SEASON 19
EXHIBITS IN THE GALLERY
September 2022 - August 2023
This exhibition season is financially assisted by individual donations, large and small, from across the U.S.
Pre-order the season-documenting hardcover anthology, the Manifest Exhibition Annual (MEA s19). |
Season 19 Launch!
September 30 - October 28, 2022Ticketed Preview (get tickets here) - Annual Fund Benefit:
Thursday, Sept. 29, 7-9pm
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Public Opening: Friday, Sept. 30, 6-9pm
Moderated Artists Panel Talk and Conversation: Thursday, October 27, 6-8pm
ONLINE EVENT - FREE ADMISSION (tickets soon available here)
MANIFEST VR WALKTHROUGH — Distance-Defying Exhibit Experience (coming soon)
main gallery
THE OVERSTORY
Photographic Works About Forests, Trees, their Wood, and the Memory they Contain
A FotoFocus Biennial Participating Venue Exhibit
Trees are the breath of the world. The memory of our soul. They encapsulate carbon, breathe out oxygen. They give us wood, fruit, nuts, soil, and shade. In their long lineage they embed time, a patient record of the world we step in and out of barely noticed.
Likely the original home of our primordial ancestors, trees bore our kin like gentle matriarchs, ultimately enabling humans to achieve everything our species has done, including the destruction of the forests themselves.
In a sense, it is in the forest where the battle for the fate of all of life takes place. Therefore it is in wood where one will find the record of the world awaiting.
The Overstory called for works of photography and other light-based processes and media, including traditional, digital, and experimental photography, photo-etching/litho/silkscreen, photo collage, light-based/illuminated works, and more—all centered in some way on this overarching theme.
Support for this FotoFocus Biennial 2022 exhibition was provided by FotoFocus.
For this exhibit 130 artists submitted 567 works from 31 states and 2 countries, Canada and the United States. Eighteen works by the following 12 artists from 11 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.
Presenting works by:
Steven Brown
San Francisco, CaliforniaJohn Francis
Boise, IdahoPorter Gifford
Cambridge, MassachusettsSarah Grew
Eugene, OregonPato Hebert
Los Angeles, CaliforniaSusan Moldenhauer
Laramie, WyomingRobyn Moore
Wellington, KentuckyDorothy O'Connor
Atlanta, GeorgiaLaurie Beck Peterson
Philadelphia, PennsylvaniaRachel Portesi
Saxtons River, VermontAreca Roe
Mankato, MinnesotaTom Trusty
Dublin, Ohio
Laurie Beck Peterson
Areca Roe
Susan Moldenhauer
drawing room
A MEMORY OF ICE
Alternative Print Media & Photo Work
by Kelsey Stephenson
Kelsey Stephenson is an Edmonton (amiskwacîwâskahikan) based artist working with ideas of place-based memory and identity, and the changes imposed on landscape through human agency over time. Her recent projects encompass installation and multimedia practices, often utilizing printmaking as a jumping off point for her work. She has exhibited her work in solo exhibitions across Canada and in the USA, with recent group exhibitions including The 5th Bangkok Triennial International Print and Drawing Competition, Bangkok Art and Culture Center, Thailand; the 37th Bradley International, at Bradley University (Illinois, USA); and the 2018 Okanagan Print Triennial, in Kelowna, BC.
Kelsey holds a Masters in Fine Art from the University of Tennessee, as well as a Bachelors of Design from the University of Alberta. She has taught courses in printmaking at the Alberta University of the Arts (formerly known as Alberta College of Art + Design), and she currently teaches at the University of Alberta as an associate lecturer.
Of her work the artist states:
"My current work is rooted in photographic and lens-based print practice, examining historical aspects and context of film in archived imagery, and exploring contemporary alternative photographic processes in response.
The repeat photography works on paper examine specific locations from the archive that are well known, and had history of long-time tourism promotion from the inception of Banff National Park to today, to express just how much glaciers have changed over the last 100 years... The more recent images I have taken in response play on that aspect of settling, tourism, and land use, but also question how much preservation of wilderness is possible when provincial policies allow oil and gas emissions, or coal exploration in the eastern slopes of the Rockies...
Taken as a whole, the fragility of the multiple systems brought within the gallery becomes readily apparent. The silk panels waver and change as you walk by. The translation from real landscape, to photograph, to drawing, to negatives, and ultimately screen-printed imagery loses information at each step. The images remind viewers that our glaciers and water systems are not infinite and that each action is interconnected.”
This exhibition was selected from among 182 proposals submitted in consideration for Manifest’s 19th season.
parallel space
DESIRE LINES
Photographs & Mixed Media Assemblage
by Eli Craven
Eli Craven is an artist based in Lafayette, Indiana where he is an Assistant Professor of Photography at Purdue University. Craven's research resides in the critical investigation of the image and its relationship to ideologies of sexuality, desire, and death. His work is exhibited nationally and internationally. Most recently at KlompChing Gallery in Brooklyn, New York and in the South Bend Museum of Art's 31st Biennial. His work has also been widely published. Select publications and clients include Philosophie Magazine, The Journal of Curriculum and Pedagogy, Gestalten Publishing Berlin, Penguin Randomhouse Barcelona, and The Paris National Opera.
Of his work the artist states:
"I work conceptually with photographic images by re-evaluating the physical and psychological potential of the picture through sculptural interventions. The works exist somewhere between the image and object, attempting to connect the representation to some form of reality. I am interested in the ubiquitous and mundane imagery of family portraiture, self-help books, and instructional guides, which, upon close inspection, allude to a range of human fears and emotions. The research begins with the acts of looking and collecting then progresses to a critical investigation of the image and its relationship to ideologies of sexuality, desire, and death.”
This exhibition was selected from among 182 proposals submitted in consideration for Manifest’s 19th season.
central gallery
REASSEMBLED
Photographic Transfers by Robin Assner-Alvey
Robin Assner-Alvey (b.1978, Massachusetts) is an artist working with photography, video, and installation. She received her Bachelor of Fine Arts from the University of Connecticut (2000) and her Master of Fine Arts from the Ohio State University (2002). Her work examines corporality and asks viewers to consider the experience of living in their own skin. She experiments with various photographic processes to push the boundaries of what a photograph can be as well as to question what it means to be a woman.
Robin's work has been exhibited in various solo and group shows throughout the United States. She is currently Professor of Art in the Leigh Gerdine College of Fine Art at Webster University in St. Louis, MO, where she has taught all levels of photography and video since 2003.
Of her work the artist states:
"As a forty-four year-old plus size woman and artist living through a pandemic while trying to raise two young children, I feel an irresistible need to photograph myself. I use my own body in a frank and honest manner to reflect on maternal ambivalence and the toll that motherhood can have on a person. At the end of long days, when I am both physically and mentally exhausted and have nothing else to give, I stand in front of the camera to document what is left of myself. There are many scars that come with being a mother, both emotional and physical. I explore this through the disjointed way that the photographs of the body are assembled. In the final images, my body appears dismembered, not in proper proportion, and has an underwater feel as if the person in the image is drowning and hanging on by a thread...”
This exhibition was selected from among 182 proposals submitted in consideration for Manifest’s 19th season.
north gallery
NO RETURN
Non-Archival, One-Way, & Temporary Works
How long is your artwork supposed to last? Is it allowed to be temporary? Disposable?Generally, art-making is synonymous with object-making, with the type of artwork describing the thing, rather than what it is about. You are a painter making paintings, a sculptor making sculptures, a photographer making photographs, etc. When you make a thing, you are taught to craft it not just for the sake of excellence, but for the sake of surviving the test of time.
There is a world within the world of art, though, that is unconcerned with long-term existence. Food is meant to be eaten quickly, and live music and dance are allowed to evaporate after the gesture of their making is completed.
Can physical objects embrace that temporary nature? What would you make if you didn’t have to consider the color-fastness of your paint, or the acid content of your ink or paper? If elements you bring together do not have to stay together, forever and ever?What is contained within the brief life of an artwork?
Can’t it be enough to be something wonderful now, even if it may not be in 100 years? Can we let it die and decompose? Do you even need to include return shipping? (It would be nice to not have to think about the future.)
NO RETURN is a show for temporary, one-way, and non-archival artwork—works that are not really 'collectible', that aren’t meant to last, maybe not even long enough to return to its maker at the end of the exhibition... or be handed down to a future generation.
For this exhibit 23 artists submitted 98 works from 15 states and 3 countries, Australia, Canada, and the United States. Fourteen works by the following 10 artists from 8 states and Canada were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.
Presenting works by:
Briana Babani
Atlanta, GeorgiaEthan Brossard
Northampton, MassachusettsHolly Fay
Regina, CanadaGabriel Feld
Providence, Rhode IslandTodd Frankenfield
Easton, PennsylvaniaBeth Grabowski
Chapel Hill, North CarolinaJessica Greenfield
Deep Gap, North CarolinaJameson Mulac
Morgantown, West VirginiaNichole Riley
Pipe Creek, TexasMargi Weir
Detroit, Michigan
Gabriel Feld
Jessica Greenfield (detail)
Briana Babani
November 11 - December 9, 2022 Ticketed Preview - Annual Fund Benefit: Thursday, Nov. 10, 7-9pm
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Public Opening: Friday, Nov. 11, 6-9pm
December 16 - January 13, 2023 Ticketed Preview - Annual Fund Benefit: Thursday, Dec. 15, 7-9pm
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Public Opening: Friday, Dec. 16, 6-9pm
January 27 - February 24, 2023 Ticketed Preview - Annual Fund Benefit: Thursday, January 26, 7-9pm
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Public Opening: Friday, January 27, 6-9pm
March 10 - April 7, 2023 Ticketed Preview - Annual Fund Benefit: Thursday, March 9, 7-9pm
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Public Opening: Friday, March 10, 6-9pm
April 21 - May 19, 2023 Ticketed Preview - Annual Fund Benefit: Thursday, April 20, 7-9pm
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Public Opening: Friday, April 21, 6-9pm
June 2 - June 30, 2023 Ticketed Preview - Annual Fund Benefit: Thursday, June 1, 7-9pm
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Public Opening: Friday, June 2, 6-9pm
July 14 - August 11, 2023 Ticketed Preview - Annual Fund Benefit: Thursday, July 13, 7-9pm
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Public Opening: Friday, July 14, 6-9pm
August 18 - September 15, 2023
SEASON 19 FINALÉ!Ticketed Preview - Annual Fund Benefit: Thursday, August 17, 7-9pm
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Public Opening: Friday, August 18, 6-9pm
PREVIOUS SEASON 19 EXHIBITS:
——— END OF SEASON 19 ——— THANK YOU!
Season Funder: Manifest's 19th season is supported by the generosity of tens of thousands of contributors to the ArtsWave Community Campaign, by a sustainability grant from the Ohio Arts Council, and through the generous direct contributions of individual supporters and private foundations who care deeply about Manifest's mission for the visual arts.
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