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Jewelry, Wine & Chocolate:

An evening of Indulgence with the Ladies of SBMA’s Permanent Collection



Saturday, February 27  |  6:00 – 8:00 p.m.
Carmichael Gallery




Presented by SBMA, Ali Oesch Jewelry and Davis Chocolate .

Enjoy wine and locally produced Davis Chocolate while you create a beautiful piece of jewelry, under the guidance of local jewelry designer Ali Oesch!

As an added treat, he staff of the SBMA will also tell you the stories behind currently featured artwork of our Permanent Collection.  This month, we will be introducing you to the ladies of our collection.

Your ticket price includes complimentary wine, chocolate, and jewelry supplies for one project.  Proceeds benefit the South Bend Museum of Art.

Participation  is limited!  To reserve your space click HERE:

To purchase a ticket with a credit card over the phone, please call 574.235.9102

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Krista Hoefle and Joe Meiser: Screen Between

March 19, 2016 — June 12, 2016 | Warner Gallery
Reception: May 6, 2016 | 5:00 – 9:00 p.m.
Krista Hoefle
and Joe Meiser will participate in a roundtable discussion with artist Diana Guerrero-Maciá and SBMA Curator, Mark Rospenda | 6:30 p.m.


The South Bend Museum of Art is proud to present, Krista Hoefle and Joe Meiser: Screen Between, the second in the SBMA’s exhibition Conversations series.

What can we learn about our world by traversing a virtual one?

A screen often separates real from virtual worlds. Whether it is a computer screen, television screen, or VR headgear, our bodies exist on one side of it while the other side is free of physical constraints and allows for limitless possibilities. The screen between is the technology that acts as a porthole for viewing and exploring different realities and ideas.

The work of artists Krista Hoefle and Joe Meiser engages us in this between space, utilizing digital methods to either draw us through the screen or extract objects and sculptures from it. With virtual landscapes, 3-D modeling and printing, gaming structures, and interactive components, they ask us to reflect on our own humanity by looking through the porthole that today’s technology opens for us.

Krista Hoefle’s creative practice reveals underlying and unexpected aspects of videogame structure not apparent during game play. She is Associate Professor of Art at St. Mary’s College, Notre Dame, IN; has an MFA in Sculpture from the School of Visual Arts, Pennsylvania State University (1998); and a BFA in Furniture Design from the Savannah College of Art and Design, Savannah, GA (1996). She exhibits her work nationally, and is represented by Aron Packer Projects, Chicago, IL. Recent solo exhibitions and screenings include Choose your own Adventure, artLab at the Krasl Art Center, St. Joseph, MI; Parallel Tales, Zuckerman Museum of Art at Kennesaw State University, Kennesaw, GA; and RESPAWN: The Scourge at Rush Rhees, Sage Art Center & Rush Rhees Library Galleries, University of Rochester, Rochester, NY. In 2014 her work was included in a 4-Disc DVD Collection of short form radical experimental and distributed by Facets Multimedia.


Joe Meiser utilizes traditional and digital sculptural media to examine conflicting narratives about mortality that come from science, philosophy, and religion, as well as great thinkers’ suggestions on how to lead a good life. Hi is Assistant Professor of Art and Art History at Bucknell University, Lewisburg, PA; has an MFA in Sculpture from Ohio University, Athens, OH (2006); and a BFA in Sculpture from Northern Kentucky University, Highland Heights, KY (2001). He exhibits nationally and internationally. Recent solo exhibitions of his work include Historias de Creación, Destrucción y Deliberación, Museo de las Artes, Guadalajara, Mexico, in conjunction with the Universidad de Guadalajara; Final Causes, K Space Contemporary, Corpus Christi, TX; and Transcribing-Transposing, Eastern Illinois University, Charleston, IL.


The Conversations series of exhibitions pairs a regional established artist with an established artist from outside of the South Bend community. It sparks discussion between the work of the two artists – examining parallels and dissonances, and provides an opportunity to exhibit some of the strongest artists working today, in the region and nation. Taking full advantage of the expansive Warner Gallery, Conversations also encourages artists to show larger, more ambitious work than might be possible in smaller gallery spaces.

(left) Krista Hoefle, Hidden Location I, 2016, digital print on wood, 20 x 20 inches
(right) Joe Meiser, Aristotle (Vanitas Series), 2014, digital print, created with Rhino 3-D and rendered with Keyshot, 30 x 40 inches


This exhibition is partially supported by the DoubleTree by Hilton, which will provide the artists with discounted rooms.



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Stacey M. Holloway

Dyed in the Wool

January 23, 2016 — April 3, 2016 | Art League Gallery
Reception: March 4, 2016 | 5:00 – 9:00 p.m.
Holloway will provide a gallery talk about her work beginning at 6:30 p.m.


Image: Stacey M. Holloway, Saturate (detail), 2015, cast plastic, wood and mixed media.

We all have an innate desire to belong and to love, to form intimate relationships and strong emotional connections, yet our hopes, dreams and desires are not always realized.  In Dyed in the Wool, I explore how our formative processes make up who we might become, or more specifically, who we are attempting to become. Through my work, I examine the uncertainty of a future and how quickly one small decision can unintentionally alter an intended plan, and analyze indecision as a present, uneasy circumstance.  I use studies of animal behavior, the landscape, and architectural drafting as mechanisms for metaphors of uncertainty and longing, and through my sculpture build narratives situated at the point between possible success and potential failure.         

— Stacey M. Holloway,  2016


Stacey M. Holloway, In The Belly of the Beast, 2016, Childhood ceramic work, mixed media, family heirlooms.

Born in South Bend, Holloway is an installation-based artist and sculptor that focuses on the transformation and growth of individuals as they mature. She received her MFA from the University of Minnesota in 2009, her BFA from Herron School of Art and Design/IUPUI in 2006, and is currently Assistant Professor of Sculpture at the University of Alabama at Birmingham. Learn more about Holloway and her work at staceyholloway.com.


Stacey M. Holloway, Out of the Framework, 2016, Cast aluminum, mixed media.


Stacey M. Holloway, Dependence, 2015, Cast bronze, wood, mirrored Plexiglass.


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Scholastic Art Awards Exhibition 2016


January 30 – February 27, 2016
Warner and Jerome J. Crowley Community Galleries
(Museum hours: Wednesday – Sunday, noon – 5:00 p.m.)

Congratulations to the 2016 Scholastic Art Award Recipients!

View (pdf) the list of award winners here

Meet Me in the Gallery Opening Reception: Friday, February 5, 2016 5:30 – 9:00 p.m. | Warner Gallery

Awards Ceremony: Sunday, February 7, 2016 | Bendix Theatre, Century Center
1:30 p.m.: Junior High  |  2:30 p.m.: Senior High

Presented by

Scholastic Art AwardsThe NW Indiana & Lower SW Michigan Region of the Alliance for Young Artists & Writers
South Bend Museum of Art and Friends of Scholastic Art Awards

Learn more about the Scholastic Art Awards!

Thank You to The Supporters of the Scholastic Art Awards Competition and Exhibition:

CONTRIBUTORS, 2015/16 (As of Jan. 13, 2016)


Florence V. Carroll Charitable Trust Foundation
South Bend Art Center Foundation
Zilky Charitable Trust


Mr. & Mrs. Jim Cooke
Docent Group of the South Bend Museum of Art
Indiana Michigan Power
Indiana Women’s Caucus for Art
Northern Indiana Artists
Northern Indiana Pastel Society


Kay Antonelli & Charles Loeser
Mr. & Mrs. Edward Beatty
Lynn Blue
Mary Fran Brandenberger
Marsha Brook & Fred Kahn
Dayle Brown & David Piser
John & Mary Ann Butkovich
Mary Jane Buzolich
Mr. & Mrs. Thomas Cahir (in memory of Bron Janulis)
Debbie Callahan
Mark Carney & Kristin Darden
Judith Chase
Rhonda Culbertson
Margo DeMont
Mr. & Mrs. Michael Deren
Ron DeWinter
Ann Divine
Mr. & Mrs. Michael Donlon
Sharon Donlon
Ed Everett & Kitty Rose
Kyle P. Everett
Betsy Fulnecky
Helen Geglio
Natalie & Paul Klein
Mary Ann Matthews-Derda
Ronald May
Anita McCombs
Mr. & Mrs. Lawrence McHugh
Raymond McLein
Rose Marie Merz
Michelle & Juan Migliore
Robert L. Miller, Sr.
Ms. Rosie Mireles
Jeanne & Ron Monsma
Mary Ann Moran
Mr. & Mrs. Charles F. Nelson
Dr. & Mrs. Chris Norborg
Cheryl & Timothy Phelan
Charlene Plasschasert
E. Jack Reed
Claudia A. Maslowski
Marcia Rickard & Dennis Doordan
Annette & Steve Romans
Carol & Charles Rosenberg
Mr. & Mrs. L. Brown Sanders
Dr. & Mrs. William Sarnat
Katharine Schmidt
Gail Schroeder
Dr. Tom Seiffert
Barry Shein & Cari Groman Shein
Lynda B. & Charles S. Simon
Dr. & Mrs. Mark L. Smucker
Michael Sriver
Jackie Stephens
Mr. & Mrs. Richard Stifel
Mr. & Mrs. Ed Swoveland
Mr. & Mrs. Laurence Taylor
Ann Tideman
Mr. & Mrs. Mike Tierney
Mary Jo Tompos
Posi Tucker
John Voorde
Linda Waelchli
Mrs. James Walton
Jackie & Tim Welsh
Judy Wenig-Horsell
Mr. & Mrs. Craig Wilson
Mr. & Mrs. Ron Witchie
Mr. & Mrs.Bruce Wolfe
Dr. & Mrs. Robert Wolosin
Lee Woodward
Harold & Doreen Zisla
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Winter Classes 2016



Click HERE for a list of all our Winter Classes!

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2015 SBMA Student/Faculty Exhibition

December 4, 2015 – January 10, 2016
Opening Reception December 4, 2015 5:30 – 9:00 p.m.

Jerome J. Crowley Community Gallery
Reception: December 4, 2015 | 5:30 – 9:00 p.m.

The annual SBMA Student/Faculty Exhibition features artwork created by students and faculty who have enrolled in or taught a course at the museum during the past 12 months. Each artist was allowed to submit
one work and nothing is juried out. Only students are eligible for awards.



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Family Day at SBMA: EggStravaganza!

FullSizeRenderMarch , 2016 TBD
Upper Level Studios
All ages welcome, free admission!

Hop on in and join us as we celebrate Downtown South Bend’s Egg Stravaganza! Our studios will be overflowing with color as we explore the sights and hues of Spring!!



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Family Day: Play

BzcprpFIgAAfcMnSunday, April 3, 2016
SBMA Galleries, 2:00 – 4:00 p.m. | Free admission 

Do you love to game? Associate Professor of Art at Saint Mary’s College Krista Hoefle does! Join her for this super fun afternoon of making. We’ll level up as we cut, fold, and print our own gems. This event is free, but does require pre-registration. Email waterlooc@southbendart.org to reserve your spot today!

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The Amity Art Foundation Collection


RbtShieldsAmerSeriesLogoOctober 17, 2015 – January 10, 2016
Warner Gallery
Reception: November 6, 2015 | 5:00 – 9:00 p.m.

The Robert C. Shields American Series is an annual event which shares, with our regional audience, the rich art history and culture of our nation. Represented in these exhibitions are many of the key artists and artistic movements responsible for creating an American art legacy. This will be the 9th year we have offered this series and it continues to gain momentum and respect in the community for the rich visual perspectives it offers on American art.


This exhibition features 60 fine art prints produced by more than 30 artists who worked within the printmaking programs of the Federal Arts Project of the Works Projects Administration. The prints are part of the personal collection of John A. Stewart, the founder and director of the Amity Arts Foundation of Woodbridge, CT. They are but a tiny fraction of his collection of American prints from the first half of the twentieth century. WPA prints offer examples of both the methods and philosophies of hand produced populist prints that visually communicate important messages for both the artist and the observer. Some of the artists in this exhibit are reasonably well-known, others much less so and others are known only by the existence of prints they produced while working in the WPA.


The Amity Art Foundation Inc. is a nonprofit corporation created to promote, perpetuate and preserve the arts with an emphasis on traditional graphic art techniques. The Foundation’s emphasis is twenty first century printmaking and supporting, encouraging, and promoting student and emerging artists that produce art that is consistent with the methods and philosophies of traditional printmaking. The Foundation sponsors portfolio exchanges, exhibitions, juried shows, fine art collections, educational programs, catalogue raisonnes and other such activities in an effort to increase awareness of and partici­pation in the arts. The Foundation participates in printmaking conferences and exhibitions across the country.


WPA Printmaking
by John A. Stewart

The Great Depression beginning was marked by the U.S. stock market crash of October 29, 1929. Lasting until this country’s entrance into World War II it was a period of economic and industrial collapse severely impacting all sectors of the American people.

Frank Delano Roosevelt was elected president in 1932. Twenty five percent of American workers were unem­ployed and others faced wage cuts of upwards of forty percent. “One third of the nation was ill-housed, ill-clad, and ill-nourished.” (FDR, inaugural address) He proposed and Congress enacted a New Deal economic program to revive the nation and to put people back to work. “Simple work” he argued gave people money “however, more important than the material gains will be the moral and spiritual value of such work.” (FDR, message to Congress).


Through a series of programs the Works Progress Administration was created to put people back to work, not just busy work but work as closely related to the workers’ private sector jobs. Bridges were built. Dams con­structed. Public buildings such as post offices were modernized and decorated. Public parks were created and a Federal road system was conceived and implemented.

In 1935 the WPA/Federal Arts Project was founded to put artists to work. Artists of all types were put on the public payroll to create art. Filmmakers made films. Poets created poetry. Writers wrote books and plays. Actors, dancers and directors held performances. Painters painted. Sculptors sculpted. And, yes, printmakers made prints. The FAP employed 5,000 artists, who created among other things an estimated 108,000 paintings, 18,000 sculptures, 2,500 public murals and 250,000 prints. The approximate cost of the FAP was $35 million dollars.

In addition to providing work for artists the FAP set four goals: (1) employ artists, (2) educate art students, (3) expand art programs into rural areas and (4) conduct research into and record America’s cultural past.

Beginning with a workshop in New York City, printmaking workshops were established around the country. To be eligible to participate, an artist had to be certified as needy and prove that he/she had formerly been an artist. There was no discrimination in the program. Men and women of all ethnic backgrounds, artistic styles and proficiency were accepted. Segregation, where practiced, however, continued. Artists were paid approxi­mately $2.00 a day.

The FAP print programs were active from 1935 through 1943. A printmaker would produce a proof, which would be approved by the workshop director before an edition was run, based on how popular the image might be. Few editions were as high as 75 and many if not a majority were under 25. All art with the exceptions of a proof or two retained by the artist were considered property of the Federal government and were to be used for public purposes; to decorate government offices and other public buildings.

Although there was some level of artistic freedom, the subjects chosen for the artwork reflected the democratic ideal. Scenes from American life, both urban and rural, depict the common man at work and at play. Regional sensitivities were reflected in the workshops around the country. The works were populist and often emphasized the value of industry and hard work.

Although most printing mediums were employed to produce prints, great technical progress was achieved within the workshops with color lithography, color woodcuts and serigraphy. The opportunities to develop these newer techniques in well-equipped public workshops enabled these mediums especially stone lithography to become more prominent. The skills learned in these workshops helped to change the course of printmaking in the twenti­eth century.

The General Service Administration identifies 1,114 printmakers that produced prints during the program. An estimated 11,300 different images were produced. Some of the artists remained within the program for lengthy peri­ods of time. Other artists were in the program to produce a print or two only to drop out of the program. It can be anticipated that not all the artists who participated can be identified or that all the prints produced survived.

Some of the artists became well known and had distinguished art careers following the FAP. Others were virtual unknowns at the time and details of their lives and work are lost. At the onset of World War II many of the artists were in the armed services, some as combat artists or illustrators, others as camouflage painters and others as regular combat GI’s.

The art produced by the Graphic Arts Division of the FAP was not well preserved after the program ended. Some was inadvertently destroyed, some was lost and some used for scrap paper for public employees or in prisons. The General Services Administration still makes claims on private collectors that prints produced during the FAP period are government property.

Contemporary printmakers owe a great debt to the printmakers of the WPA. Not only were techniques developed that are widely used today but the foundations for the community of printmaking and printmakers was estab­lished. Printmakers came together to work together and to learn. Workshops were created that set an example of the collective and collaborative art production that are reflected in the academic print departments and the print workshops that exist today.

The exhibition WPA GRAPHIC WORKS from the Amity Art Foundation Collection was curated by John A. Stewart, Director, Amity Art Foundation, Woodbridge, CT.

The museum tour is managed by Landau Traveling Exhibitions of Los Angeles, CA.

The South Bend Museum of Art’s 2015-2016 Exhibition Program is made possible, in part, with support from the Community Foundation of St. Joseph County’s ArtsEverywhere Initiative.

Julius Bloch, Young Widow, Not dated, Lithograph; Frank Cassara, Drillers, 1939, Lithograph;
Ida Binney, Monday Ritual, Not dated, Color woodcut; 
Claire Mahl, Dancer Resting, Not dated, Serigraph

The South Bend Museum of Art’s 2015-2016 Exhibition Program is made possible, in part, with support from the Community Foundation of St. Joseph County’s ArtsEverywhere Initiative.

With Support from:

CFSJC Logo       TCU-Foundation-Logo      Visit Soth Bend    Mantra Report



Arts Everywhere

Jack Champaigne

The Robert C. Shields Memorial Fund


Florence V. Carroll Charitable Trust

Teachers Credit Union

Visit South Bend Mishawaka


Charles Hayes

Markeys Rental & Staging

Linda B. & Charles S. Simon


Lynn Blue

Dr. Stephen & Barbara Fredman

Mr. & Mrs. Richard Q. Stifel

Mrs. James Walton


Gilberto Cardenas & Dolores Garcia

Mr. & Mrs. William Cushwa

Anne Feferman

Susan Ohmer & Donald Crafton

Susan Shields Harold & Doreen Zisla


Marsha Brook

Mary Jane Buzolich

Tom & Susan Fischbach

Lou Gard-Knobe

Leslie & Bill Gitlin

Lehman & Lehman, Inc.

Michael Poole

Marcia Rickard & Dennis Doordan

Mr. & Mrs. Charles Rosenberg

Mr. & Mrs. Donald Siberell

Mr. & Mrs. Laurence Taylor

Charlene Plasschaert


Faith Beaupre

Judith Chase

Dayle Brown & David Piser

Ron DeWinter

Sharon Donlon

Betty B. Johannesen

Claudia A. Maslowski

Mary Ann Moran

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John Dempsey


October 3, 2015 — January 3, 2016 | Art League Gallery
Reception: November 6, 2015 | 5:00 – 9:00 p.m.
Dempsey will provide a gallery talk about his work beginning at 6:30 p.m.

Image: Glare #09: w/Hall of Biodiversity , 2011-2012, acrylic on canvas

John Dempsey, Glare #09: w/Hall of Biodiversity, 2011-2012, acrylic on canvas

These paintings bring together a variety of spaces, environments and perspectives in order to confront and examine our sense of place. They include scenes from factories, churches, government facilities, public & private spaces and landscapes for the purpose of an immediate experience and comparison. Just as the WPA and the American Scene painters from the early twentieth century drew from an immediate experience of their environment to create a sense of time and place, so must we. We move through a collage of industrial, post-industrial, modern and postmodern environments and work to resolve how to understand landscape and nature within this sequential and temporal experience of place. These compositions are offered in order to visually explore and chronicle this complex process.            

John Dempsey, 2015

Dempsey is an Associate Professor of Art at Mott Community College in Flint, MI. He earned his MFA at Central Washington University and has work in the collections of the Flint Institute of Arts, the Scottsdale Center for the Arts the Yuma Art Museum and Detroit Metropolitan Airport as well as commissioned work for Bishop International Airport, Flint, MI; the Pfizer Research Center, Groton, CT; and General Motors SPO Headquarters, Grand Blanc, MI. He is also a participant in the U.S. State Department’s Art in Embassies Program. Recent solo exhibitions include the Semans Gallery, Durham Center for the Arts, Durham, NC; ARC Gallery, Chicago, IL; and the Northville Art House, Northville, MI.

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