Edward Winkleman...

I spent much of this past Wednesday, trying to get back to Chicago in time for Christmas. We were leaving Southern California while a winter storm covered much of the Midwest. The flight boarded a half hour later then expected but all seemed hopeful. Then—as we taxied to the runway—the engines slowed and the Pilot's voice came over the intercom to tell us that we would be sitting on the tarmac waiting for clearance to take off. As the stories of imprisoned airplane passengers ran though my head, I reached for a book from my carryon bag: Edward Winkleman’s “How to start and run a Commercial Art Gallery”.

I purchased this book online after spending some time on Winkleman’s blog. I was looking forward to acquiring some of Winkleman’s industry insights. I have been running Gallery 180 of The Illinois Institute of Art-Chicago for the past six years, but I have to admit, It’s not the typical startup gallery. Gallery 180 is basically funded by The Illinois Institute of Art-Chicago. The school covers all of the costs of running a space… rent, promotion, receptions… and the proceeds from sales are used to purchase work for the School’s Fine Art Collection. I don’t have to worry about work selling, yet it does. The focus of the gallery is inspiration and education.

The only truly commercial gallery venture that I've entered into was the creation of Gallery H. A few years back, I was asked—by one of my collectors—to help open a high-end gallery in a little town in Michigan. I was perplexed but listened with an open mind. The answer came quickly. The gallery would be located in Three Oaks, which is a-stones-throw away from some extravagant homes on the shores of Lake Michigan and the surrounding farmland. I helped open the space and that experience —in itself—was enlightening. The gallery was very lucrative in the first two years, yet at the beginning of the third season, I stepped away to focus on creating more of my own work.

So, why was I so interested in Winkleman’s book? The answer is threefold. I thought that his words might give me some new insights, which could benefit Gallery 180. Secondly… maybe there was more to learn about the art market… information, which could benefit me as an artist as well as a curator. And finally, perhaps I will—one day—open my own space.

I opened the book to the table of contents and found that it outlines the fine art world from a business perspective. Hardly the summer beach read, but quiet intriguing for people in the industry. The book covers the basics of opening and operating a gallery including the importance of a written business plan, managing cash flow and a wonderful chapter, which covers crating and shipping… information beneficial to all working artists.

As we sat on the tarmac waiting for departure, I had reached the chapter on crating and shipping. I smiled, reminded of a situation I had to deal with a few years back—wishing that I would have had this book to read back then. I sent a seven by four foot painting to a gallery in California and on the return trip, it seemed that a forklift had punctured the sturdy wooden crate [see Winkleman, chapter 9, for suggested specs]. The painting was torn but there is an up side to this story. When the painting was first shown at the Fine Arts Building Gallery in Chicago, one of the patrons was quite taken with the canvas but the scale was much too large for his home. A few days after receiving the damaged painting—and with no better options—I decided to crop and re-stretch the image. Within the week, that interested collector had heard of the mishap and contacted me to inquire if he could purchase the newly revised version. That re-titled version “The Edge” is shown above. The original version, “Edge of Tomorrow” is shown below.

In any event, check out the Winkleman book. It’s filled with wonderful insights for artists as well as potential gallery owners. You can find "How to Start and Run a Commercial Art Gallery" at amazon through this link.


Additional information on these pieces can be found at gniech.com

Lorraine Sack, "Impressions"

Above is a painting titled "Impressions" by artist Lorraine Sack. This piece is from a series of still life oil paintings that Sack has been working on for the past few years. The image is 16 x 20 inches and produced in oil on canvas. Sack's website explains her process...

The creative process of still life is much like theatre to me. It is taking a blank space and changing it into something specific to be viewed.

The process of setting the stage for the painting is intuitive. I try out the space itself with objects, natural light, and color as characters each playing a part. Usually the object I chose for the focus is one I admire for the presence it holds. I look at the abstract patterns while arranging and rearranging the secondary objects, the light, and the background around the focus until I see the right ensemble.

Then I start the painting process. First, I establish the abstract patterns with a solid foundation of paint on canvas. Next, I slowly layer veils of color with my brush to weave the space into objects and develop their character. Finally, I know the still life is finished when all the parts play their role working together as a unified voice to create the space I intended.

Lorraine Sack's "Impressions" will be available at the upcoming benefit for Heartland Alliance as well as the Preview Exhibition at Gallery 180 of The Illinois Institute of Art-Chicago. Gallery 180 will host a catered reception for the Preview Exhibition on January 22 from 5:30-7:30. This event is free to the public and all of the work will be available for purchase with all proceeds going directly to Heartland Alliance. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago's Loop. I hope to see you there!

Additional work by Lorraine Sack can be seen on her web site: lorrainestudios.com

Paula Kloczkowski Luberda's "Walking Man"

As I’ve mentioned in a recent post, Gallery 180 of The Illinois Institute of Art-Chicago will host this year’s “The Art of Human Rights” preview exhibition to benefit Heartland Alliance. The proceeds from this—and the main event—will help Heartland Alliance's HIV/AIDS programs and services, which include: primary care, referrals, assistance with transportation and lab costs, housing, alternative therapies such as chiropractic treatment and massage therapy, HIV prevention education, and oral health care.

The preview exhibition, which will open at Gallery 180 with a reception on January 22nd, is a collection of some of the pieces that have been donated by Artists from around the country to support Heartland Alliance in their effort. One of the contributing area artists is Paula Kloczkowski Luberda. I first met this highly creative concept-driven artist when she was being represented by Kavi Gupta’s Vedanta Gallery in the mid 90’s. Since then, I’ve watched her explore a variety of ideas with a range of media... all seeming to focus on the human condition. Her work has been presented around the country in numerous group and solo exhibitions, and two of her paintings have been acquired for the permanent collection of The Illinois Institute of Art-Chicago.


The above image is a sculptural piece by Paula Kloczkowski Luberda, titled “walking Man” [2005]. The sculpture—reminiscent of Giacometti’s “Man crossing a square on a sunny morning” [1948-9]—has been donated by Kloczkowski Luberda and selected for inclusion in the benefit Preview Exhibition at Gallery 180. The piece is composed of found wood and wire—and if memory serves me—stands about 36” tall. For information on other available works by Paula Kloczkowski Luberda, contact her at plk2531n@wideopenwest.com

To view some of the other pieces which will be available at the main event, check out this Flickr link. Take a look... there are some wonderful pieces.

As a reminder, save the dates for both events: Opening Reception for the Preview Exhibition: Friday January 22nd - Gallery 180 of The Illinois Institute of Art-Chicago 5:30-7:30 ...and The Main Event, The Art of Human Rights: February 19th. More information to come!

Nancy Rosen… “Save me from myself”

One of the most prolific artists that I know is sending out a humorous plea for help in clearing out her studio. Nancy Rosen’s sometimes tawdry figurative depictions, capture the introspection as well as the intimacy of tender human encounters. Rosen’s painted and drawn figures tend to evoke a strange curiosity … an interest in the concealed thoughts behind each distorted face. The images are intriguing.

Rosen will be holding an open studio event Sunday and Monday, December 13th and 14th, 10-5 and 10-8 respectively. Her studio is located at 7004 California in Chicago. You can see additional work on her web site: nrosen.com or contact her directly at me@nrosen.com. Plan to experience the work in person... it's truly wonderful!

Image: Nancy Rosen #12106, 20x30

"Snapshots" ...Surrounded by art

Last night, I went downtown to a book release celebration. The book, titled “snapshots”, is the work of my friend, Jan Baiden. The book is comprised of a series of wonderfully written short stories—with beautiful imagery—exploring insights and observations of select encounters of her life. And it’s not the typical life. The book begins with a series of accounts from a period of time, while living in Iran.

I spent a couple of hours—on this rainy morning in Chicago—lost in the first sixty pages of Jan’s book… reading each segment and then gazing at the accompanying photographs. The stories not only transport the reader to another place in time, but they invoke a moment of reflection of one’s own life. It’s a wonderful read… I look forward to exploring the coming pages.

You may ask, “What does this have to do with fine art in Chicago?” The answer is twofold. ...As we walked into the party last evening, I was reminded of the wonderful collection of art, which adorns the walls of the Jan’s home. Her husband, Shelly Kirshner, is a serious collector with major pieces by—among others—Ed Paschke, Robert Lostutter, and William Conger. I found myself so drawn to the collection of modern masters, that it was difficult to focus on causal conversation. The collection is stunning.

And as for the book... If you're interested in acquiring "snapshots"—and meeting Ms Baiden in person—a public book signing party is being planned. It should take place this summer at Gallery 180 of The Illinois Institute of Art-Chicago. The event will be held in conjunction with a national juried exhibition titled “Narrative… the art of story telling”. I will elaborate on both events in future posts.

Images from Kirshner's collection were not available, so as a reference, I'm presenting a Lostutter piece from my own collection.
Image: Robert Lostutter, “Lepanthes Velifera”, 1998.
10-color lithograph. Edition of 50. Image: 6" x 7-1/2". Sheet: 14" x 15-1/2".
See Printworks Gallery for details.

The Start of Something Wonderful...

This image was captured, last Friday evening, as the reception for the Michael Jankowski exhibition at Gallery 180 got underway. The show, titled "Hidden Relics", is a wonderful exploration of past memories created with subtle high-key paintings and energetic charcoal drawings. If you haven't had an opportunity to view the exhibition, make the effort. "Hidden Relics" continues through January 15th. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash, at the corner of Lake and Wabash, in Chicago's Loop. All of the work in this exhibition is available for purchase.

Jankowski's Sanctuary

I awoke early on Monday morning to complete the installation of the Michael Jankowski exhibition at Gallery 180. As I finished hanging the last painting on the freshly painted accent wall, it became obvious that the gallery had become a bit of a sanctuary. The art and the architectural elements of the space—stone floors, walls of glass and meditative wall color—calm the inhabitants from the city’s chaos, literally just a few steps away. The quiet imagery of the paintings are contrasted with subtle but energetic line work of the accompanying drawings. The pieces work together to create a wonderful meditative environment. The space becomes a place to loose ones self in a memory triggered by the loosely implied renderings of an attic filled with symbolism.

The exhibition, "Hidden Relics" is now open to the public. A catered reception, in honor of the artist, is scheduled for this Friday from 5:30-7:30. The exhibition is free to the public and all work is available for purchase. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago's Loop.

Image: Michael Jankowski at Gallery 180, as he previews the exhibition.

Michael Jankowski... "Hidden Relics"

I spent a few hours yesterday painting some accent walls in Gallery 180, in preparation for the installation of the subtly-dramatic “Hidden Relics” exhibition. The exhibition of fifteen paintings and drawings—created by Chicago Artist, Michael Jankowski—opens this week with a catered reception on Friday November 20th from 5:30-7:30. The imagery focuses on the significant objects in our lives, which evoke memories of the past. For those interested in a preview, the installation of the show should be complete by Monday afternoon. All work is available for purchase. Gallery 180 of The Illinois Institute of Art-Chicago, is located at 180 North Wabash—the corner of Lake and Wabash—in Chicago’s Loop.

The Art of Human Rights - Call for work

Over the past nine years, Gallery 180 of The Illinois Institute of Art-Chicago has presented a variety of exhibitions, which have highlighted the work of regional, national, and international artists. I consider myself very lucky to have had the opportunity to review, select and present pieces from the wide variety of proposed work.

Following is yet another opportunity to expose your work to the public. This January, at Gallery 180 of The Illinois Institute of Art-Chicago, we will present the Preview Exhibition for “The Art of Human Rights”. The exhibition will be on exhibit from January 19 through February 11, and pieces for this exhibition will be selected from those donated to “The Art of Human Rights” benefit. A catered reception will be held at Gallery 180 on Friday, January 22 from 5:30-7:30. 100% of the proceeds from the sale of the work will go directly to Heartland Alliance.

At the close of the exhibition—if the donated work has not yet sold—it will be placed on auction at the main event held at the River East Art Center on February 19th. A donation of artwork entitles the artist to a complimentary ticket to “The Art of Human Rights” benefit. There will be a great deal of publicity surrounding the Preview Exhibition as well as the benefit. Both venues will bring recognition to the participating artists. I hope that you will consider donating a piece of your work to this very important cause. Information regarding the benefit can be found on the Heartland Alliance web site and you can download the donation forms at gallery180.com on the schedule page of the site.

I hope to have the opportunity to review your work for this and future exhibitions.

Igor and Marina at Thomas Masters Gallery

I started my position as “Exhibition Curator” roughly nine or ten years ago. That was when I was given the opportunity to manage the gallery for The Illinois Institute of Art-Chicago. The gallery has gone through a variety of changes… relocation and then the addition of a second space. When the second space emerged, Gallery 180 was born.

But, back in the beginning …back when I began my career as a Curator, I was given another wonderful opportunity. The President of the school—at that time—asked me to create a collection for the school. With that, he gave me a relatively small annual budget… but I was inspired. I thought about ways to obtain additional funds for acquisitions. Among other things, I began the school’s annual “Acquisition Exhibition” …a juried show with multiple purchase awards. That brings me to Igor and Marina.

A painting by Igor and Marina was included in the first Acquisition Exhibition. I loved the work and—back then—I knew that the husband and wife team would do very well. The content and quality of the work was beautiful and intriguing. Igor produced the patterns and textures while Marina focused on the figurative elements. The painting seemed to be from the past with a twist of contemporary flare.

Well, I was right about their success. The team is currently represented by a number of gallery’s throughout the world. In Chicago, Igor and Marina are handled by the Thomas Masters Gallery. I dropped by the Thomas Masters gallery today to view the latest pieces created by the husband and wife team. I was once again impressed. The power, beauty and elegance of the imagery left me fascinated. The exhibition includes some of the preparatory pencil drawings, side-by-side with the canvases. Though not as “finished” as the canvases, the drawings have a subtle elegance of their own. It’s a show that shouldn’t be missed …and it closes on the November 15th. If you’re in Chicago, make the effort to see this exhibition. The Thomas Masters Gallery is located at 245 W. North Avenue, in Chicago.

Above: Igor and Marina, Africa, Oil on Canvas 48 x 60"
Below: Igor and Marina, Little Squares...

Just a few more days to see the "red" exhibition

The National Juried exhibition, titled "red"—currently on display in Gallery 180 of The Illinois Institute of Art-Chicago—will be coming to a close in just a few days. If you have not yet had the opportunity to visit the gallery, make the time to see this relatively small but very beautiful show. Consisting of fourteen artist from around the country, this show delivers something for almost everyone. The selected pieces range from the cleverly symbolic paintings of Lorraine Sack and Richard Laurent to the powerful, geometric, color-saturated photographs of Jennifer Jackson and steel sculpture of Michael Stanley. The show includes two beautifully painted still life studies by, Catherine Maize as well as a breathtaking photorealistic portrait by Ming Zhou. The amazing diversity of work—presented in this exhibition of national fine artists—provides a beautiful and creative look at the use of the color "red".

The show is free to the public and the exhibited work is available for purchase. Gallery 180 of The Illinois Institute of Art is located at 180 North Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The exhibition will conclude on November 11th.

Image: Michael Stanley "Red" steel and paint, 10x7.5x6", $800

Save The Date... Michael Jankowski

Friday, November 20th 5:30-7:30

Gallery 180 of The Illinois Institute of Art-Chicago will be presenting "Hidden Relics", an exhibition of new work created by Chicago artist, Michael Jankowski. Jankowski’s high key paintings and intense gestural drawings evoke a range of emotion. The subtle and faded forms seem to be relics from the past or faded memories, which attempt to re-emerge from our cluttered realities. Assumed to be documentation of Jankowski’s life, the beautifully produced quiet renditions seem to connect with each viewer’s personal history. Clearly influenced by the drawings and paintings of the Swiss Artist, Albeto Giacometti [1901-1966], Jankowski brings forth a contemporary flavor to the content and gestural line-work of his attic-inspired imagery.

This exhibition opens on November 16 and runs through January 15, 2010. A catered reception will be held on Friday, November 20th from 5:30-7:30pm. Entry is free and the exhibition is open to the public. Works are available for purchase. Gallery 180 of The Illinois Institute of Art is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery hours are Monday through Friday 9-6 and Saturday 9-5.

Image: Michael Jankowski, "Mother Can You Hear Me", Charcoal, 24 x 17" $950.

The "red" Reception...

There was a wonderful turnout at tonight’s reception for “red” the National Juried Exhibition at Gallery 180 of The Illinois Institute of Art-Chicago. Three pieces were acquired for the school’s Fine Art Collection. They were: Richard Benoit’s "Earth Writing", Claudia Craemer’s "The Path was Chosen for You" and Lorraine Sack’s "Sea Captain". The show continues through November 11th. If you have the opportunity, drop by the gallery to see this wonderful collection of work from around the country. The show is free to the public and the presented pieces are available for purchase. Gallery 180 of The Illinois Institute of Art is located at 180 North Wabash—at the corner of Lake and Wabash—in Chicago’s Loop.


Richard Benoit "Earth Writing" acrylic on wood, 24x24"


Claudia Craemer "The Path was Chosen for You" oil, 40x40"


Image: Lorraine Sack, “Sea Captain” oil on linen, 18x24”

Thursday, October 8th... Art in Chicago

There are two amazing art events happening—this Thursday—in Chicago. First, the reception for the Maggie Meiners "Childhood Contemplations" exhibition takes place at The University of Illinois at Chicago, Student Art Lounge, from 4-7 PM. The gallery is located at 828 S. Wolcott in Chicago. The show continues through October 30th.


Then... from the Chicago Art Institute Web Calendar, In conjunction with the loan of Caravaggio's "The Supper at Emmaus" from the National Gallery, London, Keith Christiansen will lecture on the path-breaking genius of this Italian Baroque master. Christiansen is a leading specialist in Italian painting from the Renaissance through the 18th century, and has worked on all aspects of Caravaggio's art. In this lecture he will look closely at the artist's pictorial style, which at the time was considered radically modern and remains compelling today, nearly four centuries later. The Lecture will take place in Fullerton Hall of the Art Institute of Chicago, from 6-7pm. The address is 111 S. Michigan Avenue.

Image: Michelangelo Merisi da Caravaggio.The Supper at Emmaus, 1601. The National Gallery of London, Presented by the Honorable George Vernon, 1839, NG172.

Ardrea Harris at Homey Gallery

An exhibition of wonderful new nature paintings by Andrea Harris will open tomorrow at Homey Gallery, located at 3656 N. Lincoln Avenue in Chicago. I dropped by the gallery last week to get a preview of Harris' new work but most of the pieces had not yet been delivered. There was—however—a few of her new works to review. I was impressed. Harris' technique has matured and the presentation of the mystical environments elevates the imagery to a new level of wonderful. The exhibition—featuring oil and cold wax paintings—will continue through October 26th. Tomorrow's reception will include a book signing of "In the Forest and Beyond" which features Harris' imagery. Harris will be funding the planting of a tree with the purchase of each book... and a grove of trees for each painting sold. The reception for Harris will be from 6-9pm—tomorrow—Saturday, October 3rd. If you have the opportunity to see this exhibition, it will be worth your while.

Image: Andrea Harris, "Surreal Forest", oil and cold wax on canvas, 60x60"

Richard Benoit... Earth Writing

Richard Benoit is just one of fourteen Artists included in the "red" exhibition currently presented at Gallery 180 of The Illinois Institute of Art-Chicago. While reviewing Benoit's web site—www.rbenoit.com— I found a wonderful Artist Statement which is both passionate and insightful. From his web site:

Paintings are like poetry. If their meaning isn't completely spelled out or absolutely clear, that meaning will rustle about like dried leaves and eventually come to settle. At that moment when the meaning comes to light one gets a sensation of peace and recognition, a glimpse of the universal. The best paintings are not tied to any particular time or place but are flexible vibrant things that bring a fresh feeling each time they are viewed.

I like to treat the canvas not as a place to describe something but more as a place for something to happen. I often arrange random visual elements in such a way as to excite the viewer's curiosity and intuitive sense of aesthetics. Put simply, my art is a random collection of chance and intent with the under-
lying belief that art can be a transcendent experience. While working I like to leave evidence of the art making process (dribbles, brush strokes etc.) to celebrate the act of communication. Beauty is important but not at the expense of emotion, and passion is always more important than technique.

For me art is a quiet place of introspection and repose. I like to create work that people would want to return to time and again, work that elicits an emotional response, work where there's truth not just taste and real beauty, not just ornamentation. Memorable art is a refuge, a place to smooth the waters. Through my work I wish the viewer a life full of quiet moments, full of answers, full of peace, and full of beautiful engaging art.

Benoit's “Earth Writing”, can be seen—along with the works of thirteen other artists from around the country—at Gallery 180 of The Illinois Institute of Art-Chicago from September 14 through November 11. The Reception for "red" will take place on Friday, October 9th from 5:30-7:30. Gallery 180 is located at the corner of Lake and Wabash in Chicago's Loop. The exhibition is free to the public and all works will be available for purchase.

Above: Richard Benoit, "Earth Writing" acrylic on wood, 24x24", $850.

Lite Brite... Maggie Meiners

"Childhood Contemplations"—a solo exhibition of large-scale photographs by Maggie Meiners—will be presented at The University of Illinois at Chicago, Student Art Lounge, from September 28-October 30. An opening reception is scheduled for Thursday, October 8 from 4-7 PM. The gallery is located at 828 S. Wolcott in Chicago.

I first presented pieces from this collection—last fall—at Gallery 180 of The Illinois Institute of Art-Chicago. The works are amazing. The mere size of these forty-inch square digital c-prints, allows the viewer to become engulfed by the imagery and to explore their inner mind. The various color patterns are meant to trigger memories on which to contemplate. Michael Weinstein of "Newcity" had a wonderful observation in his September 18th review of the show when he wrote that Meiners' creates "...pure psychedelic abstractions in which the blurred and glowing colors bleed into each other and dance before the eyes." In defining her own work, Meiners explains...“Although the use of blurred imagery seems to defy logic, this intentional shift in focus is meant to transfix and then transport the viewer to a mind space where memories run wild. Various spectrums of color are used as a guide to revisit and explore memories of the past."

Take some time to see this exhibition... and if you have the opportunity to attend the reception on October 8th, introduce yourself to Meiners... she's an amazing lady.

You can find additional work by Meiners at: maggiemeiners.com

A Creative Social Club...

I took some time—yesterday—to drive downtown and meet with The Chicago Creative Social Club at Gallery 180. The creative networking organization is defined on its web site, as “THE Meet up Group for creative people in Chicago.” The group …“supports the Chicago creative community by promoting social connections, enjoyment, and learning across all creative disciplines…” So when the Director of the organization contacted me to ask if I would address the group, I agreed.

I was asked to cover a variety of art-related topics including: the current exhibition being presented at Gallery 180, titled “red”, information about The Illinois Institute of Art-Chicago, exhibition opportunities, the Chicago Gallery scene, and information on my duties as a Curator. I probably spoke a little too long but the amazing snacks—provided by the Ai Culinary School—kept the group conscious. After the very informal presentation, I spent time talking with some of the individual members. I met some wonderful people and ate a few too many of the monster chocolate, chocolate-chip cookies.

In any case, if you’re near Chicago and are looking for a creative group, with which to mingle, check out the Chicago Creative Social Club at: creativesocialclub.com

A Wonderful New Home In The Clouds...

Most Artists think of their work, as thou it were their children. It’s probably because the Artist brought them into the world. And when they're ready to leave home, every “parent” wants to know that their children are doing well. Well, two of Nancy Rosen’s “children” are doing very well in a new wonderful home in the clouds.

I spent the morning—installing two of Rosen’s pieces—in a wonderful home on an upper floor, right off of Chicago’s Magnificent Mile. The two mixed-media works were purchased from Rosen’s recent exhibition at Gallery 180 of The Illinois Institute of Art-Chicago. The collector spotted them while walking by the gallery, which is located at the corner of Lake and Wabash in Chicago’s Loop.

Above - Rosen’s pieces hang in the formal entry of the collector’s home. Additional work by Rosen can be found at nrosen.com

Claudia Craemer in "red"

As I mentioned in my previous post, this past weekend I installed The National Juried Exhibition, titled "red", at Gallery 180. It's always interesting to see the actual work, once the selections process is complete. You see, during the selection process, the Juror is looking at a relatively small visual image, which is either a slide format or digital file. So when the work arrives for the installation, it’s a little like opening a room full of packages on Christmas morning.

One of the amazing gifts I received was from Chicago-area Artist, Claudia Craemer. Craemer’s “The Path Was Chosen For You”, is a forty-inch square oil painting with tendencies toward O’Keeffe. The unfolding forms in nature influenced work by both Artists. Craemer writes:

“I am often inspired by plant forms – blooms, bulbs, roots, and leaves – as well as paper and cloth forms. The works suggest organic layers or veils, peeling away, tearing, hiding and revealing, opening and releasing, and they usually develop in a layered, organic way as well, through a process of both spontaneous mark-making and deliberate decisions, of both intuition and choice.”

Craemer’s “The Path Was Chosen For You”, can be seen—along with the works of thirteen other artists from around the country—at Gallery 180 of The Illinois Institute of Art-Chicago from September 14 through November 11. The Reception for "red" will take place on Friday, October 9th from 5:30-7:30. Gallery 180 is located at the corner of Lake and Wabash in Chicago's Loop. The exhibition is free to the public and all works will be available for purchase. Craemer’s work is also shown at Union Street Gallery in Chicago Heights.

red

"red" The National juried exhibition at Gallery 180 of The Illinois Institute of Art-Chicago was installed today. The show—consisting of fourteen Artists, includes a wide range of work from the cleverly symbolic paintings of Lorraine Sack and Richard Laurent to the powerful, geometric, color-saturated photographs of Jennifer Jackson and steel sculpture of Michael Stanley. The show includes two beautifully painted still life studies by, Catherine Maize as well as a breathtaking photorealistic portrait by Ming Zhou. The amazing diversity of work—presented in this exhibition of national fine artists—provides a beautiful and creative look at the use of “red”. The exhibition continues through November 11th and a catered reception is scheduled for Friday October 9th from 5:30-7:30.

The represented Artists are: Richard Benoit, Bradley, IL; Tom Brand, Michigan City, IN; Claudia Craemer, Country Club Hills, IL; Jennifer Jackson, Chicago, IL; Roland Kulla, Chicago, IL; Richard Laurent, Chicago, IL; Dena Lyons, Chicago, IL, Catherine Maize, South Haven, MI; Nancy Rosen, Chicago, IL; Lorraine Sack, Indianapolis, IN; Michael Stanley, Ames IA; Jim Tansley, Chicago; IL and Ming Zhou, Cambridge, MA.

The exhibited work is available for purchase. Images and pricing, included in this exhibition, can also be found online at gallery180.com. Gallery 180 of The Illinois Institute of Art-Chicago has presented a wide variety of exhibitions since it was established in November of 2003. Each exhibition has been tailored to be beneficial to our student body, faculty, staff and community at large.

Nancy Rosen... Enlightening

A few weeks back, a man came into Gallery 180 to take a look at the current exhibition of work by Nancy Rosen. He was in the midst of a passionate discussion with a female companion when I approached the pair and asked if they had any questions about the work. Paul Wandless introduced himself as a Professor of Art at Harold Washington College. We had a brief discussion and the conversation concluded with a request. Wandless asked if it would be alright to bring his students to Gallery 180 to see Rosen's work. He wanted to use the exhibition as an example of beautiful liner quality within fine art. I agreed.

Well, today was the day. But there was a little surprise. I had contacted Rosen to see if she was interested in speaking to the group. I would have given the students a good overview of the work, but I knew it would be beneficial for them to get the information directly from the Artist. Rosen was wonderful. Not only did she give a quick history of her career as an Artist, but she also spoke openly about the materials she uses and her unconventional process. She was an intriguing speaker.

The Nancy Rosen exhibition closes on Saturday. If you haven't yet had an opportunity to see this show, you only have a few days left. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash in Chicago's Loop. The gallery hours are from 9-6 Monday through Friday and 9-5 on Saturday. Additional work by Nancy Rosen can be seen at: nrosen.com. Also check out Rosen's wonderful studio tour on flickr

Jim Tansley... "Cherished Scheme"

Three summers ago, I was called out of a class for an “urgent” meeting. I was told that there were some people in Gallery 180 who needed to speak to me. When I arrived in the gallery, I met a charming older French couple, on holiday from Paris. They had been walking down the street—in front of the gallery—and spotted a painting that intrigued them. They found their way inside and fell in love with a work by Jim Tansley. The couple told me that, often when they traveled, they would purchase art as a memento of the trip. When they saw the Tansley painting, they knew that they wanted to return to Paris with it in hand. The couple made the purchase and asked if they could take the painting to avoid shipping the work. After a quick telephone call to the artist, to ask if a replacement piece was available, the transaction was complete and the couple left with their newly acquired treasure.

Another of Tansley’s paintings will adorn the walls of Gallery 180 of The Illinois Institute of Art-Chicago. “Cherished Scheme”—one of Tansley’s most recent pieces—will be included in the upcoming national juried exhibition titled, “red”. After spending more then forty years of his life as a graphic designer and painting for almost a decade, Tansley has created a number of wonderfully flowing images within this latest body of work. Created from random marks, Tansley make no intentional reference to reality. In fact, his intention is to “…attempt to produce unique environments, which rely on traditional painting and drawing techniques for their formal structure and composition.”

The piece shown above—selected for the “red” exhibition—is titled "Cherished Scheme". It is a 20 x 24 inch acrylic work on canvas, with a price tag of $2,000. Take a moment to review the some of Tansley’s other work at: jimtansley.com. You won’t be disappointed.

Ming Zhou... "In Front of the Fireplace"

I’ll be installing the “red” exhibition at Gallery 180, next weekend. This year, fourteen Artists were selected to exhibit fifteen works of art, in our annual National Juried Exhibition. The selected pieces range from the cleverly symbolic paintings of Lorraine Sack and Richard Laurent to the powerful, geometric, color-saturated photograph of Jennifer Jackson and steel sculpture of Michael Stanley. The show includes two beautiful still life paintings by, Catherine Maize as well as an amazing photorealistic portrait by Ming Zhou. The amazing diversity of work—presented in this exhibition of national fine artists—provides a beautiful and creative look at the use of "red".

Above is an image by Ming Zhou, titled “In Front of the Fireplace”. After doing a little more research on the artist, this beautifully-painted 16 x 20” oil painting is seems to be a study from the past. Ming Zhou’s current work is much more whimsical—but with an edge. The new work is a comment on the “Tasteless” manners of China’s new middle class. From her web site:

“My work is a critique of China’s New Middle Class’s tasteless manners. The New Middle Class in China have attempted to use “good taste” as a means of distinguishing themselves from the masses. However, that “good taste” has been usually associated with certain status symbols, in particular famous Western brands and popular leisure activities. China’s New Middle Class would blindly mimic things from the West in order to present themselves as members of the middle class. Meanwhile, they would pay no attention to the deeper, spiritual aspects of our traditional Chinese culture. They would parade our own traditional culture, wear traditional garments, and stage cultural festivities only for purposes of entertaining and pleasing Western eyes, and no more. And, in doing so, the New Middle Class would devalue the very cultural richness they purport to convey.”

“…My artwork's intention is to bring about self-awareness among China’s New Middle Class. I try to tactfully remind them that the cultivation and creation of any culture is long-term project; they should pay attention to a culture’s inner spirit instead of mindlessly assuming it and no more.”

Take a few minutes to review Ming Zhou’s new work at: imageming.com. You can also get a glimpse at some of the older academic work. Her observational skills are quite wonderful.

"Lady in Red" ...Nancy Rosen

Currently on display, at Gallery 180 of The Illinois Institute of Art-Chicago, is a wonderful exhibition of mixed media pieces by Nancy Rosen. This exhibition of figurative works—with complex patterned backgrounds—opened on July 27 and will continue through September 10th. I've written at length about the beauty and depth of this show in past posts. It's an amazing body of work and people seem to be drawn into the space, after catching just a glimpse from the street.

Well, September will soon be here and the Rosen show will be removed to make way for the National Juried Exhibition titled "red". And while Rosen collects the current work from Gallery 180—or at least the pieces that remain—she will also be dropping off yet another incredible piece... "Lady in Red".

Rosen's "Lady in Red" can be seen—along with the works of thirteen other artists from around the country—at Gallery 180 of The Illinois Institute of Art-Chicago from September 14 through November 11. The Reception for "red" will take place on Friday, October 9th from 5:30-7:30. Gallery 180 is located at the corner of Lake and Wabash in Chicago's Loop. The exhibition is free to the public and all works will be available for purchase. Additional work by Nancy Rosen can be found at nrosen.com

Image: Nancy Rosen, "Lady in Red" mixed media, 38x50", $9,500

Maggie Meiners, Winner of the Ragdale Prize

Maggie Meiners has been selected to receive the Ragdale Prize from her participation in the "From Nature" exhibition at Gallery 180 of The Illinois Institute of Art-Chicago. The winner was selected by a committee of Ragdale Administrators who attended the opening reception to review the work. Meiners' subtle high-key composition, titled "Snow Abstract", got the committee's attention. Meiners will receive a two-week residency at Ragdale, where she will have the time and space to work on a project of her choosing. I look forward to the opportunity of reviewing the work she creates. Additional work by Meiners can be found on her web site: maggiemeiners.com. Take a moment to look through her work. There are some wonderful images.

A little background on Ragdale... from the Ragdale website:

At Ragdale we believe that time and space are not luxuries but necessary elements for creating important new work. Ragdale provides these necessities to artists in the form of two- to eight-week residencies. Add eleven other creative individuals to the mix, acres of idyllic prairie, a family-style dinner each night, and you have Ragdale.

Residency Experience
Ragdale artists come from all over the country and around the world to create, write, experiment, research, plan, compose, rejuvenate, brainstorm, and work. Residents' uninterrupted time at Ragdale is their own. In this community of unique individuals, Ragdale also offers the possibilities of dialogue and connections with other artists.

Location
Located at the historic summer home of Arts and Crafts architect Howard Van Doren Shaw, Ragdale exists in a peaceful setting adjacent to over 50 acres of prairie. Residents reside in live/work spaces in the Ragdale House, Barnhouse and Friends' studios. Ragdale is located one mile from downtown Lake Forest, and just 30 miles (only one hour by train) from downtown Chicago.

Additional information on the Ragdale Residency Program can be found at: ragdale.org

Roland Kulla's, "Meridian"

Roland Kulla is one of fourteen artists to be included in "red" the upcoming National Juried Exhibition at Gallery 180 of The Illinois Institute of Art-Chicago. This weekend, I had the opportunity to visit Kulla in his painting studio. His newly constructed light-filled space is stacked with new works-in-progress for an upcoming solo exhibition. But he took some time to have a cup of coffee and talk with me about his work.

A prolific and somewhat obsessive artist, Kulla has been painting bridge imagery since 2000. He began by taking a closer look at the bridges of Chicago and then moved on to imagery based on the structures in Boston, New York and Pittsburgh. The Chicago bridge series, titled "Constructs", focused on tightly cropped design elements, which forced the viewer to explore the individual components of the massive structures. As Kulla explains... "What may appear to be random patterns of bolts and rivets, have a rigidly patterned logic. Stripped of their context, the bridges take on new aspects."


"Meridian"—presenting a similar perspective to the Chicago series—was created while exploring the Boston structures. This was Kulla's first venture into painting bridges outside of the Chicago area. This body of work titled "Elemental Boston", continued to focus on a tightly cropped segment of the structure but now Kulla began to explore basic geometric shapes and a primary palette. Kulla explains...

"I focus on primary elements. At the most obvious level, the images capture a part of a much larger whole. Basic geometric shapes – circles, triangles, squares – are combined in a myriad of configurations. Red, yellow and blue—the primary colors—are featured. Each subject required no more than five or six colors to create very complex images. The play of light and dark, the contrast of surface and void are also key aspects of the work."

Kulla's "Meridian" can be seen—along with the works of thirteen other artists from around the country—at Gallery 180 of The Illinois Institute of Art-Chicago from September 14 through November 11. The Reception for "red" will take place on Friday, October 9th from 5:30-7:30. Gallery 180 is located at the corner of Lake and Wabash in Chicago's Loop. The exhibition is free to the public and all works will be available for purchase. Additional work by Roland Kulla can be found at RolandKulla.com. Kulla's work is currently represented in New York at the George Billis Gallery, and in Pittsburgh at the James Gallery.

Image: Roland Kulla, "Meridian" acrylic on canvas, 36x60", $8,500

Lorraine Sack's "Sea Captain"

I've always been intrigued with the paintings of Indianapolis Artist, Lorraine Sack. Over the years, I've juried Sack into a number of exhibitions and I'm always astonished with her superior technique and the brilliant imagery she produces. Sack submitted some of her recent pieces to "red" the National Juried Exhibition to be presented at Gallery 180 beginning in mid September. I selected this wonderfully symbolic still life to be included in the show. The piece—titled "Sea Captain"—is an oil painting depicting two ceramic pots, organic pods, and a red bowl positioned on a wooden table. A small painting of a seascape is hung on a beautifully patterned wall behind the unusual grouping. In an email, Sack explained…

I've always loved the character and attitude the teapot holds. It has such a feeling of movement, like a sea captain standing at attention on his ship with his trusty mate (the matching smaller pot) near by. The authoritarian red and earthy tones seem to be the natural choices for color ...The background a stormy neutral, and the red highlighting the ship behind the Captain. The pods add an organic element, reminiscent of sails. The stems of the pods flow in a wave pattern which imply the presence of water.

Lorraine Sack’s “Sea Captain” can be seen during the “red” exhibition presented at Gallery 180 from September 14th through November 11th. A reception will be held on Friday, October 9th from 5:30-7:30. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash in Chicago's Loop. Additional work by Lorraine Sack can be found at: lorrainestudios.com

Image: Lorraine Sack, Sea Captain, oil on linen, 18x24", $3,600

Richard Laurent's "Kingdom"

I recently completed the selection process for "red" a National Juried Exhibition to be presented at Gallery 180 of The Illinois Institute of Art-Chicago from September 14 through November 11. During the process, I found myself overwhelmed by the number of entries containing destructive and/or dark religious imagery. Looking for the bright side of this situation, I found work that contained some of that same messages but took it a step further. The content was much more cerebral. The symbolic imagery of Richard Laurent's "Kingdom" fits into this category. Like the symbolist painters of the early 19th century, Laurent's style is refined, elegant, subtle, and intellectual.

I met with Laurent an few days ago and asked him to tell me about his work. Over dinner, he explained that "Kingdom" was created while working on the series of oil paintings titled "Eve without Adam". Laurent later went on to describe "Kingdom" in an email...

The imposing green apple references Adam and Eve in Genesis. In this scenario, however, Eve is alone. In the biblical story, Adam and Eve are cast out from the Garden of Eden after partaking of fruit from the Tree of Knowledge. Is the serpent, then, the agent of corruption or is it the revelation of knowledge itself?

In this painting, the curtain pulls back on Eve to reveal her crimson vestments. She is poised to reveal herself to the world. The crimson garment represents her passionate disposition, the disposition of youth. Red is the dominant color. It mirrors her own red heart which, by extension, she has 'poured out' already.

Young Eve must choose between dualities: knowledge or ignorance, temptation or security, chastity or sexuality, future or past. It is time for her to discover her pathway in a hazy and unfamiliar environment.

A green apple is often thought of as more sour than sweet. So, too, the green apple of knowledge may seem bitter when compared to affairs of the heart. Shall Eve leave this kingdom for another based on her heart's desire alone?

The beauty of this work is that the symbols found within the story can be attributed to all of our lives. It causes us to question past temptations, choices, and then ponder the consequences of our actions.

Laurent's "Kingdom" can be seen—along with the works of thirteen other artists from around the country—at Gallery 180 of The Illinois Institute of Art-Chicago from September 14 through November 11. The Reception for the exhibition will take place on Friday, October 9th from 5:30-7:30. Gallery 180 is located at the corner of Lake and Wabash in Chicago's Loop. The exhibition is free to the public and all works will be available for purchase. Additional work by Laurent can be found at: laurentart.com

Image: Richard Laurent, "Kingdom" oil on canvas, 18"x 18", $1,800

Kathy Liao

By the end of last week, I had finally finished reviewing the submissions for the "red" exhibition. The exhibition will be presented at Gallery 180 of The Illinois Institute of Art-Chicago from September 14 through November 11 with a reception on Friday October 9th from 5:30-7:30.

Well, when I first began the review of work, I was a little concerned that a high percentage of the submissions were focused on death and destruction. With me, a little of the dark side goes a long way. But as I continued to open the submissions, there were some amazing works of art... various styles, various media, and a variety of themes. I found myself selecting images presenting complexity and interesting content. The show still includes some imagery containing pain and suffering, which seems to be a reaction to the current state of our country, but it's not the focus of the exhibition.

The above image by Kathy Liao of Seattle Washington, is one of the pieces that has been selected for the show. Intending to bring consciousness to the evolving definition of femininity, Liao explores color and aggressive mark making to convey her ideas. "De-Mask"—a 54" square oil painting completed in 2008—conveys the frustration of a child [or a nation]. The title implies that we all wear masks, which we can alter but can't remove. It's an impressive piece for a young up-and-coming Artist.

A full list of the accepted Artist and their works will be available for viewing at gallery180.com in the next few days. The show opens September 14th with a reception on Friday, October 9th. Gallery 180 of The Illinois Institute of Art-Chicago is located at 180 N. Wabash in Chicago's Loop.

Image: Kathy Liao, "De-Mask, oil on canvas, 54x54", $3,000

Where were the poppies?

The entry deadline for "red" the national juried exhibition, has passed.

When I woke up this morning, I poured myself a cup of coffee and sat down with a mailbag filled with entries. I begun to open the envelopes... logging in each entry as I sipped my coffee. I tend to log in all of the entries before going back to review the work... eventually editing the images to the pieces to be exhibited. I found myself occasionally peeking... like a child on Christmas Eve. As I got through the first twenty—or so—entries, I began noticing an unexpected theme emerging. Not all, but many of the pieces were focusing on death and destruction with some bloody religious content mixed in. I truly didn't expect this... It made me wonder if art truly does imitate life. Are we really that far gone?

Image: Georgia O'Keeffe, Poppy, 1927

Attending the Reception...

A very interesting woman attended tonight's reception for the Nancy Rosen exhibition currently on display at Gallery 180 of The Illinois Institute of Art-Chicago. She made a quiet entrance, arriving alone. Her hair—a soft shade of light yellow bleached by Chicago's summer sun—contrasted a very atypical "little black dress". Her elaborate six-inch red heals [no exaggeration] were amazing works of art in themselves. They were perfect for an exhibition reception. They made a statement... This woman possessed confidence and elegance. When I spotted her, I knew that I wanted to photograph her... this image was captured.

If you find yourself at the northeast edge of Chicago's Loop, drop in and experience the exhibition. The Nancy Rosen exhibition continues through September 11th. Gallery 180 of The Illinois Institute of Art is located at 180 N. Wabash—at the corner of Lake and Wabash—in Chicago’s Loop. The gallery hours are Monday through Friday 9-6 and Saturday 9-5.

Installing Nancy Rosen

Nancy Rosen, "Stolen Time" Mixed Media, 44" x 60", $9,000

I spent the past few days installing the Nancy Rosen Exhibition at Gallery 180 of The Illinois Institute of Art-Chicago. It was an interesting experience. Gallery 180 is located on the ground level at the corner of Lake and Wabash in Chicago's Loop. While hanging shows, I've grown accustom to onlookers trying to be the first to see the work being installed. But this weekend was quite unusual. I found myself being distracted—and entertained—by the numerous faces being pressed up against the large glass panes. People were intrigued by the work. Some even entered the "closed" gallery to view the work while it was sitting on the floor awaiting placement. If this is any indication of the shows success, Rosen should be quite overwhelmed at Friday's reception.

The Nancy Rosen exhibition opens this Friday with a reception from 5:30-7:30. Gallery 180 is located at 180 N. Wabash in Chicago's Loop. All of the works in this exhibition are available for purchase.

The "Meditative Surfaces" Reception...

Last Friday night's reception for the "Meditative Surfaces" exhibition was really quite wonderful. Not only did some of my favorite artists attend—Paula Kloczkowski Luberda and Richard Laurent seen above at left—but I had some wonderful conversations with old friends and also met some new—very interesting—people. Nickole Lanham, the Gallery Director of the Schoenherr Gallery of North Central College, was wonderful to work with and she produced an amazing reception. The environment was festive as well as stimulating ...and the food was delicious.

The "Meditative Surfaces" exhibition continues through August 21st. The show highlights the work of Maggie Meiners, Deanna Krueger as well as my own. The Schoenherr Art Gallery is located at 171 E. Chicago Avenue in Naperville, Illinois 60566. All of the exhibited works are available for purchase.

The Installation...

I spent much of yesterday with Gallery Director, Nickole Lanham, hanging and lighting the "Meditative Surfaces" exhibition in the Schoenherr Gallery of North Central College. The show—consisting of substantial wall hangings by Deanna Krueger, large-scale photographs by Maggie Meiners and a variety of my surface paintings—is meant to spark interest through the variety of media while using the cohesive concept of surface patterns to engage the viewer. Connections of color and color shifts are used as transitions to introduce the viewer to adjacent work.  The meditative qualities of the work is relaxing as the viewer wanders through the exhibition.

The opening reception for "Meditative Surfaces" is Friday, July 24 from 6-8 at the Schoenherr Art Gallery of North Central College. The reception is free and open to the public. The seventeen works included in the exhibition are available for purchase. The Schoenherr Art Gallery is located at 171 E. Chicago Avenue in Naperville, Illinois 60566. The exhibit continues through August 21.

An Interesting Distraction

Obviously, I'm very interested in textures and surfaces. It has become the content of my current work. Well, while being redirected through a business park to enter the parking lot of the Lincolnwood Lowes, I found myself distracted by a sculpture. I was in a hurry, so I reluctantly passed it by... did my shopping and headed off to my next errand. But the piece stuck in my head. The  following week, I found myself back at the Lowes nursery [I have a thing for garden centers] but this time, I stopped. I parked my car, crossed the street and went over to get a closer look at the work. 

The surface is quiet wonderful. It's made up of large aluminum rods which seem to be bunched together to create the intended shape. As I approached the sculpture, I thought it was an abstraction based on a torso. But after seeing the title, it was clear that the work is more conceptual then abstract. The artist is Josh Garber and the piece is titled "Tug" from 2006. From the Robert Steele Gallery website, Garber explains...

"My work is about interpreting gestures through mappings of coordinates. It is ... influenced by digital pixilation which dissects images with thousands of dots. Similarly, I use thousands of aluminum bars to map and then construct each piece."

You can find more of Garber's work at the Zolla/Lieberman Gallery in Chicago or at the Robert Steele Gallery in New York. 

Meditative Surfaces... July 24th Reception

Image: Charles Gniech, Meditation III, 2009, acrylic on canvas, 48x36"

"Meditative Surfaces" will be on exhibit at the Schoenherr Art Gallery of North Central College in Naperville, Illinois from July 24 through August 21 with an opening reception on Friday, July 24 from 6-8pm. The reception is free and open to the public. An overview from the press release follows:

This is a powerfully inspirational exhibition focusing on meditative surface patterns. The exhibition brings together the work of Painter; Charles Gniech, Mixed-media Artist; Deanna Krueger, and Photographer; Maggie Meiners. These three Artists are inspired by their own—very different—individual passions, yet the work comes together to present a united statement of introspection.

Influenced—for more then a decade—by the hundreds of the pre-historic stone circles throughout Great Britain, Charles Gniech is inspired by the natural stone patterns found on the surface of Megaliths. Gniech references and manipulates these patterns to create meditative imagery on which to ponder. Defining his work, Gniech explains:

“I have spent more then a decade exploring the meditative qualities of the prehistoric stone circles of Great Britain. Britain is littered with more then four-hundred and thirty of these prehistoric sites... most people are familiar with Stonehenge, yet there are areas concentrated with megalithic structures as far to the north as the Scottish Islands, and as far to the south-and west-as Cornwall. The largest complex of circles is just to the north of Stonehenge, at Avebury. My latest body of work is influenced by the meditative qualities of the fluid surface patterns found on some of these monuments. I have taken some artistic liberties, in the replication, manipulation and abstraction of the surface patterns found on these massive stone slabs, yet the work continues to convey the serene qualities regularly associated with nature and inner peace.”

Above: Deanna Krueger, Echo, mixed media, 69x61" detail

Deanna Krueger produces powerful mixed media forms created from recycled medical diagnostic film layered with monotypes. The film is torn, repositioned, and then stapled together to create various multi-faceted surfaces. The semi-reflective surfaces create a mesmerizing, gem-like quality. Krueger’s given titles hint at the conceptual nuances, which imply humanity’s collective search for meaning. Krueger explains:

“I am interested in humanity's collective search for meaning in the absurdity that is this life, and in the pleasure to be found in the various manifestations of that search.”

“…Serving as a marker of this time of transition, the materials speak to the recent evolution of information storage. When virtual documents replace paper, the lowly staple will become an artifact of an earlier information age. Modes of diagnostic imagery are shifting as well: X-Rays and MRI scans are increasingly being recorded solely in the digital realm.”

Above: Maggie Meiners, Slick, c-print, 40x40"

The large-scale abstract photographs of Maggie Meiners come from her “Childhood Contemplations” series. The mere size of these forty-inch square digital c-prints, allows the viewer to become engulfed by the imagery and to explore their inner mind. The various color patterns are meant to trigger memories on which to contemplate. In defining this body of work, Meiners explains:

“Although the use of blurred imagery seems to defy logic, this intentional shift in focus is meant to transfix and then transport the viewer to a mind space where memories run wild. Various spectrums of color are used as a guide to revisit and explore memories of the past.”

"Meditative Surfaces" will be on exhibit at the Schoenherr Art Gallery of North Central College from July 24 through August 21 with an opening reception on July 24 from 6-8pm. The reception is free and open to the public. The Schoenherr Art Gallery is located at 171 E. Chicago Avenue in Naperville, Illinois 60566