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    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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Biennial 29

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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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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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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Out of the Ashes:

Notre Dame Ceramic Art Symposium

April 1 — June 18, 2017 | Warner Gallery

Photo credit: Brandon Schwartz

For one week in October 2016 fourteen ceramic artists worked together in the Notre Dame ceramic studios.  In addition to making their own signature ceramic artworks, the artists interacted and collaborated with each other.

Sometimes collaboration occurs in the making of objects or through the sharing of glazes.  In the case of wood firing, there is no escaping collaboration.  Philosophically, the artists collaborate with the kiln, wood, and the ancient process.  Practically, they collaborate by putting their artworks within another artist’s kiln and by allowing others to fire their work.  Whether the artist wishes to acknowledge it or not, work realized through wood firing is never the product of one’s sole sensibility.

Photo credit: Brandon Schwartz

These artworks were fired within the Notre Dame anagama kiln, which is located at the Michigan studio of ND Professor of Art William Kremer.  In most situations, the preparation for a wood firing is more time consuming than the actual firing. This can require several days or weeks to cut, split, and prepare the wood for its use as fuel. The firing process lends itself to an amazing happening of sorts.  Aside from the tangible goals––accumulation of melting ash and temperatures reaching nearly 2400 degrees Fahrenheit––there is typically a rich range of creative interaction between the artists from firing strategies to aesthetic/conceptual discourse. The end result is a smattering of earthen tones and a ubiquitous patina over the work.

 Selected works created during the symposium and fired within the Notre Dame anagama kiln are the focus of this exhibition.

The fourteen participating artists are Bede Clarke; Keith Ekstam; Dale Huffman; Howard Koerth; Bill Kremer; Dick Lehman; Tony Marsh; Scott Meyer; Tom Meunick; Dan Molyneux; Lindsay Oesteritter; Ann-Charlotte Ohlsson; Dennis Sipiorski; and Zach Tate. The artists generously lent their artworks to this exhibition and all artworks are stoneware, except where noted on the object label.

 The symposium was made possible in part by support from the Henkels Lecture Fund, Institute for Scholarship in the Liberal Arts, College of Arts and Letters, University of Notre Dame. The exhibition at the South Bend Museum of Art is an expanded installation of the work that was recently on view at the Snite Museum of Art, including additional works, documentation of the firing process, and educational materials.

 

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2016 Undergraduate Residency Exhibition

Chloe M Dukes, Untitled, Illustrator, mixed media, 2017

April 1 – May 7, 2017 | Jerome J. Crowley Community Gallery
Reception: Friday, April 7, 2017 | 5:00 – 9:00 p.m.

In the summer of 2016, the SBMA hosted a program that gave artists the opportunity to experience teacher training, arts administration and community art projects.  This year, the program focused on two fellows who worked with our curatorial and education staff.  As part of this program, the artists each contributed 8-10 volunteer hours per week (over a twelve week period) and gained valuable experience through their work with the museum’s summer programming. This exhibition features the work of Chloe M Dukes and Guerwin Weekes.  The work in this exhibition is representative of both the fellowship and work created up to the exhibit.

Guerwin Weekes,Killjoy and Pretend wife, Archies Oil Paper, Watercolors, Pastels, 2016

The Summer Undergraduate Residency Program offers a unique opportunity of self-direction for fine arts majors enrolled in area Indiana university or college art programs. The program offers studio space, as well as a series of critiques, workshops, and volunteer opportunities to local college students. College residents work with members of our curatorial and educational staff. Additionally, a residency mentor provides focused conversation in a challenging environment. Residencies last during the summer months of June, July, and August. At the completion of the residency, participating students and residency mentor are awarded an exhibition in our Community Gallery the following February.

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2016 Undergraduate Resident: Chloe M. Dukes


Chloe M Dukes

B.F.A. Candidate, Indiana University
South Bend (May 2017)

Chloe M Dukes, Clowns, clowns, clowns!! Illustrator. 2016

Artist Statement

Although most people find it “boring” or “difficult”, I love politics, and anything that deals with the topic of socioeconomics, because it effects and relates to everyone despite race, gender, religion, or sexual orientation. I’m often inspired by the blatant but also underlying truths and realties of politics, the things that are seen or known but go unsaid. I enjoy the use of vibrant colors, something that stops people in their tracks and captures attention.

This year I decided to incorporate glitter and sequins to give the view something “pretty” to look at although the piece may have an ugly or dark subject matter or may conflict with personal values or beliefs. I also enjoy the use of sequins and glitter when working on pieces that feature celebrities like Kim Kardashian who is the inspiration for Untitled (Liberty) or Donald Trump shown in my Clowns, Clowns, Clowns. To me the over the top decorations signify the glitz and glam that typically distracts the American population from their everyday, dull lives.

Chloe M Dukes, Untitled, Illustrator, mixed media 2017

The pieces I’ve worked on are large, because the topics I decided to showcase I feel shouldn’t be ignored. I want people to not only think, but also feel something when they see my work whether it’s anger, humor, enjoyment or even confusion. Art is about evoking emotion, feeling something.

I am currently working towards a B.F.A. with a concentration in Graphic Design at Indiana University of South Bend. I want to thank my family, friends, friends of my family and teachers who pushed me to get to this point in my life; you’re the real inspiration. 

College Residency Statement

The South Bend Museum of Art Residency Program is an amazing opportunity for any college student to experience. It is time set aside in the to work with some truly talented local, professional artists to throw ideas around, receive feedback on work and develop ideas. As a resident, you have access to materials, studio space and pretty much all the museum has to offer. We had the opportunity to work the amazing museum faculty, to put together the type of show we wanted. Before this program I never really felt like an artist, I had never created anything I really loved, the South Bend Museum of Art College Residency Program changed that for me.

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2016 Undergraduate Resident: Guerwin Weekes

Guerwin Weekes, The Birth of Aubrey, Archies Oil Paper, Watercolors, Pastels, 2016

Guerwin Weekes
B.F.A. Candidate, Indiana University
South Bend (May 2017)

Artist Statement

My name is Guerwin Weekes and I am one of the participants in last summer’s 2016 College Residency Program. This is my last year at IU South Bend in the drawing and painting program where I will be receiving my BFA and a minor in printmaking and sculpture. The program was a valuable experience in that it allowed me to progress further in my knowledge of waking with watercolors and also combing other medias in the process. I can honestly say that because I was fortunate in having gone through this program I have grown as an artist and as a person with the help and time spent with Christyn Overstake.

Guerwin Weekes, Killjoy and Pretend wife, Archies Oil Paper, Watercolors, Pastels, 2016

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Meet Me on the Island-Again!

MMITI-sponsors

present  Meet Me on the Island

Friday, July 7 | 5:30 –10:00 p.m. | Island Park | Century Center
Featuring art on the island and music by SouthSide Denny & The Snyders.
Admission $5 (kids under 12 get in free)
SBMA and WVPE members will receive tickets in the mail.

FIREWORKS at Dusk!

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Event Sponsor:

mmoti.july.2015.152Visit South Bend

     

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