Sep
12
to Aug 1

2018-19 Studio Residency

I am excited to announce that I have been selected as one of 34 artists and artist collectives for Charlotte Street Foundation's year-long Studio Residency program. The residency tenure begins in September 2018 and runs through August 2019 and provides free studio and rehearsal space on the 6th floor Town Pavilion in downtown Kansas City. 

Of the 34 artists selected, 11 of the residents are performing artists, 6 residents are writers, and 17 residents are visual artists. 13 residents are returning for a second year in the program. This year’s jury includes Megan Kaminski (poet and professor at KU), Michael Miller (composer and professor at KCCC), Rodolfo Marron III (artist) and Aileen June Wang (Curator at Beach Museum of Art). 

 

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Sep
22
to Oct 22

Bad Editions (Third Edition)

Arrowhead Gallery at Waubonsee Community College

Sugar Grove, IL

Gallery hours: 
Monday – Friday: 8 a.m. – 9 p.m..
Saturday: 8 a.m. – 4 p.m.
Sunday: CLOSED

JE Baker, Matt Bodett, Jackson Bullock, Lauren Cardenas, Rachel Fenker-Vera, Kevin Goodrich, Millicent Kennedy, Annie Kielman, Marie Bannerot McInerney, Megan Sterling

Throughout history, printmaking processes have been used to reproduce and disseminate ideas by way of books, pamphlets, posters and even playing cards. Printmaking is a rigorous discipline that demands a set of strategies that will result in the creation of a matrix, which is then used to recreate—as identically as possible—the same image multiple times. Within contemporary art practice, the boundaries that once defined printmaking as a utilitarian reproductive technique have been experimented with, enhanced, modified, and sometimes even exterminated. Interdisciplinary methods of art-making have created collaborations between mark-making, material, surface and concept that beg the question: what is a print?

In Bad Editions (Third Edition), a series of artists reunite for the second time to explore the possibilities of printmaking as a process, as a philosophy and as an excuse for art-making. By incorporating strategies that deviate from tradition, the artists in this exhibition challenge printmaking to define itself broadly. These artists take traditional methodologies as a point of departure to question the limits of the print, the role of the edition and how printmaking techniques might inform other disciplines.

—curator Rafael E. Vera

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Bad Editions (Second Edition)
Jan
8
to Feb 2

Bad Editions (Second Edition)

  • NEIU Fine Arts Center Gallery (map)
  • Google Calendar ICS

JE Baker, Matt Bodett, Jackson Bullock, Lauren Cardenas, Rachel Fenker-Vera, Kevin Goodrich, Millicent Kennedy, Annie Kielman, Marie Bannerot McInerney, Megan Sterling

Throughout history, printmaking processes have been used to reproduce and disseminate ideas by way of books, pamphlets, posters and even playing cards. Printmaking is a rigorous discipline that demands a set of strategies that will result in the creation of a matrix, which is then used to recreate—as identically as possible—the same image multiple times. Within contemporary art practice, the boundaries that once defined printmaking as a utilitarian reproductive technique have been experimented with, enhanced, modified, and sometimes even exterminated. Interdisciplinary methods of art-making have created collaborations between mark-making, material, surface and concept that beg the question: what is a print?

In Bad Editions (Second Edition), a series of artists reunite once more to explore the possibilities of printmaking as a process, as a philosophy and as an excuse for art-making. By incorporating strategies that deviate from tradition, the artists in this exhibition challenge printmaking to define itself broadly. These artists take traditional methodologies as a point of departure to question the limits of the print, the role of the edition and how printmaking techniques might inform other disciplines.

—curator Rafael E. Vera

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