ArtSlant - Recently added en-us 40 Michael Whiting - Brigham Young University Museum of Art - April 20th - April 26th <h3>Artist Statement:</h3> <p>&ldquo;In my visual experience Pac-Man came before Donald Judd, Carl Andre or even Mondrian. For me Broadway Boogie Woogie will always be an homage to Pac-Man. My current work explores the visual connection between minimalism and early video games.</p> <p>&ldquo;Video gaming and minimalism arrived at the same visual conclusion through different means and by opposite intentions. Early video gaming, or pixel-based imaging, did not intend to be simple or minimal. It intended to communicate as much visual information as possible. The problem was that the memory available to store that visual information was extremely limited. The images created in early video gaming were so simplified that out of context they are unreadable as representational images. Early video gaming images are, at best, abstractions. They are minimal for lack of technology. Minimalism on the other hand, created objects that were minimal by design and intention Minimalism intend to reduce the art object to its simplest form. &nbsp;Minimalist objects and images are based on formal ideas with no reference to image or outside narrative and have the appearance of a mass produced object. These two separate movements had quite opposite intentions with very similar visual results.</p> <p>&ldquo;My current work explores this connection between early pixel-based video game images. I limit my image making to the same constraints that governed early pixel based technologies. I use a minimal number of squares to create an image. The images are formed into shaped steel canvases and are constructed using materials and techniques traditionally used&nbsp;to&nbsp;build minimalist sculpture. Unlike the minimalist art object my objects are image based and lack a perfect finish. The paint appearance acknowledges the history of ideas and&nbsp;movements&nbsp;that preceded these objects, but also distinguishes them from those same ideas and movements, resulting in a pixel-based abstraction.&rdquo;</p> <p>-Michael Whiting, artist</p> Sun, 20 Apr 2014 23:25:33 +0000 Edward Burtynsky - Brigham Young University Museum of Art - April 20th - June 14th <p>Edward Burtynsky is a Canadian photographer, renowned for his photographic industrial scenes from around the world. Burtynsky&rsquo;s photographs &ndash; from factories in China to mines in Canada &ndash; display what Burtynsky calls &ldquo;the beauty in the beast.&rdquo; <em>Edward Burtynsky: The Industrial Sublime</em> is organized by the Frist Center for the Visual Arts, Weber State University, and the University of Wyoming Art Museum.</p> Sun, 20 Apr 2014 23:20:33 +0000 Conrad Buff, Harold “Buck” Weaver, Harold Joe Waldrum, Gerald Curtis Delano - Brigham Young University Museum of Art - October 18th, 2013 - July 26th <p>A new exhibition of paintings from the collections of Diane and Sam Stewart and the Brigham Young University Museum of Art showcasing the crossroads of modernism and the American Southwest, <em>Simpler, Brighter, Stronger</em> features a selection of early twentieth-century paintings that represent the inspiration that artists in the region drew from early European modernists.</p> <h3>About the Exhibition</h3> <p>For many early twentieth-century artists in the American Southwest, the academic realism of the period seemed inadequate to express the emotional intensity of encountering towering mountains, sweeping desert vistas, blindingly clear sunlight, and absolute solitude in nature. Their paintings drew inspiration from early European modernists. Monet&rsquo;s dabs of pure color, C&eacute;zanne&rsquo;s geometric mountains, van Gogh&rsquo;s emotion-charged brushstrokes, Matisse&rsquo;s unnaturally bright colors, and Picasso&rsquo;s fragmented images all found admirers and imitators among American artists in this region.</p> <h5>Simpler</h5> <p>One approach to distilling the essential qualities of the Southwestern landscape was to simplify the view by deleting many of the details and transforming the big natural shapes into bold geometric patterns.</p> <h5>Brighter</h5> <p>Many artists arriving in the Southwest were stunned by the brilliant sunlight and vivid colors of the region. They responded with a more intense palette of warmer colors, brighter highlights, and deeper shadows. </p> <h5>Stronger</h5> <p>Some regional painters imbued their subjects with a sense of vibrant life and dramatic motion by emphasizing rhythmic lines and juxtaposing dynamic forms and exaggerated hues.</p> Sun, 20 Apr 2014 23:17:38 +0000 Carl Bloch, Heinrich Hofmann, Frans Schwartz - Brigham Young University Museum of Art - November 15th, 2013 - May 10th <p><em>Sacred Gifts: The Religious Art of Carl Bloch, Heinrich Hofmann and Frans Schwartz</em> is an all-new exhibition opening at the Brigham Young University Museum of Art on November 15, 2013.The exhibition will feature nearly two dozen beloved paintings of the life of Jesus Christ by three European master painters from the late-19th century. Most of these works have never before been on view in the United States, and are being loaned to the BYU Museum of Art under extraordinary circumstances from churches and museums in Germany, Sweden, Denmark and New York.<em>Sacred Gifts</em>will explore and celebrate the many precious gifts represented by these outstanding portrayals of the Savior. The BYU Museum of Art invites patrons to partake of these sacred offerings and discover the miraculous gifts that have made the exhibition possible.</p> <p>The term &ldquo;Sacred Gifts&rdquo; as employed in the exhibition&rsquo;s title and themes was derived from a Latter-day Saint scriptural reference:</p> <blockquote> <p>&ldquo;&hellip;thy gift&hellip; is sacred and cometh from above&ndash;&rdquo;<br /> - Doctrine &amp; Covenants 6:10</p> </blockquote> Sun, 20 Apr 2014 23:12:18 +0000 Timothy O’Sullivan - Brigham Young University Museum of Art - January 23rd - May 26th <p>Take a glimpse into the late-19th Century American West as captured by Timothy O&rsquo;Sullivan, whose photographs are viewed today as some of the most compelling of their time. Taken as part of the King Survey expedition to gather practical and scientific information about the undeveloped American territory west of the Missouri River, these photographs played a crucial role in the way we think about landscape photography today, representing an ideal balance between fact and interpretation.</p> <p><em>This exhibition has been organized by The Nelson-Atkins Museum of Art.</em></p> Sun, 20 Apr 2014 23:07:33 +0000 Sarah O Donnell - Brigham Young University Museum of Art - April 4th - August 9th <h3>ARTIST STATEMENT</h3> <p>&ldquo;&hellip;At the core of my work are ideas about place, memory, home and how we come to know ourselves and our world through our experiences of it- both first hand in real life, and second hand through things like movies, theater and storytelling. My work occupies that fine line between fiction and reality. Is it a memory from my own childhood or am I just recalling a scene from a movie?</p> <p>&ldquo;I make installations that immerse the viewer in a space created with projected light and images. Due to the universally recognizable imagery of these spaces, (a sea-side village, a desert landscape) the installations seem to pivot between the personal memory of a place and the collective memory gained through cultural representation of a place. These spaces feel familiar but provide glimpses of a past that you&rsquo;ve never lived. The inferred narrative is one of stasis, in which a backdrop has been provided but sets the stage for no action. The illusion depends upon the darkness in which it resides. This place is made of light, you are not actually here.&rdquo;</p> Sun, 20 Apr 2014 23:04:38 +0000 Andrea Heller - Scheublein + Bak - April 16th - May 30th <p><strong>"Die Meise benutzt die Haare des M&auml;dchens, um damit ihr Nest zu polstern"<br /><br /></strong></p> <p>A child carries a bird&rsquo;s nest in his hands whose inside is bolstered with hair. The sensitivity applied to build the nest is quite remarkable. It is not just a simple nest but a cosy villa for the offspring. Whether &ldquo;prestige&rdquo; respectively &ldquo;status&rdquo; - as for humans - were a major impetus cannot be answered easily.</p> <p>At the time when the H&uuml;rlimann-Villa was built in 1897/1898, status as well as &ldquo;building a nest&rdquo; most likely had been important incentives for the builder and the architect. Pomp, style and size of the villa still remind us of the time of creation; the portraits of all six children of the family have been immortalized at the fa&ccedil;ade of the house. Private life was covered in a prestigious package just like personal thoughts are visualized in an artwork.</p> <p>In her first solo exhibition at SCHEUBLEIN + BAK, Andrea Heller presents a new body of work, including watercolour and ink drawings on paper, objects made out of different materials (amongst others mouth blown glass) and text pieces.</p> <p>These text works derive from the artist&rsquo;s own collection of citations (private text messages, newspaper, internet) as for example the title of this exhibition. The citations do not reveal their sources and therefore leave behind their original context. Thereby they are becoming general statements and are reflecting our complex ever changing private everyday life - between virtuality and reality, respectively public and private.</p> <p>Andrea Heller (*1975) studied Fine Arts at the Hochschule f&uuml;r Bildende K&uuml;nste in Hamburg as well as at the Z&uuml;rcher Hochschule der K&uuml;nste in Zurich. Between 2004 and 2006 she had been awarded with a studio scholarship at the Stiftung Binz 39 as well as a studio by the city of Zurich in the Cit&eacute; des Arts in Paris. In 2011 she was invited for a solo exhibition at the Helmhaus Zurich, which was accompanied by her first monograph &ldquo;Die Wurzeln sind die B&auml;ume der Kartoffeln&rdquo; (ed. Patrick Frey). The artist lives and works in Paris and Zurich.</p> Sun, 20 Apr 2014 00:39:03 +0000 Carla Fernandez - Isabella Stewart Gardner Museum - April 17th - September 1st <p><em>Carla Fern&aacute;ndez: The Barefoot Designer: A Passion for Radical Design and Community</em> will explore the traditions and techniques of indigenous Mexican artisans and how they can be applied to modern fashion and styles.</p> <p>Carla Fern&aacute;ndez has gained international recognition for her extraordinary approach to documenting and preserving the rich textile heritage of Mexico's indigenous communities by transforming it into beautiful contemporary clothing, and proving tradition is anything but static.</p> <p>This first-ever fashion exhibition at the Gardner Museum explores the development of a new language in visual design that Fern&aacute;ndez has built over two decades. She uses a method called "the Square Root" based on the Mexican tradition of making clothing from squares and rectangles. This process emphasizes forms of fabric and delicate, thoughtful construction based on whole fabric, as opposed to cutting in curves and molding to the body.</p> <p><em>The Barefoot Designer</em> is multi-faceted exhibition consisting of garments, textiles, drawings, photographs, performance, video, workshops and source materials demonstrating Fern&aacute;ndez's multi-layered design process. A key component of that process is her design workshop Taller Flora, a mobile laboratory that collaborates with Mexico's indigenous communities, a sustainable business model based on close collaboration with and recognition of local knowledge and talent. During her career, Fern&aacute;ndez has worked with many indigenous communities throughout Mexico. The exhibition will highlight the styles and techniques of five states: Chiapas, Yucatan, Campeche, the State of Mexico and Mexico City.</p> <p>Mobility and collaboration can be seen and felt throughout the exhibition: in its installation, multiple films and monthly dance performances, as well as workshops for the public. The garments and mannequins are positioned on life-sized, mobile displays. Fern&aacute;ndez has also activated the garments through a live and filmed dance performance by dancers Raushan Mitchell and Silas Reiner, bringing to life the notion of "clothing as canvas." The exhibition will include short process videos of weavers, embroiderers, and carpenters by photographer and filmmaker Ramiro Chaves, as well as fashion films produced by Chaves and Pedro Torres in New York City, Boston and Mexico City. A series of fashion photos by photographer Graciela Iturbide will be on view. A large workshop table adds a hands-on visitor experience to the exhibition, with a variety of workshops scheduled. Fern&aacute;ndez will run a two-day clothing workshop as well as workshops with the Gardner's School and Community Partnership Programs.</p> <p>"I want people to understand that you can find happiness many different ways, and one way is by creating goods by hand and making things unique to the artist," Fern&aacute;ndez said. "Discovering the process helps people to understand how these different worlds work, because you fall in love with the artisan, and then you fall in love with the piece. You can create a whole economy based on the artists, and how their work is made."</p> Sat, 19 Apr 2014 23:41:01 +0000 Group Show - SPACE: The Linda Pace Foundation Gallery - April 18th - September 13th <p>For the inaugural exhibition at SPACE, Maura Reilly curated <em>Pace Gems</em>. Kelly O&rsquo;Connor, the Exhibitions &amp; Collections Officer, organized the selection of works from the Foundation's permanent collection. <em>Pace Gems</em> aims to accurately reflect Pace&rsquo;s overarching collection criteria, which focused on artists linked with the Artpace residency program and its related Hudson Show Room exhibitions, as well as other internationally recognized artists.</p> <p>In addition to local San Antonio and regional artists, such as Forrest Bess, Franco Mondini-Ruiz, John Pomara, Linda Pace, and Dario Robleto, other select artworks in <em>Pace Gems</em> include Catherine Opie, Donald Moffett, Lynda Benglis, Kendell Geers, Teresita Fernandez, Mona Hatoum, Jim Hodges, Yayoi Kusama, Daniel Joseph Martinez, Marilyn Minter, Glenn Ligon, and Wangechi Mutu. The Foundation's newest acquisition, a monumental sculpture by Andrea Bowers, <em>Memorial to Arcadia Woodlands Clear-Cut (2013)</em>, is included in the <em>Pace Gems</em> exhibition.</p> Sat, 19 Apr 2014 23:26:43 +0000 Gary Simmons - Ikkan Art Gallery - May 30th - June 28th <p>Ikkan Art Gallery is pleased to present Extant Phantoms, an exhibition of early<br />work by widely acclaimed American artist, Gary Simmons. This is the first solo<br />presentation of his works in Singapore.<br />Extant Phantoms features some of Simmon&rsquo;s first chalk drawings on blackboards<br />done in the artist&rsquo;s &ldquo;erasure&rdquo; technique, not seen since its presentation at the<br />Hirshhorn Museum and Sculpture Garden in Washington, DC in 1994. The<br />chalkboard and its history as a tool for disseminating knowledge become an<br />investigative site into how ideas about race are deeply embedded in the<br />structures of our academic and cultural institutions.<br />Addressing personal and collective histories of race and class, Disinformation<br />Supremacy Board interrogates educational hegemony and prevailing notions of<br />white supremacy in pedagogy while Simmon&rsquo;s early Erasure drawings appropriate<br />from vintage cartoons and mass culture to highlight the role of televised media<br />in perpetuating racial stereotypes. From the crows of Disney&rsquo;s &ldquo;Dumbo&rdquo; to<br />Honey in Looney Tunes&rsquo; &ldquo;Bosko&rdquo;, Simmons explains that he wanted to show<br />&ldquo;how we can attempt to erase the stereotype, but the image won&rsquo;t easily go away,<br />it persists&rdquo;.<br />The inherent performative nature of the Erasure drawings and its ghostly gestural<br />marks maintain visual allure that seduces while challenging the viewer, eliciting<br />personal childhood memories and summoning it to the realm of the political:<br />&ldquo;We are all haunted by the past and by longing. A ghost is a presence you feel<br />but cannot see. It&rsquo;s the hidden element in the room, the mental traces that<br />are always with us: personal experiences, fantasies, perceptions or world<br />events. My work, in general, comes from the memories of events and images<br />that I, and I imagine others, are haunted by.&rdquo; Gary Simmons in Conversation<br />with Okwui Enwezor, Gary Simmons: Paradise, 2012, Damiani Press<br />Gary Simmons (b. 1964), lives and works in New York City. He graduated from<br />the School of Visual Arts in New York, and completed an MFA at the California<br />Institute of the Arts in Valencia, California. Simmons&rsquo; work has been included in<br />exhibitions at the Whitney Museum of American Art, New York; the Museum of<br />Modern Art, New York; the Studio Museum of Harlem, New York; Walker Art<br />Centre, Minneapolis; the Rubell Family Collection, Miami; the Kunsthaus<br />Z&uuml;rich, Z&uuml;rich; the Hirshhorn Museum, Washington DC; the Museum of<br />Contemporary Art, Chicago; and the Institute of Contemporary Arts, London.</p> Sat, 19 Apr 2014 22:50:26 +0000 Hasan Hazer Mashar, Salim Karami, Davood Koocheki - XVA Gallery Al Fahidi - April 19th - May 22nd <div> <p>Curator's Statement:<br /> 'Wild Garden'</p> <p>Wildflowers are scarce in gardens. Any gardener, however, knows what a struggle it is to uproot them. If one looks closely, he will find that &ldquo;primitive&rdquo; beings, which can be compared to weeds, should be held in high regard. As long as these wildflowers are devoted attention, care, and concentration, they will prosper and bloom. Autodidact and self-learned artists, liberated from chains and bonds, current styles, and movements in contemporary art, resemble these wildflowers as they continue living their own artistic life. I envy their sagacity and creative spirit. Please, do not accuse me of indulging in the desires of wild beings. I do not indulge in illusory romantic discourse. My words are about the men as I see them. I do not want to idealize them because of the limits of their horizons; their madness; their stubbornness; and restricted worlds which are unfathomable to me.</p> <div> <p>That being said, you may be wondering why I have engaged in the defence of the uncultivated&hellip; The reason behind it is very clear: these &ldquo;primitive&rdquo; and illiterate men are at the origin of art and literature. The matrix of literature indeed derived from legends and myths, and the rhythm of children&rsquo;s tunes, tales and lyrics, prayers and riddles&hellip;<br /> The aim of education and literacy, however, was never related to the enlightenment of the mind. Those who called themselves humanists, those who fanatically supported &ldquo;education&rdquo; were only the defenders of industry and capitalism, that very industry that required the state to be provided with skilled workers. That development was nothing but an expression to tame the uneducated, to take away their imagination, opinions, to wash their minds of original thought, so that not only their physical strength and technical skills would be taken advantage of, but that their brains would also be exploited!</p> <p>The aim of this &ldquo;Wild Garden&rdquo; exhibition is to introduce you to three genuine artists (Hasan Hazer Moshar, Salim Karami, and Davood Koochaki). As indigenous artists, they have organically evolved in their rich environment, in deep layers reflected in their work because they are a living part of their own autochthonous natural, social and historical milieu. They reveal their existence without any veil, as they do not wear the mask of &ldquo;enlightenment&rdquo;. This is one of the most prominent aspects of their work. They, however, cannot escape social constraint, as they are deprived from formal and academic knowledge. We, as protectors of this type of contemporary art, should be the transmitters of these insights in the public forums of art in order to prevent autodidact learning to be mistaken for ignorance.</p> <p>Morteza Zahedi<br /> 2014, Iran</p> </div> </div> Sat, 19 Apr 2014 22:43:37 +0000 John Frank Sabado - The Drawing Room - Singapore - May 9th - June 8th <p>Self-taught artist John Frank Sabado hails from the Mountain Province of the Philippines. Known for his intricate, tapestry-like landscapes wrought from biro- point, Sabado re-introduces to us the universal ethnic in his new exhibition &ldquo;Northern Postcards.&rdquo;</p> <p>In this new monochromatic series, he presents an artistic practice delicate in detail and method that is akin to weaving the filaments of fiber of a textile. &ldquo;Northern Postcards&rdquo; weigh the ecological struggle between the utopian land and the technology&rsquo;s aggressive hand. As with postcards, the intricate landscapes in Sabado&rsquo;s works suggest a channel of communication: the sender of which is an indigenous echo projected towards the context of the contemporary as a material and transcendent affair.</p> <p>John Frank Sabado (b. 1969, Benguet, Philippines) is an autodidact whose skills and imagery have been recognized by art institutions in the Asia Pacific since 1999. In 2000, he received the Cultural Center of the Philippines&rsquo; 13 Artists Award and was the Juror&rsquo;s Choice in the Philippine Art Awards. John Frank Sabado has been exhibiting since 1990 in his home province in Benguet and Manila, Philippines. His practice has been featured in the 3<sup>rd</sup> Asia Pacific Triennale in Brisbane, Australia, the 16<sup>th</sup> International Art Exhibition in Guandong Museum of Art in China as well as the 3<sup>rd</sup> Asean Travelling Exhibition that debuted in Kuala Lumpur, Malaysia and the 2<sup>nd</sup> Fukuoka Asian Art Triennal in Japan. His last solo exhibition was in 2012 in The Drawing Room Manila.</p> <p>&nbsp;</p> Sat, 19 Apr 2014 22:37:20 +0000 Group Show - Georgia Museum of Art - April 12th - May 4th <p>The annual display by graduating MFA candidates at the University of Georgia's Lamar Dodd School of Art.</p> Sat, 19 Apr 2014 07:37:02 +0000 Cyril Massimelli, Will Kurtz - Galerie Queen Anne - May 3rd - June 14th <p>Cyril Massimelli&lsquo;s lounges are a show space and a symbol of the modern and urban life. Cyril Massimelli has been dealing with this topic for quite some time. With his great knowledge of modern architecture and contemporary design, he carries out the passive enjoyment of life in different, detailed crafted settings. <br />Bars, private rooms, gardens and ticket halls become perfectly staged scenes where mostly young people gather together in a relaxed atmosphere. However, the protagonists always remain somewhat idealistic, artificial and self-absorbed. They seem to be almost like developed ornaments that the painter puts right next to the rugs, designer furniture and lamps only for the sake of the stage. At the same time the staged lounges are very alluring despite or maybe because of the artificiality. The viewer is fascinated by the stylish and cool world and wants to become a part of it. <br /> The tailoring of the history of painting is clearly noticeable in Cyril Massimelli&lsquo;s work. References to famous painter such as Caravaggio, Tizian, Manet and Hopper can be found in his works. <br />Cyril Massimelli has been living in Dresden since 2005. The Paris-born studied photography and painting at the &Eacute;cole nationale sup&eacute;rieure des Arts D&eacute;coratifs de Paris. In the beginning he worked as a freelance architectural photographer, and since 2001 he&lsquo;s been devoting himself to painting.</p> <p>On the occasion of the exhibition the catalogue "Lounges" will be published at Seemann- Henschel Publishing.</p> <p>&bdquo;CATS AND DOGS&ldquo;- WILL KURTZ</p> <p>The life-size sculptures by Will Kurtz which crowd the gallery room are the portraits of his New York environment. His sculptures range from his family members and his dog Artie, to people who he randomly met on the street. It&lsquo;s a cheeky look, he does not glamorize and does not go easy on his models. No &bdquo;spare tire&ldquo;, poorly fitting clothes or unfavorable pose are left out. It is much more about presenting people with their inperfect peculiar humanity. <br />He did not begin his creation with human figures, but with an animal, his own pet to be exact. The reason for this is quite obvious, the animals are also a part of his environment. The animals reflect the unprejudiced and unbiased life - they play, sniff around, sleep and unimpededly go after their own needs. They also allow almost anyone access. Through his work, Will Kurtz wants to open boundaries and include broader base of people in the art world, regardless of financial background, social status, race, age or skin color. <br />Encountering his next model on the street, he takes a picture unnoticed, in order to capture the typical movement. Finally, he forms a sort of a skeleton out of differnet materials, which he gradually covers with colorful newspaper as if creating new skin layers, and coats them until he created a complete naked body. Afterwards, he forms it with more newspaper layers, clothes and compliments it with accessories such as wigs, hats, canes or a dog leash. On the one hand, he uses newspaper pieces very pictorially, he uses it as his starting base in order to put different color shades into interaction. On the other, the word-and picture elements serve as a critique commentary on the media and society. Will Kurtz started to be a professional artist at the age of 50. After long successful years as a landscape architect and working with art in his spare time, he decided to enroll at the New York Academy of Art in 2007 and focus on art completely. The exhibition &bdquo;Animated Lounges&ldquo; will be the first European exhibition of the successful, American artist.</p> Sat, 19 Apr 2014 07:24:50 +0000 - Herbert F. Johnson Museum of Art - April 19th - July 6th <p>Since 1993, the Johnson Museum has collaborated with Cornell&rsquo;s Department of the History of Art to provide opportunities for interested undergraduates to gain direct museum experience by organizing an exhibition. This year, <em>enticing the eye / exploring the frame </em>explores how art is a simultaneous reflection of the artist and the viewer. Through this lens, the exhibition examines framing through abstraction, identity, and the medium itself in works from a wide range of periods and media in order to broaden understanding of the complex effect of framing on the viewer&rsquo;s experience. The exhibition aims to convince the viewer that no aspect of a work of art is accidental. The focus of a photograph, the interaction between two lines on a canvas, each deep incision in a piece of marble&mdash;all demonstrate something unique, both about the work of art and the artist&rsquo;s message.</p> <p>The way subject and message are presented through a frame leads to a deeper understanding of the work itself. We look at a straightforward way of framing, through physical frames of architecture or the surroundings. We move to less tangible manipulations of the frame through abstraction and negative space. Some artists whose works have been chosen for <em>enticing the eye / exploring the frame</em> have structured their frame in a way that asks more of the viewer and does not always offer immediate gratification. The&nbsp;History of Art Majors&rsquo; Society&nbsp;urges visitors to be <em>active</em> viewers, constantly asking the question of how a piece of art is &ldquo;framed&rdquo;&mdash;both literally and within a larger context.&nbsp;</p> <p>In addition to the exhibition, the Society has expanded its social media presence in efforts to engage with audiences on a new level. Through weekly&nbsp;blog&nbsp;posts and an active&nbsp;Instagram, we have engaged the larger Cornell community, as well as art lovers and museums internationally, in our curatorial explorations. This has also helped our team to see what we are doing through a different lens. We are hopeful that these activities will not only stir excitement for the show but also help interested viewers to understand our process and engage with <em>enticing the eye / exploring the frame </em>from start to finish. We hope to forge connections with visitors who will respond to a work with an intense feeling&mdash;when this happens, you have shared a connection with the artist in a unique and personal way. You&rsquo;ve shared a mind-set. You&rsquo;ve shared a frame.</p> Sat, 19 Apr 2014 07:18:07 +0000 Jeff Shapiro - Lacoste Gallery - April 26th - May 24th <p><em>From Travels to Japan, Italy, and India</em></p> <p><br /><span class="ssStyle">My work evolves due to internal as well as external influences. I find as my years advance that certain experiences, images from my past lie dormant within me and occassionally rise to my consciousness and nurture me as food for creative thought. Recent work is more sculptural in essence. Though predominantly making work in the wood fire genre, I am eager to experiment with mixed media as well as a wider spectrum of ceramic surfaces including but not exclusive to wood firing. I choose not to be limited to a small corner of space that &lsquo;defines&rsquo; who I am and what I make. </span></p> Sat, 19 Apr 2014 07:01:12 +0000