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SEASON 11
EXHIBITS IN THE GALLERY
September 2014 - August 2015
Get on the list to receive the season-documenting hardcover Manifest Exhibition Annual (MEA s11) here!
Submit work to open projects here.
| January 23 - February 20 | Opening Reception - Friday, January 23, 6-9 p.m. |
main gallery + drawing room
SCIENTIFICOUS
Powerful or beautiful imagery often results from non-artistic processes. Likewise, works of art sometimes examine techniques or concepts by implementing scientific methods, or feature data originally resulting from science as subject matter. Throughout history art and science have been kindred outgrowths of human endeavor. While some may say they are polar opposites we propose that art and science simply occupy two ends of a continuum, across which a rich and vibrant dialogue of interaction and discovery can result. This can lead to unpredictable, truly remarkable, and humanly relevant results. With this in mind we offered this call to artists, scientists, and others for works that explore the idea of science resulting in artistic artifacts, as well as artwork that employs or is generated by a scientific process. All manner of interpretations of this theme were welcome. Manifest's several-member blind jury process reviewed 360 works by 120 artists from 31 states and 9 countries. Twenty-five works by the following 20 artists from 13 states and 4 countries including Norway, England, Canada, and the United States were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season. Presenting works by: Victoria Fuller Juan Gomez-Perales Jay Gould Anders Gramer Brandice Guerra William Haney Daniel Kariko Kent Krugh Jean-Claude Lajeunie Matthew Lee Anna Lindemann Maria Mangano Kenneth Millington Joe Muench Mark Nystrom Kathleen Taylor Dorothea Van Camp Dave Wagner Mary Wagner Stig Weston
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Anders Gramer
Anna Lindemann
Matthew Lee
Kathleen Taylor
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parallel space
In the Body of the World
This solo exhibition of Bryan Christie's paintings is one of eleven selected from among 199 proposals submitted for consideration for Manifest's current season. In the Body of the World provides a visceral experience of abstract painterly form, conceptual reflection about the human body, and the merging of technical processes from antiquity to the modern day. Through thoughtful balance of concept and process Christie develops a powerful set of objects (and imagery) which we're proud to showcase at Manifest.
Of his work Christie states: "This exhibit explores the spectrum of human experience: from trauma to transcendence, from the concrete to the abstract. I believe that our lives start with trauma as we are brought into the world from the safety of our mother's womb. We eventually die, experiencing the loss of all that is dear to us. Yet transcendence and the experience of the sublime are rooted in this fleeting material existence. The divine is made evident through tangible and sensual experience; without our physical selves, we would not experience moments of wonder and the mysterious." Born and raised in New York City, Bryan Christie is an award- winning artist whose work has been exhibited internationally and featured in such publications as The New York Times, The New Yorker, TIME, WIRED, and Esquire. Bryan Christie's work is influenced by his unique background as a jazz musician, as an art director for Scientific American magazine, and as a child growing up around the turpentine and oil paints of his mother's art studio. His artwork investigates science's relationship to art—how the arts and sciences attempt to explain and give meaning to our world using logic, intuition, and emotion. His aesthetic focuses on the essential structures of the body and demonstrates awe in how it functions and is put together through nature's remarkable intelligence.
Christie's work was last exhibited at Manifest in Fresh Paint during Season 10 and will also included in Manifest's forthcoming International Painting Annual 5.
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central gallery + north gallery
SCHISM
schism One might say life itself is a product of conflict. History is riven by it, as is our present-day society. Species vie, nations war, couples fight, ideologies clash—the list goes on. As a force of existence conflict is neutral, but as a force of humanity this is rarely the case. Results of conflict vary, from the horrendous to the miraculous, from destruction to creation. Nevertheless it is an integral part of any evolutionary process and therefore progress. With these thoughts in mind we offered this call to artists for works of art that involve the idea of conflict. Manifest's blind jury process reviewed 225 works by 93 artists from 28 states and 5 countries. Eight works by the following 7 artists from 7 states were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season. Presenting works by: Nathaniel Foley M Tobias Hall Melissa Hall David Hicks Blazo Kovacevic Steven Subotnick Michael Tole
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Blazo Kovacevic
Steven Subotnick
David Hicks
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| March 6 - April 3 | Opening Reception - Friday, March 6, 6-9 p.m. |
| April 17 - May 15 | Opening Reception - Friday, April 17, 6-9 p.m. |
| May 29 – June 26 | Opening Reception - Friday, May 29, 6-9 p.m. |
| July 10 - August 7 | Opening Reception - Friday July 10, 6-9 p.m. |
| August 14 – September 11 (SEASON 11 FINALÉ) | Opening Reception Friday August 14, 6-9 p.m. |
END OF SEASON 11
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PREVIOUS SEASON 11 EXHIBITIONS
| September 26 - October 24, 2014 | SEASON OPENER Opening Friday September 26, 6-9 p.m. |
main gallery + drawing room
NEITHER HERE NOR THERE Sponsored by FOTOFOCUS
Over its ten seasons of non-profit programming Manifest's competitive projects have attracted submissions by artists from 89 countries and all 50 U.S. states. In honor of this global vitality focused from there to here (from the world to our humble spot in Cincinnati, Ohio) we offered Neither Here Nor There as a competitive invitation for artists near and far to reveal aspects of location in their photographic and lens-based works of visual art. Works on view represent location by virtue of their creation in a particular place, regardless of subject matter. With some playfulness the theme may be further interpreted based on the typical meaning of "neither here nor there" as in "of little or no importance." So works that represent ordinary, everyday things, events, or places will add yet another layer to the resulting exhibition. One can also interpret the theme by focusing on the concept of "in-between" (e.g. transitions, empty spaces, half-states, and so on.) Manifest's ten-member jury (comprised mostly of professional photographers) reviewed 606 works by 181 artists from 35 states, Washington D.C., and 10 countries. Nineteen works by the following 17 artists from 8 states and 4 countries were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season. The $1,000 Best of Show prize was awarded to Gloria Houng for her work entitled "Standard Double (Feet)".
Presenting works by: Nicholas Arbatsky Patty Carroll Emma Charles Spencer Cunningham Steven Elbert Bryan Florentin Peiter Griga Gloria Houng Austin Irving Daniel King Kent Krugh Armin Mersmann John Roberts Julia Romano Edward L. Rubin Jiehao Su Kathleen Taylor
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Gloria Houng
Kent Krugh
Edward L. Rubin
Kathleen Taylor
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parallel space
FRAME WORK
This solo exhibition of ten of Lars Anderson's photographs is one of eleven selected from among 199 proposals submitted for consideration for Manifest's new season. Anderson's work reveals the sublime opportunities lying dormant all around us. With a keen eye and deeply sensitive artist's mind his perception, viewfinder-framing, and shutter releases create intricate abstractions—objects of zen-like truth and contemplation many painters only dream of achieving. This revelation of simple, ordinary, yet hidden beauty echoes perfectly the theme of the concurrent exhibit "Neither Here Nor There". This brings a delightful unity to the suite of exhibitions on view to launch Manifest's 11th season. Anderson will discuss his work, intriguing background, and creative ideas at a free public gallery talk on Saturday, October 11 at 5pm. Of his work Anderson states: "I have been fascinated by the industrial world since childhood. I believe this deep and abiding interest comes from an appreciation for things that are solid, precise, and useful. When I became an artist, I began to enjoy the less utilitarian, more aesthetic aspects of that world. Lines, shapes, forms and colors make industrial reality. Simultaneously, they create abstractions that are interesting and sometimes sublime. This body of work seeks balance. While it’s possible to remove some of the visual cues that anchor these images in the real world and make them purely non-representational, I prefer to observe how abstract elements combine to form the things we see. I believe there is value in looking at the world more closely. This work describes how we can find beauty in unexpected places if we look again, reconsider, or simply stand in a different place.” Lars Anderson was born and raised in Iowa. As a child, he sketched imaginary industrial landscapes and drafted architectural plans for buildings that would never exist. He moved to Cincinnati, Ohio in 2006 and began photographing the industrial realms of the Ohio and Mississippi river valleys in 2007. His current work focuses on the unexpected beauty found in both abandoned and active manufacturing sites. His work has been included in various group shows and an award-winning publication, and has been the subject of several solo shows.
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central gallery
DRIVE THRU
This solo exhibition of a looping suite of Leigh Merrill's video assemblages is one of eleven selected from among 199 proposals submitted for consideration for Manifest's new season. Merrill's work brings the element of time into a predominantly frozen suite of photographic exhibitions. Yet her subtle digital assemblage technique mirrors that of fellow exhibitors Dominic Lippillo and Mark Schoon (Conflation). Merrill's interest in places links perfectly with Neither Here Nor There, adding a wonderful irony to that theme by virtue of her believable yet completely invented locations (truly neither here nor there!) Presented in the Central Gallery with the videos projected wall-size, Merrill's exhibit is bracketed by those of Lars Anderson and Lippillo & Schoon, and therefore serves as a conductor between those exhibitions. This mixture will provide visitors to the gallery an experience of the subtlety of photography and a deeper view into the concept of location.
Of her work Merrill states: "My work explores the places that surround us, spaces that often overflow with contradictory architectural styles and cultures – the voices of different eras – all struggling for visual prominence. I make thousands of individual photographs, videos and audio recordings while exploring a city or neighborhood. In the studio, I then digitally assemble and re-assemble these sources to create new photographs and videos of imaginary spaces. Each image is typically made from tens to hundreds of bits and pieces of different photographs or videos. Some of the images have some veracity, but more often they suggest a visual hyperbole – an embellished scene circulating around a small detail or object that fascinated me. The scenes in both the photographs and the videos are spaces that feel familiar but not place-able. They tap into some of the conscious and subconscious visual cues, barriers and borders we create – a language that is shared by urban, suburban and rural spaces. The movements in the videos are the subtle, ambient changes in an environment: leaves fluttering in the wind, the movement of clouds, light and shadows shifting on the street. The faint movement in these videos share as much with photographs as moving images: the vantage point is fixed and the stillness of the scene is amplified by the faint changes in each environment. The imagery in both the videos and photographs play off one another creating a sense of pleasure and curiosity in seeing the familiar become unfamiliar.”
Leigh Merrill received her BFA from the University of New Mexico and her MFA from Mills College. Her work has been a part of exhibitions throughout the United States in venues such as the Phoenix Art Museum, the diRosa Art Preserve, The Lawndale Art Center, the Tremaine Gallery, and the Museum of Texas Tech University. Merrill’s work has been included in online and print publications such as the Design Observer/Places Journal, Dwell.com, BLDGBLOG blog, PaperCity Magazine, and the Houston Chronicle. Her work is part of the permanent collections of the Museum of Texas Tech University, the City of Phoenix, the California Institute of Integral Studies and various private collections. Merrill currently lives and works in Dallas, Texas where she is an Assistant Professor of Art at Texas A&M University-Commerce.
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north gallery
CONFLATION
This exhibition of nine of Dominic Lippillo and Mark Schoon's collaborative photographs is one of eleven selected from among 199 proposals submitted for consideration for Manifest's new season. Lippillo and Schoon's exhibit of photographs caps off the gallery-by-gallery suite of four exhibitions created for the FotoFocus Biennial. Further exploring the notion of location, this time by way of a filter of dualistic viewpoints (left and right halves), the works tie up the thread started in Neither Here Nor There, focused and contemplated in Frame Work by Lars Anderson, and activated in Drive Thru by Leigh Merrill. Like Merrill's Drive Thru, Conflation provides a glimpse into places that are at once real (when considering the parts) and unreal (when taking in the whole). But here the assemblage represents yet another kind of location–that of the individual artists, the places they are, and the similarities and differences between the ways they see the world.
Of their work the artists state: "In 'Conflation' interior images of our homes are visually connected to create the illusion of a singular photograph and space. The literal connection of the images in the print creates a thin seam that appears and disappears. This newly forged space forms a photographically unique location where memories and past experiences merge to create new histories, narratives, and non-places. Through the language of photography we attempt to subvert geographic location while using the camera to deconstruct and explore time, space, distance, and visual perception.”
Dominic Lippillo and Mark Schoon earned their MFA’s in Photography from Ohio University in 2009. Working independently with lens-based media they soon realized they had a shared interest in the domestic. Although they approach their solo work differently, a common sensibility could be recognized in the earlier work of both artists leading to the creation of their first collaborative effort, Anti-local. Selections from their collaborations are included in the permanent collection of The Museum of Photographic Art; The Museum of Fine Arts, Houston; The University of Alabama, Tuscaloosa; the Journal Exposure, and in the supplement of images accompanying Bruce Warren’s textbook Photography: The Concise Guide (2nd Edition March 2011). Lippillo is an Assistant Professor of Art at Mississippi State University. Schoon is an Assistant Professor of Art at The University of West Georgia.
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| November 7 - December 5 | Opening Reception Friday November 7, 6-9 p.m. |
main gallery + drawing room + parallel space
FACE FIRST
We consciously and unconsciously categorize identity based on the human face. It is, for most people, their social thumbprint and emotional signpost. Inevitably the face is the ‘I’ in first person statements. Manifest's seven-member jury reviewed 613 works by 215 artists from 41 states, Washington D.C., and 7 countries. Thirty-seven works by the following 31 artists from 17 states and 2 countries were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season.
Presenting works by: Jeffrey Abt Louis Alvarez Roure Jimmie Arroyo Debra Balchen Angela Cunningham Daniel Dallmann Hélène Delmaire Thomasin Dewhurst Yuxiang Dong Phil El Rassi Reed Govert Tanja Gant Mark Hanavan Willie Jones Ricki Klages Eileen MacArthur Louis Marinaro Omalix Martin O’Connor Miriam Omura Keith Parks Ann Piper Matthew Schenk Sohail Shehada Isaac Smith David Stanger Judy Takacs Derek Wilkinson Ben Willis Dennis Wojtkiewicz Caomin Xie
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Yuxiang Dong
Reed Govert
Miriam Omura
Keith Parks
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central gallery
EXTREMITIES
They're a part of us we take for granted, like everything else we've lived with all our lives from birth. Naturally they feel less just a part, and more an inseparable extension of our wholeness. Yet when lost, paralyzed, or wounded, our hands and feet are recognized for what they are–the outermost point of contact our minds have with the world outside our bodies. Anthropologically they define our specie, served its propagation around the globe in distant pre-history, and even provided the hand-stamp signature on our oldest surviving paintings from 40,000 years ago. The hand and the foot remain a powerful reminder of our humanity, our physicality, and our origins. Not solely practical tools for locomotion, survival, and the manipulation of our environment, they also carry our expression. We can speak fluently with our hands, punctuate vocal speech, and express love and tenderness with our touches, trust and agreement with a handshake, or great violence and anger with a simple gesture. One could claim that all we are, all we have accomplished in our time on Earth–both good and ill–is an expression of these extremities. Manifest's seven-member jury reviewed 334 works by 126 artists from 30 states and 8 countries. Nine works by the following 9 artists from 5 states were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season.
Presenting works by: Jamie Bates Slone Cynthia Gutierrez Jee Hwang Carrie Lingscheit Daniel Maidman Elena Peteva Hyeyoung Shin Rachel VanWylen Erica Young
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Danial Maidman
Erica Young
Hyeyoung Shin
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north gallery
LOSING YOUR HEAD
We vertebrates are really not all that different under the skin. The thing that cradles our concept of identity, and houses our intellectual and emotional organ–our command center if you will, the skull–has long been the subject of visual art. The articulation of our interest in the subject runs the gamut from cliché to horrific, from the ironic to the tragic, and all points between. Contemplating the human or animal skull is akin to contemplating a star-rich night sky. It can often serve as a talisman of self-reflection, of proof of mortality, endurance, and commonality. Our fascination with the skull goes far deeper than the common symbolism it is burdened by today, and broader than its past use in phrenology or to support theories regarding sexual dimorphism. Ultimately the skull is evidence, after all, that we are in fact made of dust. Manifest's seven-member jury reviewed 342 works by 131 artists from 32 states and 7 countries. Eleven works by the following 10 artists from 8 states were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season.
Presenting works by: Angela Cunningham David Dorsey Mitch Eckert Alia El-Bermani TyRuben Ellingson Marshall Harris Todd Kunkler Josh Raftery David Stanger Derek Wilkinson
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Angela Cunningham
TyRuben Ellingson
Josh Raftery
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| December 12, 2014 - January 9, 2015 | Opening Reception - Friday, December 12, 6-9 p.m. |
main gallery
5th Annual TAPPED
The relationship between art students and their professors 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 professors' legacy in one form or another. And those who are, or have been professors, bear witness to the potency of studenthood. Out of respect for this student-teacher bond, and in honor of professors working hard to help their students tap into a higher mind relative to art and life, we offer TAPPED, an annual exhibit that presents works of art by current or former professor/student pairs. For this exhibit 95 artists submitted 272 works for consideration. Sixteen works by the following 16 artists from seven states and Canada were selected for presentation in the gallery and Manifest Exhibition Annual publication. The artists are listed in pairings to illustrate their teacher/student relationship. Works on view will include several paintings along with a number of drawings, collages, 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.
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drawing room
A Dozen Years of Interiors
This exhibit of Matt Klos's work provides a mini-retrospective of his investigations of interior space through painting. As we have often found in contemporary perceptual painting, Klos's works echo the sentiment that amongst the mundane, everyday stuff of our lives exists incredible opportunity for eloquence and contemplation. The ten works in this exhibition offer impecable painting, and imagery that anyone can relate to. The tranformation of the subjects into works of art through paint serves as a filter by which the ordinary becomes sacred. Klos will discuss his work, background, and ideas about painting at a free public gallery talk on Friday evening, January 9 at 6:30pm. Of his work Klos states: "These works chronicle a dozen years of paintings that depict my views of the city, the suburbs, and studio environments where I have made art. These interior paintings share qualities and yet each environment offered me different opportunities for investigation. The resultant paintings display both my personal creative vision and pictorial anecdotes that were born by enacting a creative process within a definitive space. The latter aspect of the creative process, those aspects of each environment that imprinted upon my creative work, is the impetus for this exhibit. Painting the interior continues to be my chief interest although I have painted landscapes and made constructions that diverge from perception in recent years. Interiors encapsulate many of my core interests in painting, namely complex lighting constructs, opportunity for a long duration of observation, geometric structure, a human element and implied narrative (mystery), varied color, conveying a mood, a modicum of control (not too much and not too little), a rich history, and the magical experience of looking with a discerning eye." Matt Klos is a painter of interiors and plein-air landscapes that have taken him to Stonington, Maine, New Brunswick, Canada, and the Brittany region of France. His works have been exhibited nationally and internationally and he was awarded Individual Artist Awards from the Maryland State Arts Council in 2008 and 2012. His work was selected for a solo exhibition award at the Prince Street Gallery in Chelsea, NY in 2011 and he received an Elizabeth Greenshields Foundation Grant in 2001. Klos teaches drawing and painting at Anne Arundel Community College and took a sabbatical in fall 2013 to work on two projects: to create paintings of dozens of dilapidated buildings at the Fort Howard Veteran's Facility in Edgemere, Maryland and to curate an exhibition entitled A Lineage of American Perceptual Painting, highlighting the works of the great American painter Edwin Dickinson and the subsequent generations of painters whom he influenced and inspired. The exhibition will be on view in spring 2015 at the Mitchell Art Gallery at St. John's College in Annapolis, Maryland. Klos received an MFA in painting from University of Maryland, College Park in 2004 and a BFA in fine arts from Columbus College of Art & Design in 2001. He currently lives in Baltimore, Maryland with his wife and three children.
Klos's work has been exhibited at Manifest in numerous group shows and is also included in Manifest's International Painting Annual 3 receiving third place award.
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parallel space
REGIONAL SHOWCASE
In its first ten seasons Manifest's projects included works by artists in 50 states and 37 countries. Starting with its 10th season Manifest launched a new ongoing series of exhibits focusing on works by artists living in its own three-state region. Season 11 continues that series, and adds projects focusing on definable regions outside our own. Our Regional Showcases are intended to complement the ordinarily very wide geographical makeup of most Manifest exhibits with a closer look at what's being done here, now, in our own backyard. Manifest was founded, and continues to be operated by regional artists, so it is fitting that the organization should offer the Regional Showcase series. We feel this is important for the artists of our area and the public living within reasonable driving distance of the gallery. It will give each a chance to show and share, and to gain perspective on our region's creative wealth as it relates to the broader art world. For this fourth in the series, which will change in theme and scope from show to show, we opted to survey the region for works of painting. Manifest's several-member blind jury process reviewed 290 works by 102 artists in Ohio, Kentucky, and Indiana. Seven works by the following 7 artists from Ohio and Indiana were selected for exhibition and will also be featured in the Manifest Exhibition Annual publication (MEA) at the close of the season. Of particular importance in this exhibition is the fact that, due to its nature and the proximity of entrants to Manifest, our jurors were deliberately selected from four states outside the OH, KY, & IN tristate, as well as from one European country in order to maintain a purely objective, outside judgment of the works submitted. This having been done, the jury resulted in both current Manifest Artists in Residence* having works included in the exhibit. We are proud of the fact that this process served as an independent verification that Manifest is attracting some of the very best artists in the region to its programs, and supporting them in further pursuit of excellence. Presenting works by: Damon Mohl CK Nichelson Steve Paddack Nathan Perry Jesse Thomas Christina Weaver * Taylor Woolwine *
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Damon Mohl
Steve Paddack
CK Nichelson
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central gallery
ONE 5 The $1500 award goes to: ABOUT THE MANIFEST PRIZE: All of Manifest's calls for entry are competitive. The stiffness of the competition has increased in proportion to Manifest's growing reputation, multi-faceted mission, and international reach. Our mission to stand for quality, to create a system whereby works are judged with objectivity as a primary aim, and assembled with as little subjective curatorial agenda as possible has gained the respect of thousands of artists from all over the world, and a vast following of arts lovers, patrons, and supporters. We respect the creative principle of reduction (the 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 reputation. We believe ompetition does breed excellence. With this principle of reduction in mind, we have been inspired by the intensity of jury after jury to narrow down a collection of entries to a strong end result. Therefore we determined five years 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 ONE 5 included multiple levels of jury review of 487 works by 163 artists by a total of 18 different jurors. Each level 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. The winning work is entitled "Precipitous" by Nicole Pietrantoni of Walla Walla, Washington. It will is the recipient of the 5th annual MANIFEST PRIZE, and will be presented in the Central Gallery from December 12 through January 9, 2015. It will be accompanied by several juror statements and the artist's statement. About the artist: Nicole Pietrantoni’s artwork explores the complex relationship between human beings and nature via installations, artists’ books, and works on paper. She is the recipient of numerous grants and awards including a Fulbright to Iceland, a Leifur Eiríksson Foundation Grant, the Larry Sommers Printmaking Fellowship, and the Elizabeth Catlett Fellowship. Nicole has been awarded artist residencies at the Anderson Ranch Arts Center and the SIM RES in Reykjavik Iceland, among others. Her prints and installations have been featured in over 70 national, international, and traveling exhibitions, and are held in private and public collections around the world. Nicole received her MFA and MA in Printmaking at the University of Iowa and her BS in Art History and Human and Organizational Development at Vanderbilt University. She is currently an Assistant Professor of Art at Whitman College in Walla Walla, Washington, where she teaches printmaking and book arts.
The Manifest Prize is an annual international competition. With increased sponsorship the prize amount may be increased to $5,000 for ONE 6. Five semi-finalists will also be featured in the season-documenting Manifest Exhibition Annual publication (MEAs11). These are works by Ryan Buyssens (Orlando, Florida), Jesse Berlin (Tucson, Arizona), Patricia Bellan-Gillen (Burgettstown, Pennsylvania), Joomi Chung (Oxford, Ohio), and Adam Niklewicz (North Haven, Connecticut).
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north gallery
LIMINAL
This solo exhibition of six of Robert Kolomyski's paintings is one of eleven selected from among 199 proposals submitted for consideration for Manifest's current season. Robert Kolomyski's large, engulfing paintings do exactly what he says they are meant to—balance the edge between the idea and the physical, notion and substance. At the same time, while remaining coyly untitled, they suggest strong references to art historical paintings, baroque or otherewise—things we're sure we've seen before but discern now only in a half-state. They leave us feeling perhaps as if we share in this liminal circumstance, meeting the work half-way somewhere in a gallery, someplace in time. Their power and scale will energize Manifest's North Gallery and beam a vibrancy through the window, across the sidewalk, and onto Woodburn Avenue. Passersby will not be able to refuse their insistence.
Of his work Kolomyski states: "I am interested in engaging the language of modernist painting, specifically gesture and materiality, with the contemporary collage space. I hope to convey the sense of tension and uncertainty of this transitional stage of painting's history, where unity and variety bump heads in poetic jumbles of image, mark and surface. This particular group of paintings will explore the slippage of the material into the virtual. When does such a bodily thing such as paint, a thing so much like us in the world in its range of surfaces and temperaments, become a thing of the mind, an image, a memory? And conversely, what is the point at which something as virtual as a feeling or notion body itself into the world? My work explores these slippages between states of being, seeking out a liminal state between category and cacophony." Robert James Kolomyski is a Professor of Painting and Drawing at Inver Hills College in St. Paul, MN. He received an MFA in painting in 2007 from Michigan State University. Over the last several years, Robert has shown at several national and international galleries and museums including the Soo Visual Arts Center, in Minneapolis, MN, the Brownsville Museum of Fine Arts, TX, the Kuandu Museum of Fine Arts in Taipei, Taiwan, the Da Xiang Art Space in Taichung City, Taiwan, Ever Gold Gallery in San Francisco, CA, The Lexington Art League in Lexington, KY, The Foundry Art Center in St. Louis, MO and Max Fish Gallery in New York City, NY. Kolomyski's work has also been selected for inclusion in several major publications including the Manifest's own International Painting Annual, Weak Painting (Exhibition Catalog), by Garden City Publishing Taipei, Taiwan, What is Weak Painting?, Review by Tzu-Chieh, Jian, Garden City Publishing, Taipei, Taiwan, and Studio Visit Volume 8, by The Open Studio Press Boston, MA. A polymorph of everyday fragments and painting's grand tradition, Kolomyski's work achieves hard-won images of timeless and poetic worlds.
Kolomyski's work was last exhibited at Manifest in Fresh Paint during Season 10 and is also included in Manifest's International Painting Annuals 1, 3, and 4.
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Manifest's 11th season is funded in
part by an impact grant from ArtsWave,
and by the Ohio Arts Council. |
Help us manifest! |
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