taking pride in learning and accomplishment, and participation in their community.  
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The Best American Comics
Selections: 2014 – 2017
Curated by Bill Kartalopoulos
Series Editor,The Best American Comics

October 21 – December 31, 2017
Art League Gallery

Reception: Friday, November 3 | 5:00 – 9:00 p.m.

Each year, The Best American Comics presents readers with a selection of outstanding comics from the previous year. The annual series, published by Houghton Mifflin Harcourt, offers a snapshot of the contemporary comics scene, and features a dizzying array of visual, narrative, and thematic approaches. Works selected for inclusion each year include comics originally published as graphic novels, as ’zines, online, and more. This exhibit will showcase original artwork for comics selected to appear in the series’ past several volumes, including work by Jaime Hernandez, Aidan Koch, Deb Sokolow, Chris Ware and more. Curated by Bill Kartalopoulos (Series Editor, The Best American Comics). 

IMAGE: Marc Bell, cover of the 2016 edition of The Best American Comics

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Festival of Banners
Beautiful Bugs!

Festival of Banners

 

Festival of Banners unveiling and press conference
August 14, 2017, at 2:00 p.m.
under The State Theater marquee in downtown South Bend

Now in its eleventh year, the Festival of Banners promotes art in the community by bringing art to the public, and providing an excellent venue for artists of all ages and skill sets.

This year’s theme, Beautiful Bugs!, takes a closer look at the smallest and hardest working members of our community; our Bugs! On the ground, in the air, in the dirt, these hard working creatures play an important role right here where we live. Head outside and have a look, put your observations to work, and design a banner that highlights our beautiful BUGS. We can’t wait to see what you create!All entries must be your own design. Works will be selected based upon creativity and how well the theme, Honest to Beautiful BUGS!, is explored and expressed.

Three age categories–youth, teen, and adult–allow fun for all. Designs are submitted small scale on paper. Jurors select designs based on creative interpretation of the theme, and use of color, pattern and line; the artists are then invited to paint their design on a 2 x 4 ft banner in the SBMA painting studios during the months of June and July.

Jurors’ Choice Awards are designated for three categories: youth, teen and adult:

1st Place: $100 cash, 1 year SBMA membership, 1 free art class
2nd Place: $50 gift card,1 year SBMA membership, 1 free art class
3rd Place: $25 gift card, 1 year SBMA membership, 1 free art class

An awards ceremony and unveiling of the banners takes place  in August of 2017 (TBA), then the banners fly high for two months in downtown South Bend for the whole community to enjoy!

If you have any questions, please contact Curator of Education, Christyn Overstake at overstakec@southbendart.org or 574.235.9102

This community focused project is brought to you by the South Bend Museum of Art with support from patrons Jerry Thoma and Meg Auth and Jack and Yumiko Champaigne.  

Special thanks to the City of South Bend, Downtown South Bend, Inc., and The Art League for partnering and helping to facilitate this public art project.

 

  city seal sbma   DTSB_No Text processblue-2955 _________________________________________________________________________________________

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SBMA Mobile Art Stations

We want to bring art to you! SBMA Curator of Education Christyn Overstake has designed these cool, mobile art stations to use for art activities at local events. The design is versatile, made up of four 4′ x 8′ sections that can be connected or set up separately, giving us lots of room for you to create masterpieces! (image above illustrates two 4′ x 8′ sections)

The cost to build each 4′ x 8′ section is $250.

The SBMA is entering this project in a grant competition through The Awesome Fund of South Bend . The South Bend Awesome Fund is dedicated to supporting people, ideas, businesses, and causes that will make the South Bend area even more Awesome! The Summer Quarterly Meeting will be held on Wed., Aug. 2 at The General Deli & Cafe from 6pm-8pm. The Awesome Fund will award three $1000 grants, and the meeting is open to the public. We are hoping to be one of the winners!

Look for news about our mobile art stations very soon!

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The Funnies:
Vintage Comics 1940s – 1960s

November 4 – December 31, 2017
Warner Gallery

Reception: Friday, November 3 | 5:00 – 9:00 p.m.

Original comic strips by artists Milton Caniff, Charles Schulz, Chester Gould, Mort Walker, Lee Falk, and Chic Young take center stage in this memorable exhibition of more than 90 works.  The comics will transport visitors back to an age when a variety of strips — action, drama, westerns, historical and humorous — captured a nation’s imagination in the newspapers of the day.

The exhibition features classic strips including Archie, Blondie, Beetle Bailey, Ferd’nand, Nancy, Peanuts, Mickey Mouse, Bugs Bunny, and Yogi Bear. Action packed comic strips like, Dick Tracy, Mandrake the Magician, Tarzan, Lone Ranger, The Phantom, Dr. Kildare, Brenda Star, Steve Canyon, and Terry and the Pirates, among others, will also be on view. Holdings are particularly strong in works by Caniff, who was the most decorated American cartoonist of all time, known as the “Rembrandt of cartoons,” and creator of the masterful series Terry and the Pirates (1930s through 1940s) and Steve Canyon (1940s through 1950s), among others. Both daily and Sunday strips will be featured in the exhibition which also explores the creative process, production, and medium of comics.

A companion exhibition in the SBMA’s Art League Gallery, The Best American Comics | Selections: 2014-2017, will include original works that represent a snapshot of the contemporary comics scene, featuring a dizzying array of visual, narrative, and thematic approaches. This exhibit will showcase comics selected to appear in the past several volumes of The Best American Comics annual series, published by Houghton Mifflin Harcourt, and is curated by Bill Kartalopoulos (Series Editor, The Best American Comics).

An additional exhibition, organized by Goerge Garner, will be on view at Indiana University South Bend’s Civil Rights Heritage Center: Political Cartoons of The Reformer. The Reformer was a South Bend-based African American led newspaper that was published from 1968-1971.

The SBMA thatks all of its local partners that helped to make these exhibitions possible: The Civil Rights Heritage Center, Larry Clifford, The History Museum, St. Joseph County Public Library, and the South Bend Tribune.

 

Image credits:

Credit from upper left:

Artist: Gene Hazelton (American, 1919 – 2005), Hanna-Barbera Productions, Inc., Yogi Bear: Jr. Trail Blazers (detail), 1964, ink on paper, Gift, McNaught Syndicate, Inc. Reading Public Museum, Reading, Pennsylvania.

Writer: Stan Lee (American, b. 1922), Artist: Jack Keller (American, 1922 – 2003), Kid Colt Outlaw (1949 series) #110, 5, The Outlaw and the Sheriff (detail), 1963, ink on paper, Gift, Marvel Comics Group. Reading Public Museum, Reading, Pennsylvania.

Writer: Stan Lee (American, b. 1922), Artist: Jack Keller (American, 1922 – 2003), Kid Colt Outlaw (1949 series) #110, 3, The Outlaw and the Sheriff (detail), 1963, ink on paper, Gift, Marvel Comics Group. Reading Public Museum, Reading, Pennsylvania.

Creator: Milton Arthur Paul Caniff (American, 1907 – 1988), Steve Canyon Sunday Edition (detail), 4/10/1960, ink on paper, Gift of the artist. Reading Public Museum, Reading, Pennsylvania.

Creator/Artist/Writer: Mort Walker (American, b. 1923), Beetle Bailey (detail), 12/16/1964, ink on paper, Gift, King Features Syndicate, Inc. Reading Public Museum, Reading, Pennsylvania.

Creator: Milton Arthur Paul Caniff (American, 1907 – 1988), Steve Canyon Sunday Edition Dyer Air Force Base, First Missile Division, Strategic Air Command (detail), ink on paper, Gift of the artist. Reading Public Museum, Reading, Pennsylvania.

Creator/Artist/Writer: Dalia “Dale” Messick (American, 1906 – 2005), Brenda Starr, Reporter (detail), 1/3/1956, ink on paper, Gift, Chicago Tribune – New York News Syndicate, Inc. Reading Public Museum, Reading, Pennsylvania.

Artists: Gene Hazelton (American, 1919 – 2005) and Roger Armstrong (American, 1917 – 2007), Hanna-Barbera Productions, Inc., The Flintstones (detail), 11/4/1964, ink on paper, Gift, McNaught Syndicate Inc. Reading Public Museum, Reading, Pennsylvania.

Creator: John Hix (American, 1907 – 1944), Strange As It Seems (detail), 3/7/1965, ink on paper, Gift, United Feature Syndicate, Inc. Reading Public Museum, Reading, Pennsylvania.

Homepage Image Credits:

Artists: Gene Hazelton (American, 1919 – 2005) and Roger Armstrong (American, 1917- 2007), Hanna-Barbera Productions, Inc., The Flintstones (detail), 11/4/1964, ink on paper, Gift, McNaught Syndicate Inc. Reading Public Museum, Reading, Pennsylvania.

Artist: Harold Gray (American, 1894 – 1968), Little Orphan Annie (detail), 8/10/1964, ink on paper, Gift, King Features Syndicate, Inc. Reading Public Museum, Reading, Pennsylvania.

Artist: Gene Hazelton (American, 1919 – 2005), Hanna-Barbera Productions, Inc., Yogi Bear: Jr. Trail Blazers (detail), 1964, ink on paper, Gift, McNaught Syndicate, Inc. Reading Public Museum, Reading, Pennsylvania.

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Biennial 29

biennial-29-installation-view

July 8 – October 1, 2017 | Warner Gallery
Reception: Friday, September 1 | 5:00 – 9:00 p.m.

Sponsored by The Art League

Now in its 29th incarnation, the South Bend Museum of Art’s all media Biennial 29 presents a diverse look into contemporary artwork made by artists living in the Midwest. Open to artists residing in Illinois, Indiana, Iowa, Kentucky, Michigan, Minnesota, Ohio and Wisconsin, this exhibition is an up-to-date dialogue of art happening in our own backyard. The pool of exhibiting artists is deliberately limited to allow for the showing of a greater body of work by each artist. From 247 submitting artists, twelve were selected by juror Miranda Lash, Curator of Contemporary Art at the Speed Art Museum, Louisville, Kentucky.

Biennial 29 artists are:

Juror Miranda Lash is Curator of Contemporary Art at the Speed Art Museum. At the Speed, Lash oversees the contemporary department’s exhibitions, programming, collection, and acquisitions, as well as commissions for the Elizabeth P. and Frederick K. Cressman Art Park. Prior to the Speed, Lash was the founding curator of modern and contemporary art at the New Orleans Museum of Art from 2008 to 2014. At NOMA she organized over twenty exhibitions, including the traveling retrospective exhibition Mel Chin: Rematch; Swoon: Thalassa; Camille Henrot: Cities of Ys; and Parallel Universe: Quintron and Miss Pussycat Live at City Park. Her essays have been published in the Harvard journal Res: Anthropology and Aesthetics, the anthology Baroque Tendencies in Contemporary Art, New American Painting, and Gulf Coast: A Journal of Literature and Fine Arts. Lash has been a Clark Fellow at the Clark Art Institute, a consultant for Creative Capital, a panelist for the National Endowment for the Arts, and a member of the Curator’s Council for U.S. Biennial Prospect.4. Her upcoming exhibition at the Speed, Southern Accent: Seeking the American South in Contemporary Art, an inquiry into Southern identity, is co-organized with Trevor Schoonmaker, chief curator at the Nasher Museum of Art at Duke University, and is accompanied by an extensive catalog published by Duke University Press. She is a graduate of Harvard University and Williams College.

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Sightlines

June 17, 2017 – May 19, 2019
Reception at the South Bend Museum of Art: September 1, 2017 | 5:00 – 9:00 p.m.

Begun in 2013, Sightlines is an ongoing collaborative exhibition between Century Center and the South Bend Museum of Art featuring large installations of artwork by artists from both within and outside the region. A national call for entries is announced every two years from which new artists are selected. Selection is based on the quality of the proposals, the harmony among the artworks, and how the selection committee can envision the work activating various spaces within Century Center. All artworks in Sightlines are located in or outside of Century Center, highlighting not only the artworks themselves, but also the voluminous space and distant lines of sight that are available throughout the building and grounds.

Sightlines provides a unique experience for chance art encounters for visitors to the Century Center, engaging them in a moment of artistic appreciation or contemplation — or even perhaps to challenge their preconception of “what is art?”

Current artists:

Heather Brammeier  (Peoria, IL)
heatherbrammeier.com

Ioan Florea  (Shelbyville, IL)
floreaart.com

Lea Goldman  (South Bend, IN)
leagoldman.com

Gina Herrera  (Bakersfield, CA)
ginaherrera.com

Sean Hottois  (South Bend, IN)
seanhottois.com

Sasha de Koninck  (Santa Monica, CA)
studiosdk.net

Gautam Rao  (Indianapolis, IN)
gautamrao.net

Richard Shipps  (Chicago, IL)
richardshipps.com

Past artists:
Jeff Boshart (Charleston, IL); 2013–2017
Roger Boulay (Winona, MN); 2015–2017
Maria Lux (Champaign, IL); 2013–2015
Mollie Oblinger (Ripon, WI); 2013–2015
Robert Patrick (White Bear, MN); 2015–2017
Jake Webster (Elkhart, IN); 2013–2015
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James Volkert

Re: Imagining American Art

July 22 — October 1, 2017 | Art League Gallery
Reception: September 1, 2017 | 5:00 – 9:00 p.m.
Gallery talk about his work beginning at 7:00 p.m.

Drawing upon his extensive knowledge of American Art History, as well as his long tenure as a museum professional (19 years at the Smithsonian), Volkert disassembles the history of American Painting and lays the parts out for us, activating them with machines and showing us details we may otherwise have missed.

I have drawn, painted, tinkered and built things all my life. I’m interested in structures, tangible or intellectual, and find satisfaction in understanding the components that create them. My interest in structures extends from the original usefulness or significance of an object, an idea or a place or moment in time, to exploring ways to replicate its elegance or potency in an original work of art. The objects, ideas and moments in this exhibit were explored in relation to works by American artists, primarily from the mid-18th to the mid-19th Centuries because of their inherent narrative qualities.

James W. Volkert,
Racer’s Rhythm: After Sloan,
Oil on canvas, brass, vintage pigeon bands,
24″ x 24″, 2014.

I’ll collect an object now and then, but the ones in this exhibit were given to me by friends or discovered by accident. Pigeon leg bands forwarded from a friend became the impetus to focus on the flight of John Sloan’s Pigeons (1910) in Racer’s Rhythm: After Sloan. Their placement over the birds unintentionally created a musical staff of notes suggesting the sound of their ascending flutter. The design of a huge nineteenth-century rock crusher stumbled upon in Nevada City, California, suggested repetitive sound and motion that inspired the pairing of a similar mechanism with a iconic western image in Gallop: After Remington. The idea of close examination of Thomas Eakins’ The Gross Clinic (1875) led me to order lenses and invent moveable mounts allowing visitors to select parts of the painting for closer viewing of what was once scandalous subject matter in Examination: After Eakins.

 

James W. Volkert,
Point Perspective: After Moran,
Oil on canvas, wood, sandstone, brass,
25″ x 16″ x 10″, 2015.

Excellent craftsmanship is central to my aesthetic and especially satisfying when objects, ideas, or places or moments in time come together in an experiential solution.  Point Perspective: After Moran began with having the opportunity to stand on the South Rim of the Grand Canyon in 2016 at what is now identified as Moran Point, the view captured by Thomas Moran in his 1871 painting Grand Canyon that helped establish the National Park System. I picked up a representative rock to mark the moment. After studying Moran’s technique, I recreated the painting and selected a portion of the original for framing behind a carriage device that allows the viewer to slide the stone between 111.924350 W and 111.924276 W (GPS coordinates of a 36’ stretch of that location) as if personally walking the rim, as did Moran, to pick a favorite view.
It isn’t necessary for viewers to know the backstory of the original paintings, the acquired objects or the ideas that inspire me art historical constructions: I trust them to find components that they recognize, relate to, or find new or interesting. However, like touring the back-of-house in a theater, museum or factory, I enjoy knowing the reasons why or the steps of how something is produced or made, and I hope this exhibit provides an opportunity for viewers to connect to the joy I take in my process of researching, replicating, building, and creating works of art.

—James Volkert, 2017

James W. Volkert earned his BA in Art from University of California at Davis, and his MFA in Painting from the Art Center College of Design in Pasadena. After a stint with the 1970s Los Angeles art scene, and in support of his growing family, he transferred his skills to museum work. That decision propelled him professionally through his retirement from the Smithsonian Institution in 2005, and forms the basis of his consulting business, Exhibition Associates. 

His art and design sensibilities served him well from his position of Director of Exhibitions at the legendary Junior Arts Center in Barnsdall Art Park in Hollywood, California, to the Smithsonian where he created groundbreaking contemporary shows as Director of Exhibitions at the Smithsonian American Art Museum (SAAM) in Washington, D.C.  before serving in the same capacity at the National Museum of the American Indian(NMAI) in Washington, DC. As Associate Director of NMAI, he collaborated in the vision for and creation of the Cultural Resources Center in Suitland, MD: the nation’s first facility designed to reconnect Native Americans with tribal objects significant to their history and cultural practice. Volkert also supervised the NMAI’s  revolutionary museum building construction project, conceived the inaugural exhibitions for the museum’s opening, and led the Transition Team in charge of the completion of the museum on the National Mall in September 2004.

When asked about highlights from a long career in art, design, and museums, Volkert agrees that he has enjoyed fantastic varied experiences, from serving as secretary in the UC Davis Art Department (“I always knew where the parties were.”), to creating a children’s sculpture workshop with Christo (“We used ice to meet his contract requirements that no residual products would remain.”) , to escorting Man Ray’s widow down a Paris avenue while researching the artist for an exhibition (“She had me carry her purse.”), to opening NMAI in DC (“Seeing over 30,000 Native People process in full regalia at the dedication on the Mall confirmed the museum as a locus for Native communities.”), and to working with the Jordan  Museum in Amman, Jordan (“They have the earliest example of one of the few objects that hasn’t changed design in 6,000 years.”). James Volkert lives in Conway, Arkansas, with his wife Barbara Satterfield. Together, they have four children and five grandchildren spread from the east to west coasts and in between. 

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Robert McCann

Staged Revolt

April 15 — July 2, 2017 | Art League Gallery
Reception: May 5, 2017 | 5:00 – 9:00 p.m.
Gallery talk about his work beginning at 7:00 p.m.

Robert McCann, Whitefish Point Paradise, oil on panel, 72x48in, 2015

In my current series, popular wrestlers act as stand-ins for our transitory and ritual roles in society. I regard these densely populated works as singular visual contraptions, with tactile and optical elements having as much to do with painting’s abstract language as with representation and fiction. An analogy of being masked and exposed extends beyond the picture to the painting’s form. The process of constructing the large, time-consuming imaginative story paintings also lead to/ are complemented by smaller improvisational paintings and drawings that more directly reference footage of historical matches or play on other larger-than-life figures.

Robert McCann, Mystery Spot, oil on linen, 96x50in, 2017

Two overlapping interests define my current work: the intersection of role-playing, fiction, fantasy, and history; and the relationships between painting, time, and the body. History here includes interaction among characters portrayed in the ring over generations and in film by the likes of El Santo and Roddy Piper, as well as history accumulated in a process of layered, responsive making. Staging wrestlers in out-of-context relationships allows me to explore ideas like identity or stereotype while visually handling less nameable pursuits like the relation of bodies in space at a singular instance. The subject of pro wrestling presents a provocative tension between the real and unreal. Wrestling’s performers often portray characters based on their actual personalities, self-image, or heritage; and what is acknowledged to be artificial is acted out with real physical and psychological consequences, under a certain pall of inevitability. The wrestler’s position on the precarious edge of representation was articulated a half century ago by philosopher Roland Barthes in his essay The World of Wrestling. Barthes suggested that in the performance of popular wrestling gestures were “exploited to the limit of their meaning”. Wrestling’s story, for Barthes, was always portrayal of an insistently unfair societal system, and the occasional release into a mythic enactment of justice. In contemporary media culture that construct can be seen underlying how reality television is produced and edited and how news and politics are framed.

I’m interested in how ritual presentation of what the public wants and gets can be subverted in the visual terms of a painting, where collection of anecdotal information and its tactile production returns it to humane impurity. The reimagining process establishes a fundamental conflict in the painting’s status as a constructed, simultaneous moment made more implausible as its field of focus widens and as a meditation on the physicality of bodies that becomes more enduring at length.

I think of painting as a theatrical, time-based, and a sculptural media. I like art that rambles a bit.

–Robert McCann, 2017

Robert A. McCann is a Midwest-based artist and educator. Born and raised in the Ozarks of southwest Missouri, he received an MFA in Painting from Indiana University in 2001 and subsequently pursued creative practice in Germany as a Fulbright scholar. Since that time his paintings have frequently dealt with the potential for metaphors in our byzantine mass media culture, and with the overwriting of epic and intimate events in the particular artifice of painting. McCann’s recent venues of solo exhibition include the University of Arkansas Galleries in Little Rock, the Grand Rapids Art Museum, and the Ormond Memorial Art Museum in Florida. He currently shows his work with Amos Eno Gallery in Brooklyn, NY. McCann is an Associate Professor in the Department of Art, Art History & Design at Michigan State University, where he leads the Foundations Area and teaches in painting.

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