creative research gallery and drawing center
a 501(c)(3) not-for-profit organization

  


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.
You can donate here to help keep our nonprofit programming going!

Pre-order the season-documenting hardcover anthology, the Manifest Exhibition Annual (MEA s19).

Download to save or print the entire season 19 calendar here.

Submit work to open projects here.

Find your way to the gallery, (map) here.

March 10 - April 7, 2023  

Ticketed Preview Annual Fund Benefit:
(TICKETS AVAILABLE HERE)
Thursday, March 9, 7-9pm
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Public Opening: Friday, March 10, 6-9pm
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Artist's Reception & Walkabout: Saturday, March 18, 6-8pm**

Moderated Artists Panel Talk and Conversation: Thursday, April 6, 6-8pm
ONLINE EVENT - FREE (tickets available soon)

main gallery + drawing room

 

OHIO, KENTUCKY, INDIANA
Regional Showcase Exhibition

 

In 19 seasons Manifest's projects have included works by artists representing 50 states and 48 countries. Beginning in our tenth season, we launched an ongoing series of exhibits focusing on works by artists in our three-state region. Eight years ago we added projects that also focused on other definable regions outside our own. These Regional Showcases were offered to complement the very wide geographical makeup of most Manifest exhibits with a closer look at art being made here in our own backyard, as well as provide a platform from which we could examine the trends, qualities, and idiosyncrasies of contemporary art within specific geographical areas and compare them to our own.

As is the case every season, this exhibit had no specific requirement for type, media, or style of work to be submitted. This was an open call. Submissions ranged widely from traditional to very conceptual, abstract, and experimental work. Jury selections were made based on the overall quality of the works submitted.

For this exhibit 167 artists submitted 686 works from Ohio, Kentucky, and Indiana. Twenty works by the following 14 artists from our three-state region were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

 

Presenting works by:

Lauren Anderson
Noblesville, Indiana

Brochevski (Amai Rawls Jr.)
Louisville, Kentucky

Eli Craven
Lafayette, Indiana

Noah DiRuzza
Canton, Ohio

Ron Isaacs
Lexington, Kentucky

Ellen Lyon
Bloomington, Indiana

Antonio McAfee
Richmond, Indiana

Lisa Merida-Paytes
Cincinnati, Ohio

Priscilla Roggenkamp
Alliance, Ohio

Marc Ross
Columbus, Ohio

Lisa River Schenkelberg
Shaker Heights, Ohio

Hedieh Sharifzadeh
New Albany, Ohio

Stephen Tornero
Canton, Ohio

Sarah Zimmerman
Muncie, Indiana

 

 

 

 

 

 

 

 

  

 

 

    Lauren Anderson

 

    Lisa River Schenkelberg


    Eli Craven


 
 

parallel space + central gallery

 

Robert Pulley* & Dana Saulnier
A Two-Person Exhibit of Paintings, Drawings, and Ceramic Sculpture

In considering proposals submitted for this exhibition period Manifest's team realized it had a special opportunity to craft another rare two-person show featuring two bodies of compatible, contrasting, yet highly unique works by two noteworthy veteran artists working in our region. We are grateful that Robert Pulley and Dana Saulnier accepted our invitation to join forces in this two-gallery presentation of their work.

 

QUIET FORM

Robert Pulley was born in Wabash, Indiana in 1948. He grew up at the edge of town and the richness of the natural world became his muse. He received a BA degree in art education from Ball State University followed by an MA degree in sculpture and ceramics in 1978. His early career included a year of teaching art, an artist residency, starting and running a functional pottery in Southern Indiana, and making raku pottery at a log cabin for two years. After graduate school he, his wife and young daughter moved to Columbus, Indiana where he set up a studio and taught art in the public schools. In 1983 they purchased an old farm house with 2.3 acres. There, they turned an outbuilding into a studio, planted gardens, trees and sculptures and raised their children. 38 years later, they live at the same address. The lawn has become a sculpture garden, the trees they planted are up to 80' tall, and their children are grown. Robert has shown professionally for 50 years. His sculptures are in many private and public collections, including several museums.

 

Of his work Pulley states:

"My approach to art is intuitive, improvisational, and connected to the forms and forces of nature. I use chance and improvisational techniques to tap the subconscious in search of engaging forms. Most of my work has been large scale, stony and very active, with contrasting textures and earthy colors of stains and glazes accentuating sinuous or geometric forms. Simultaneously there are always a few simpler forms with smooth planes, symmetry and taught lines. These act as relief and counterpoint to the drama and activity of my dominant work.

In 2020 I decided to challenge myself to work smaller, with less color and more attention to detail. The change to smaller scale meant paying attention to marks and surfaces in a new way, The resulting work occupies space in a more intimate way."

 

**Note that concurrent with this show, Pulley's large scale ceramic work comprises Manifest's first ever outdoor sculpture exhibition at our new campus at 3464 Central Parkway as an extension of this intimate gallery exhibit. An artist's reception for Five Monoliths will be held during a building-wide spring open house on March 18 from 5-9pm (with an artist's walkabout at 6:30pm weather permitting). More info. Pulley also has a major display of large sculptures on view at the Krohn Conservatory in nearby Eden Park through June 18, 2023.

A guide to Five Monoliths at M1:

 

 

IMAGES UNSAID


Dana Saulnier is a painter who lives on a few acres of rural land where he tries to keep his senses alert to the fragile rhythms of time and form. An avid reader of fiction, philosophy, and theories of visual experience, he thinks a lot about how we find ourselves as beings within nature even as we are deeply historicized within cultural horizons.

Saulnier'’s painting practice is historically self conscious, aligning with and differing from traditions of the figure in landscape. Occasionally he writes about art making.

Saulnier received the BFA degree in Painting from the University of Cincinnati and the MFA degree in Painting from Cornell University. Professor Saulnier teaches Painting, Drawing, and Theory, at Miami University in Oxford, Ohio, where he currently serves as Graduate Director for the MFA program in Studio Art. Saulnier has exhibited his art in over one hundred exhibitions and more than thirty solo exhibitions, mostly in the United States, but also in Europe. Dana Saulnier is represented by First Street Gallery in New York and Cynthia Byrnes Contempory Art in Connecticut. His work can be viewed at www.danasaulnier.com.

 

Of his work Saulnier states:

These visceral paintings evolve a genealogy of the ‘figure in landscape’. Transitions between figure and ground are continually investigated but remain uncertain and permeable. ‘Bodies’ in these works exist as haptic events. Yet these forms have mass and weight; they demonstrate a grounded carnal presence. Truncated forms achieve temporary integrity, a kind of circumspect vitality and position.

My paintings evolve from sets of drawings and studies in oil. When making exploratory works, I often respond to subtle intuitive sensations that I cannot quite understand. I am ‘taken in’, following some potential event of becoming visible. Pursuing an emotional connection to my seeing I discover formal configurations. At the same time, the paintings also fill up with unsettled seeing. Any viewpoint I may establish continuously decays and multiple arrays of sensation refuse to settle. Tensions between visibility and invisibility are thoroughly woven into the work and structure how the viewer receives the image. This fullness of seeing and not seeing—this is the painting—it is always cycling states of fugitive sense.

Painting is frequently thought historically, and viewers of the work often comment upon the dialogue with historical paintings. This is both understandable and troublesome. I think it is inadequate to see these paintings only as vehicles for appropriations, memorials, or documentary projects. For me, finding our historical being as an emotional condition is the most important goal. Living emotionally is a continuous condition of our being. Figure-landscape, landscape-figure, always, always in tension, always new.

I want to make images where active perception delays habits of categorical thinking. I hope the paintings directly ‘speak’ to the viewer’s body and create generative aesthetic experiences. Though I love the way visual art calls forth interpretive responses, I try to make work that resists analysis while being absolutely specific in form. Painting lives best, meaning more deeply, when it devours theory.

 

This exhibition was assembled from two that were among 182 proposals submitted in consideration for Manifest’s 19th season.

 

 

 

 

 

 

  

 

 

 

    Robert Pulley


    Robert Pulley


 

 

 

 

 

    Dana Saulnier

 

 

    Dana Saulnier
 

north gallery

 

CAST | molded

 

Cast objects are born into a family in ways other art objects are not. A cast object is formed inside of a parent mold, and then released to exist in a world with its identical siblings. As long as the mold survives there exists an opportunity for replication, for iteration.

There are of course, instances of only-children. Sometimes the mold is broken in the process of releasing its objects. Maybe, in this case, the mold is like a cocoon.

Aside from the possibilities molds provide for production and re-production, the process is also often a collaboration between dissimilar materials. Clay, wax, polymers, papers, woods, metals, and plasters are fed with new substance. New materials take the shape of the void—the negative space itself—within a mold where they cure/mature/harden until they can sustain their own form independent from the supporting scaffold of the body that formed it.

Cast objects take on the shape and character of their container, of a tool-form that has, like printmaking has done for two dimensional images, greatly amplified creative options for artists, designers, and architects in their pursuit of three-dimensional expression for thousands of years.

Such objects inevitably are reflections of the form of an original emptiness which they both inherit and transcend.

CAST/molded an exhibition of works made using casting methods, molds, stamps, forms, or similar processes. The competitively juried exhibition was open to a very wide range of applications of these processes, and any work of art or design that employs a form of casting, molding, stamping, or other form-based manipulation of materials to create primarily three-dimensional work.

For this exhibit 153 artists submitted 529 works from 35 states, Puerto Rico, Washington D.C., and 4 countries, including Australia, Canada, France, and the United States. Sixteen works by the following 13 artists from 9 states and Puerto Rico were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

 

Presenting works by:

Kailee Bosch
Fort Collins, Colorado

Marissa Childers
Oklahoma City, Oklahoma

Tandem Concreto
San Juan, Puerto Rico

Joshua Doster
La Crosse, Wisconsin

Samantha England
Cincinnati, Ohio

Rowen Foster
Seattle, Washington

John Greig Jr.
Philadelphia, Pennsylvania

Pierce Haley
Kansas City, Missouri

Shane Harris
Springfield, Illinois

CJ Niehaus
Crystal Lake, Illinois

Steve Novick
Somerville, Massachusetts

James Payne
Cincinnati, Ohio

Mary Rhein
Belleville, Illinois

 

 

 

 

  

 

 

 

    Shane Harris


 

     Pierce Haley


 

     Mary Rhein


 

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:

 
Season 19 Launch!
September 30 - October 28, 2022  

Ticketed Preview (get tickets here) - Annual Fund Benefit:
Thursday, Sept. 29, 7-9pm
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Public Opening: Friday, Sept. 30, 6-9pm

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, California

John Francis
Boise, Idaho

Porter Gifford
Cambridge, Massachusetts

Sarah Grew
Eugene, Oregon

Pato Hebert
Los Angeles, California

Susan Moldenhauer
Laramie, Wyoming

Robyn Moore
Wellington, Kentucky

Dorothy O'Connor
Atlanta, Georgia

Laurie Beck Peterson
Philadelphia, Pennsylvania

Rachel Portesi
Saxtons River, Vermont

Areca Roe
Mankato, Minnesota

Tom 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, Georgia

Ethan Brossard
Northampton, Massachusetts

Holly Fay
Regina, Canada

Gabriel Feld
Providence, Rhode Island

Todd Frankenfield
Easton, Pennsylvania

Beth Grabowski
Chapel Hill, North Carolina

Jessica Greenfield
Deep Gap, North Carolina

Jameson Mulac
Morgantown, West Virginia

Nichole Riley
Pipe Creek, Texas

Margi 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

 

main gallery + drawing room

 

Home Again, Home Again
Kinetic Sculpture & Installation
by Lisa Walcott

 

Lisa Walcott is a Midwest-based artist. She received her MFA in Sculpture from Cranbrook Academy of Art in 2010 and has since created and exhibited her work nationally including Land of Tomorrow in Louisville, KY, Sadie Halie Projects in Minneapolis, MN and The Eli and Edythe Broad Art Museum in East Lansing, MI. She has attended residencies at Ox-Bow School of Art, ACRE and Three Walls. Walcott teaches sculpture classes at Hope College in Holland, MI. Her work grapples with and makes light of the perils of daily life using kinetic sculpture, installation, drawing, and photography. 

Of her work the artist states:

"This body of work engages the current situation, daily cycles, everyday objects, and tasks from home. Inspiration is often derived from domestic spaces—, a space that can be hauntingly dull as well as safe and protective. I look for comparisons, rely on the uncanny, and pull from daydreams to create sculptures that are relatable, but different.

Humor and empathy meet in a piece like “Tight Spots” in which seven small dish towel sculptures toil away, “head down” working endlessly in an absurd yet relatable performance. The overtone is humorous, the undertone is the heavy monotony of tasks from home or the churning of an anxious mind. It is impossible to tell what is being accomplished, but they continue nonetheless.”

This exhibition was selected from among 182 proposals submitted in consideration for Manifest’s 19th season.

 

 

  

 

 

 

  

 

  


 

parallel space

 

ARCH.
Considering Made Space

It has been said that architecture may be the ultimate form of art. After all, it is both expressive, informative, and serves as a refuge from the elements. What happens when it becomes the content of other architecture—of the gallery itself?

ARCH. was a theme last presented at Manifest in 2011, over a decade ago. As a deliberate parallel to our Fourth Wall exhibition of works that challenge the 'frame', ARCH. invited artists, architects, designers, and other makers to share works that in some way explore or feature made space.

For this exhibit we set out to assemble a diverse array of works unified in its consideration of the concept of made space, but intriguing due to the ways in which different artists address the subject, and for what is revealed about how humans alter and address space as a medium of life.

For this exhibit 53 artists submitted 200 works from 21 states, Washington D.C., and 3 countries, including Romania, Sweden, and the United States. Ten works by the following 8 artists from 6 states and Washington D.C. were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.


Presenting works by:

Alejandro Borges
College Station, Texas

Sally Canzoneri
Washington D.C.

Leah Gose
Wichita Falls, Texas

Wade Kramm
Verona, Pennsylvania

Craig McCormick
Indianapolis, Indiana

Anshul Roy
Syracuse, New York

Robert Saldarriaga
Corona, New York

Amy Yoshitsu
Berkeley, California

 

 

 

 

 

 

  

 

     Alejandro Borges

 

 

     Amy Yoshitsu


 

 

 

central gallery

 

FOURTH WALL
Challenging the Frame

The job of the picture plane is to establish the boundaries of an artwork. 

Its visual acreage is protected and reinforced by frames, pedestals, vitrines, walls—even the space of a gallery itself. These spaces are places of opportunity, and their boundaries mark the difference between experiencing art and living in the rest of the world. 

A boundary shuts out the noise. It lets you know what the rules are. 

The boundaries of an artwork are intended to vanish, ignored in favor of its content.

The truth is, though, that boundaries are not truly invisible, and they are not non-reactive. The context of a work, the framework of art, the place that it is displayed, these are all part of the experience of the art. It is their ordinariness that lets them fade into the background. 

What happens, then, when the “normal” framework changes? When it is re-formed? When the fourth wall breaks as the art and artist make clear their awareness of the medium?

FOURTH WALL called for artwork that challenges its borders, its framework, its format, the physical and conceptual space it inhabits—for works that question and create deliberate relationships with their contexts.

For this exhibit 44 artists submitted 126 works from 24 states and 4 countries, including Australia, Canada, Germany, and the United States. Ten works by the following 9 artists from 7 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.


Presenting works by:

Eric Charlton
Jackson, Mississippi

Erin Dvorak Clark
Aurora, Colorado

Caroline Hatfield
Starkville, Mississippi

Del Rey Loven
Akron, Ohio

Dave Petengill
Dover, New Hampshire

Jay Shepard
Olympia, Washington

Hanna Sosin
Cincinnati, Ohio

Nathan Stromberg
Saint Paul, Minnesota

Lee Williams
Shaftsbury, Vermont

 

 

 

 

 

  

 

     Dave Petengill

 

 

     Nathan Stromberg


     Caroline Hatfield


 

 

north gallery

 

BALANCE
Exploring Composition

Considered one of the seven principles of visual organization, Balance is a fundamental concept in art.

In theory, balance is achieved when the parts of the whole are arranged so that they either hold still, or flow without losing control—through either static or dynamic balance. Typically balance is a formal, visual factor—part of the physics of a work of art. (Such physical parallels as center of gravity, centrifugal and centripetal force, and kinetic and potential energy can easily be applied to visual art regarding balance, not to mention movement, another related principle.) But in reality, both visual and conceptual forces are aspects of balance. We know how the visual looks and feels, almost intuitively, but what does conceptual balance look like?

In practice, balance is a hard thing to achieve, especially if you pursue greater compositional dynamism, challenging your formats and rhythms. Training your sense of balance requires study, trials, and practice—and a lot of falling. You take it for granted when you have it. But when you don't, you notice.

There are so many ways to fall.

There are also many arrangements that hold together, that support a work’s unity, that resonate and stay alight—arrangements that contribute to the overall content of the work, and the experience it offers.

BALANCE called for works about compositional experiments, proofs, challenges the artists overcame or were overwhelmed by, of precarious equilibrium, impossible stability, and the role such concepts play in making compelling meaning through the visual.

For this exhibit 74 artists submitted 229 works from 25 states and 2 countries, including Germany and the United States. Thirteen works by the following 12 artists from 10 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.


Presenting works by:

Carol Boram-Hays
Columbus, Ohio

Bob Bruch
Oberlin, Ohio

Cole Carothers
Milford, Ohio

Scott Eakin
Atlanta, Georgia

Ivan Fortushniak
Indiana, Pennsylvania

Milan Jilka
Springdale, Arkansas

Matthew Kluber
Cedar Rapids, Iowa

Gary Lapow
Berkeley, California

Marcus Michels
Hattiesburg, Mississippi

Ron Richmond
Mount Pleasant, Utah

John Troy
Glendale, Missouri

Denis Wogan
Lowell, Massachusetts

 

 

 

 

  

 

     Carol Boram-Hays


 

     Ron Richmond


 

     Matthew Kluber


 

 

 

 
December 16 - January 13, 2023  

Ticketed Preview (Get Tickets Here!)
Annual Fund Benefit: Thursday, Dec. 15, 7-9pm
–––––––––––––
Public Opening: Friday, Dec. 16, 6-9pm

main gallery + drawing room

 

IMPRINT 2022
Contemporary Printmaking

Like photography, printmaking is a genre of art making that is underscored by its processes. Some artists are steadfast traditionalists, anchoring themselves in age-old technical methods. Others push the boundaries of the discipline, exploring just what constitutes ‘printmaking’. For this exhibit Manifest takes a fresh look at the media last featured in season 14. IMPRINT called to artists around the world to submit works of printmaking, and shares a range of methods and results currently being achieved within the bounds of the discipline.

For this exhibit 131 artists submitted 523 works from 41 states, Washington D.C., and 3 countries, Canada, France, and the United States. Twenty Eight works by the following 23 artists from 14 states and France were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.


Presenting works by:

Keegan Adams
Lakewood, Ohio

Andrew Au
Cincinnati, Ohio

Stephanie Berrie
Cincinnati, Ohio

Keith Buswell
Lincoln, Nebraska

Gino Castellanos
Knoxville, Tennessee

Jacob Crook
Starkville, Mississippi

Rick Finn
Cincinnati, Ohio

Craig Fisher
Toledo, Ohio

Laura Fisher
Paris, France

Beth Grabowski
Chapel Hill, North Carolina

Yuji Hiratsuka
Corvallis, Oregon

Anthony TungNing Huang
Knoxville, Tennessee

Catherine Kramer
Miami, Florida

Kathy McGhee
Galloway, Ohio

Monika Meler
Valdosta, Georgia

Daniella Napolitano
Phoenix, Arizona

Andrew Polk
Solsberry, Indiana

Carol Prusa
Weaverville, North Carolina

Benjamin Shamback
Mobile, Alabama

Nomi Silverman
Glenville, Connecticut

Michael Weigman
Columbus, Ohio

Erin Wohletz
Vermillion, South Dakota

Connie Wolfe
Chicago, Illinois

 

 

 

 

 

  

 

     Catherine Kramer

 

 

     Benjamin Shamback


     Nomi Silverman


     Stephanie Berrie


 

 

parallel space

 

BOOK CLUB
Art About Books, Language, & Literature

A story is an account. Stories carry human history. They predict our future.

A story is the thing we use to relate an event, real or not, that happened and who it happened to and how they changed, or didn't change, or caused change.  

Story telling is the way that we can relate an account of an event, of something that we’ve experienced. Or possibly the experience of someone that we’ve made up, a sequence of events that didn’t happen, or didn’t happen in that way, or maybe that are complete fabrications—a 'story'. 

It is the thing that happens after the event, the way we share with others in the aftermath. But sometimes it comes before.
 
What does the visual account look like? Like a movie? A sequence of images? A single picture carrying the weight of a thousand words? What visual cues give us the beginning, middle, and end? Do we express a story with illustrative methods? Do we distill it into a separate visual work, symbolizing rather than relating it? 

BOOK CLUB called to artists for art about or inspired by stories, story-telling, legends, myths, texts, tomes, and the narratives we construct.

For this exhibit 70 artists submitted 212 works from 24 states and 3 countries, India, Korea, and the United States. Eleven works by the following 7 artists/collaboratives from 7 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.


Presenting works by:

Sarah Bryant, Katie Baldwin, Denise Bookwalter, Macy Chadwick, and Tricia Treacy (in collaboration)
Tuscaloosa, Alabama

Keith DuQuette
Brooklyn, New York

Beth Grabowski
Chapel Hill, North Carolina

Jessica Greenfield
Deep Gap, North Carolina

Peggy Johnston
Des Moines, Iowa

Robin Miller
Bluefield, West Virginia

Erin Vigneau-Dimick
Edwardsville, Illinois

 

 

 

 

 

 

 

  

 

     Keith DuQuette

 

 

     Beth Grabowski

 

 

     Peggy Johnston


 

 

 

central gallery

 

ONE 13
The 13th Annual Manifest Prize Winner


Katherine Tzu-Lan Mann
(Washington, D.C.)

Memory Palace
acrylic, sumi ink and collage on paper
60 x 190", 2020

Of her work the artist states:

"I examine landscape painting, environment, and cultural estrangement by building luxuriant, cinematically scaled paper paintings and installations. These combine romantic, utopian and immersive sensibilities from both Chinese and Western landscape painting with a lexicon drawn from a personal mythology informed by my identity as a biracial, second generation Asian American: ribbons, baubles, bats, peaches, sperm, piles of flowers repeated so many times as to appear biomorphic and alien, but bursting with incongruous efflorescence.

These pieces have two primary concerns: the exploration of landscape in a world where "landscape" is defined through an ever-widening field of digital, graphic, and visual forms, and the insertion of personal world building—a world of fragmentation, hybridity, and incongruity—into that history."

 

Katherine Tzu-Lan Mann received her BA from Brown University and MFA from the Maryland Institute College of Art. She creates large scale paintings and paper installations that examine mythology, identity, and land-scape. Mann is the recipient of the Sustainable Arts Foundation grant, a Fulbright grant, the AIR Gallery and Lower East Side Printshop Keyholder Fellowships, and the Mayor’s Award and Hamiltonian Fellowship in Washington, DC. Her work has been shown internationally, including the Kreeger Museum, Academy Art Museum, Walters Art Muse-um, American University Museum, Corcoran Gallery of Art, Rawls Museum, the US consulate in Dubai, UAE, and the US embassy in Yaounde, Cameroon.


 

ABOUT THE $5,000 MANIFEST PRIZE

Six seasons ago our board of directors increased the Manifest Prize award to $5,000. This underscored our non-profit organization's desire to reward, showcase, celebrate, and document exceptional artwork being made today by working artists, and to do this in a tasteful non-commercial public context. Manifest's mission is centered on championing the importance of quality in visual art, supporting and encouraging artists at all levels. This project is one aspect of the realization of that mission.

We respect the creative principle of reduction (the blind jury process) as it is employed to achieve an essential conclusive statement for each exhibit we produce. This is what has led to the high caliber of each Manifest exhibit, and to the gallery's notable following. We believe competition inspires excellence. Therefore we determined over a decade ago to launch the Manifest Prize in order to push the process to the ultimate limit—from among many to select just ONE work.

Manifest's jury process for the 13th Annual Manifest Prize included multiple levels of jury review of 860 works of all shapes, sizes, and media made by 195 artists from 38 states, Washington D.C., and 5 countries, including Canada, Finland, Ireland, Japan, and the United States. The jury consisted of a total of 12 different volunteer jurors from across the U.S. Each level of the process resulted in fewer works passing on to the next, until a winner was reached. The size and physical nature of the works considered was not a factor in the jury scoring and selection.

It should be noted that the winner and finalists, 11 works, represent roughly the top scoring 1% of the jury pool. The winner represents the top one-tenth of 1% of the jury pool.

The winning work will be presented in Manifest's Central Gallery from December 16, 2022 through January 13, 2023. It will be accompanied by excerpts from juror statements and the artist's statement.

The Finalists:

The Artists of the Ten Runner-up / Finalist Works will also be featured in the season-documenting Manifest Exhibition Annual publication (MEAs19). These are works by Ric Ambrose (Richmond, California), Patricia Bellan-Gillen (Burgettstown, Pennsylvania), Steven Carrelli (Chicago, Illinois), Hiroshi Hayakawa (Columbus, Ohio), Jennifer Holt (Decatur, Illinois), and Patrick Wilson (Kalamazoo, Michigan)

 

  

 

 

 

 

 

 

 

 



 

 


detail

 


detail

north gallery

 

13th Annual TAPPED
Artists and their Professors

The relationship between artists and their current or former instructors can be a powerful one. Even when this bond is left unstated, we carry our professors' voices forward in time as we mature as artists and people. We eventually realize that the instruction given by our teachers during our relatively brief careers as students continues to expand within us. We realize that the learning they inspired (or insisted upon) is a chain-reaction process that develops across our lifetime. All of us who have been students carry forward our teachers' legacy in one form or another. And those who are, or have been teachers, bear witness to the potency of studenthood.

Out of respect for this artist-teacher bond, and in honor of teachers working hard to help artists tap into a higher mind relative to art and life, Manifest is proud to  present TAPPED, an annual exhibit that presents paired works of art by current or former artist/teacher pairs.

For this exhibit 70 artists submitted 212 works from 23 states and 2 countries, England and the United States. Fourteen works by the following 14 artists from 8 states and England were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

The artists are listed in pairings to illustrate their teacher/student relationship (past or present). Works on view will include paintings, drawings, prints, and photographs. The exhibition layout is planned so that each pair of artists' works will be shown side-by-side or in close proximity. Visitors will be able to enjoy the variety of types of works while also considering the nature of influence between professor and student.

It is worth noting also that at least two of the artists in the 'former student' category are now themselves working as a professor.

 

 

Professor Student

Desa Philippi
London, England

 Lesley Bunch
London, England
Marty Azevedo
Modesto, California		 Paul Acevedo Gomez
Baton Rouge, Louisiana
Rob Robbins
Mason, Ohio

Jeffrey Knick
Columbus, Ohio
Jerry McMillan
Pasadena, California		 Robert Koss
Santa Clarita, California

Steven Skopik
Ithaca, New York

 Daniel McInnis
Perrysburg, Ohio

Brigham Dimick
Edwardsville, Illinois

 Chris Spangler
Saint Louis, Missouri
Bridget Conn
Savannah, Georgia		 Morgan Zichettella*
Greenville, North Carolina
   
* current student  

 


 

 

 

  



 


Desa Philippi
Lesley Bunch

Marty Azevedo
Paul Acevedo Gomez

Rob Robbins
Jeffrey Knick

Jerry McMillan
Robert Koss

Steven Skopik
Daniel McInnis

Brigham Dimick
Chris Spangler

Bridget Conn
Morgan Zichettella*

 

 
January 27 - February 24, 2023 

Ticketed Preview - Annual Fund Benefit
Thursday, January 26, 7-9pm
–––––––––––––
Public Opening: Friday, January 27, 6-9pm

THE FIVE THEMES PROJECT — For this fourth exhibit period of our 19th season Manifest has created a very special set of exhibitions for the fourth annual Five Themes Project—offering five concurrent interrelated shows. This iteration of the project explores the spectrum of intimate places and spaces through which we experience the passage of life.

main gallery

 

BED

(Part of the Season 19 Five Themes Project)

This is one of the most private, and perhaps the safest and most intimate of spaces. This is the place where you let your guard down enough to sleep, where you become a dreamer. Beds welcome us into the world, support our healing, and carry us through the narrow gate at the end of a lifetime. The bed is where most of us spend a full third of our life, unravelling the toils of each day's work, compacting the form of our bodies into its welcoming surface day after day.

BED is an exhibit about this sanctuary of humanity.

For this exhibit 49 artists submitted 167 works from 23 states and Israel. Eighteen works by the following 10 artists from 7 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

Presenting works by:

Rachael Bailey
Hackettestown, New Jersey

Dena Eber
Toledo, Ohio

Molly Evans
St Petersburg, Florida

Donald Furst
Wilmington, North Carolina

Richard Gilles
Folsom, California

Robert Knight
Clinton, New York

Jennifer Meanley
Greensboro, North Carolina

Jessie Shinn
Asheville, North Carolina

Katayoun Stewart
Miami, Florida

Duat Vu
Springfield, Missouri

 

 

 

 

 

 

 

  

 

 

 

 

    Molly Evans


 

    Jessie Shinn


 

    Richard Gilles


 

drawing room

 

TABLE


(Part of the Season 19 Five Themes Project)

A table holds meals, and dirty dishes. They fill rooms like centerpieces, and then sit quietly off to the side. They are a place to gather and play, eat, talk. They stand steadfastly beside our beds holding pills and lamps and tissues and books and glasses. They wear cloths, or gather water stains. They host clutter, and collect graffiti, carved initials, and gum. We arrange things on them, and make plans.

A table is a surface where things are placed, lessons are learned, and adventures planned.

TABLE is an exhibit about this ubiquitous object and surface, and the things that happen there.

For this exhibit 27 artists submitted 76 works from 18 states and the countries of Canada and Israel. Twelve works by the following 8 artists from 8 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

 

Presenting works by:

Brooks Cashbaugh
Iowa City, Iowa

Diane Fitch
Calais, Vermont

Antonio Gonzalez-Garcia
Columbus, Ohio

Christie Goodfellow
Bellevue, Kentucky

Carl Grauer
Poughkeepsie, New York

Joseph Holsapple
Thibodaux, Louisiana

Jordan Kornreich
Starkville, Mississippi

Hernan Miranda
Hallandale, Florida

  

 

 

 

 

    Antonio Gonzalez-Garcia


 

     Hernan Miranda

 

parallel space

 

WINDOW

(Part of the Season 19 Five Themes Project)

Windows are, above all, a place for observation. The world preforms outside its fixed frame, and we watch it, hear it, and catch the pieces that pass through. Windows open your home to sunlight while keeping out the rain. They permit breezes to pass through and cool the air, bringing smells of trees and foods and car exhaust, sounds of people and ambulances and birds. Sometimes they let in the birds.

They are, however, more than a place for us to look out, more than a one-way lens. Here, seeing means potentially being seen. A public building anticipates this and creates a presentable facade in the form of displays, clean, organized lobbies and warm, inviting electrical light. Looking through a home's window however is at best rude and at worst, predatory. It's tempting, though, to glimpse how others live—a way to study without interacting, detached—to see something secret, or private, not arranged for your gaze. Windows let this gaze in, a gap in the secure barrier between inside and out, public and private. Windows are the negotiated risk we take to let the light in.

WINDOW is an exhibit about such visual passages, and the worlds they connect.

For this exhibit 51 artists submitted 197 works from 22 states, and Israel. Thirteen works by the following 9 artists from 6 states and Israel were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

 

Presenting works by:

Sarah Arriagada
Columbia, Missouri

Maddie Aunger
Brentwood, Missouri

Tovit Basirtman
Rosh HaAyin, Israel

Christian Carson
Brockport, New York

Rick Decorie
Cissna Park, Illinois

Richard Gilles
Folsom, California

Kate Lackman
Cincinnati, Ohio

Ken Minami
Chicago, Illinois

Jessie Shinn
Asheville, North Carolina

 

 

 

 

 

 

  

 

 

 

 

    Richard Gilles

 


 

     Kate Lackman


 

central gallery

 

STAIRS

(Part of the Season 19 Five Themes Project)

Stairs are a transitory space in a home, dividing it into distinct spheres; downstairs for company, upstairs for family. Further up, maybe, into an uninsulated attic. Further down into the cold of a cellar. Or, they are the thing (or place?) that guides you from outside to inside, up to your hallway, your doorway, preparing you to enter your home. Or, to the beach or up the mountain, to the subway or classroom. They can be grand, ornate, theatrical. They can be strategically hidden, in corners and behind doors.

How much time is spent on stairs? What kind of time is spent there? What does each step mean on the way up, or down? How many are there?

A stairway is intended to lead you somewhere—but what about when they become a barrier instead?

Stairs are not a room, but they are a space. What inhabits a stairwell? What accumulates on them? What lives beneath?

STAIRS is an exhibit about such transportive structures, and the idea of moving upwards or downwards through spaces and places.

For this exhibit 23 artists submitted 62 works from 15 states. Twelve works by the following 6 artists from 6 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

 

Presenting works by:

Michael Banning
Minneapolis, Minnesota

Mark Eisendrath
Baltimore, Maryland

John Ferry
Prairie Village, Kansas

Donald Furst
Wilmington, North Carolina

Leslie Gleim
Honolulu, Hawaii

Francis Huffman
Cincinnati, Ohio

 

 

 

 

 

 

  

 

 

 

 

    Donald Furst


 

    Leslie Gleim


 

north gallery

 

MIRROR

 

(Part of the Season 19 Five Themes Project)

Your mirror is the first window of the day. The one across from your bed, the one on the inside of your door, the one in the bathroom. There is another by the stairs where you can check your hair on your way outside, one inside the compact in your purse and one above the piano. There is one with a very fine frame in the hallway, one high on the wall of the living room, expanding the space to twice its size. There is one on the side of your toaster, one dimly reflecting your ankles as you walk past the glass of your bookcase. A few in your camera, in your phone, and at least three in your car. Two, facing each other as you check the back of your hair, reflecting one in the other, shaping a tunnel of infinity in your own home.

A mirror reflects light, it reflects space, it reflects you. Sometimes a mirror is magic, delivering messages from another world.

MIRROR is an exhibit about such reflective devices and their effects.

For this exhibit 50 artists submitted 155 works from 22 states, Washington D.C., and the countries of Israel and Canada. Ten works by the following 6 artists from 5 states and Israel were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.

 

Presenting works by:

Grace Athena Flott
Seattle, Washington

Grace Fries
Los Angeles, California

Justin Spillers
Alfred Station, New York

Rob Tarbell
Harrisonburg, Virginia

Adrian Waggoner
Columbus, Ohio

Shira Bar Yaakov
Haifa, Israel

 

 

 

  

 

 

 

 

    Grace Flott


 

     Rob Tarbell



 

 

——— END OF SEASON 19  ———  THANK YOU!


See all open calls here.



  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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