ART FACULT Y BIENNIAL EXHIBITION

2015 2 ART FACULT Y BIENNIAL EXHIBITION

April 4–May 31, 2015 Figge Art Museum 4th floor gallery, Davenport,

Organized by The organizers would like to thank those supporters who helped make this exhibition and its related activities possible: INTRODUCTION

Welcome to the 2015 Art Faculty Biennial Exhibition presented by the University of Iowa Museum of Art and displayed in the Figge Art Museum in Davenport, Iowa. The material on show represents some of the best work produced by the studio art professionals at Iowa’s School of Art & Art History, including the artists in the Grant Wood Colony fellowship program. This offering follows on the heels of a successful and popular biennial exhibition two years ago in 2013, and we look forward to many more to come in subsequent decades.

For over a century, the University of Iowa has employed professional, world- recognized artists as professors of studio art. Some of the most significant people in their fields have taught at Iowa, such as Grant Wood, Philip Guston, David Hockney, , and Hans Breder. Many of their students became famous artists in their own right: Raymond Parker, Elizabeth Catlett, Ana Mendieta, and Charles Ray, to name but a few. Today, this storied legacy is continued by the important and significant artists that teach and research at the School of Art & Art History, and who are represented in this exhibition. Many histories of art subjects, ranging from to metalwork, cannot be written without mentioning the careers of a number of the artists you see in this biennial show. The breadth and depth of the talent on display clearly demonstrates that the state of Iowa supports a vibrant art environment and contributes significantly to the international art scene. The creative students in the program have opportunities that few can imagine, and without doubt, the best of these graduates can, and will, become great artists.

2 The University of Iowa and its benefactors continue to support and develop this major academic program. The reach and expertise of the faculty has expanded in recent years as a result of the newly established Grant Wood fellowship program. This initiative has brought a number of rising stars in their respective disciplines to Iowa, and this exhibition features the two current holders of this prestigious award. As these people graduate from the program, and continue to develop their promising careers, their names will be added to the long list of distinguished artists that can claim a connexion with the University of Iowa’s studio art program.

We would like to acknowledge the support of the College of Liberal Arts and Sciences, School of Art and Art History, the Figge Art Museum, and the Office of the Executive Vice President and Provost for their support in presenting this exhibition.

We are confident that you will enjoy and appreciate the diverse artwork on display. We hope that you will be able to spend as much time as you would like taking pleasure in viewing this fascinating exhibition.

Sean O’Harrow, Ph.D. Director University of Iowa Museum of Art

3 4 ELIZA AU Dimensional Practice (Ceramics)

Axis, 2011 Cone 6 stoneware 36 x 36 x 36 in.

5 ISABEL BARBUZZA Dimensional Practice (Sculpture)

The Permeability of the Veil, 2015 Found dictionaries and encyclopedias, water, glue, and wire

6 PETER CHANTHANAKONE Media, Social Practice, and Design (Animation)

Dance Pro, 2014 Video, 3:14

7 MONICA CORREIA Dimensional Practice (3D Design)

Lampyridae Lamp Plywood, lamp parts, and digital technology, 18 (W) x 9 (D) x 22 (H) in.

8 JOHN DILG Painting and Drawing

This Land, 2014 Oil on canvas

9 LAUREL FARRIN Painting and Drawing

The Green World, 2014 Acrylic on canvas (installation view)

10 ROBERT GLASGOW Printmaking

Aerials: A Culture in Decline, 2013 Edition color lithograph with hand coloring 22.25 x 34 in.

11 SUE HETTMANSPERGER Painting and Drawing

Untitled, 2014 Oil on linen, 30 x 27 in.

12 ANITA JUNG Printmaking

SAREE/SORRY/SARI, 2014 Relief from recycled matrix and ink, 30 x 44 in. (installation view)

13 SARAH KANOUSE Media, Social Practice, and Design (Intermedia)

Black Hawk School, Burlington, IA, from the photo-text book Recollecting Black Hawk, 2015 Archival inkjet print, paired with text 18 x 32 in.

14 MICHELE LAURIAT Grant Wood Fellow in Painting

Untitled from the series “Phil’s Hill”, 2011 Gouache, watercolor, and dry media on paper 90 x 55 in.

15 AMANDA LECHNER Painting and Drawing

Maidenhair/270 Million Years, 2014 Egg tempera on panel, 11 x 14 in.

16 STEVE MCGUIRE Dimensional Practice (3D Design)

Design It, Build It, Ride It, 2015 Titanium

17 DANIEL MILLER Dimensional Practice (Sculpture)

Contained, 2010 Aluminum, steel, acrylic, electronics, LED lights, water vapor, video camera, video monitor, ultrasonic humidifier, microcontrollers, A.C. motors 48 (L) x 40 (W) x 60 (H) in.

18 VIRGINIA MYERS Printmaking

A Codex For Our Times, 2015 Foil imaging and soft pastels 40 in. x 9 ft. 6 in.

19 JEFF RICH Media, Social Practice, and Design (Photography)

Mouth of Yellow Creek, Tennessee-Tombigbee Waterway, Burnsville, Mississippi, 2013 Archival digital print 31 x 38 in. framed

20 RONALD M. ROZENCOHN Painting and Drawing

Blue Boy and Balloons, 2014 Oil on canvas, 40 x 48 in.

21 JAMES SNITZER Media, Social Practice, and Design (Photography) Printmaking

Untitled, 2014 Photogravure, 4.5 x 5.75 in.

22 MARGARET STRATTON Media, Social Practice, and Design (Photography)

Early Evening, Malecon, Havana. Cuba, 2014 From: “Cuba, A Spy In The House That Castro Built” Archival digital photograph, 40 x 20 in.

23 SERINA SULENTIC Media, Social Practice, and Design

Metal tins, 2014–present Collage, photography, everyday objects, and computer End result: Hardbound 80+ photo cookbook + EPUB book

24 SERHAT TANYOLACAR Printmaking

Circus in Town, 2014 Laser-cutter , combination print, 50 x 50 in.

25 BREANNE TRAMMELL Printmaking

Dinkholt & Heinbar (Breanne Trammell in collaboration with Jeff Barnett-Winsby) Sunset, 2015 Archival digital print

26 JOSH VAN STIPPEN Dimensional Practice (Ceramics)

Colloidal System, 2015 Stoneware, 84 x 48 x 1 in.

27 SUSAN CHRYSLER WHITE Painting and Drawing

Mazarine (in progress) Acrylic on canvas, Mexican serape, Plexiglas, steel, 144 x 120 x 8 in.

28 RACHEL WILLIAMS Media, Social Practice, and Design (Intermedia)

Wilderness of Sin Aqueous media and collage on paper, 23 x 25 in.

29 JON WINET Media, Social Practice, and Design (Intermedia)

Jon Winet | Katie Grace McGowan with Debra Pughe “Documentation | Facsimile: Virtual Drill Sergeant Training Case” Photograph: Camp Carpa, 2013 Mixed medium

30 KEE-HO YUEN Dimensional Practice (Jewelry and Metal Arts)

Bending Power, 2014 Ring: anodized aluminum, rock, cedar wood, lead, brass, acrylic paint, and laser printer ink, 3 (L) x 3 (W) x 4 (H) in.

31 ARTISTS’ STATEMENTS

ELIZA AU VIRGINIA MYERS ISABEL BARBUZZA JEFF RICH PETER CHANTHANAKONE RONALD M. ROZENCOHN MONICA CORREIA JAMES SNITZER JOHN DILG MARGARET STRATTON LAUREL FARRIN SERINA SULENTIC ROBERT GLASGOW SERHAT TANYOLACAR SUE HETTMANSPERGER BREANNE TRAMMELL ANITA JUNG JOSH VAN STIPPEN SARAH KANOUSE SUSAN CHRYSLER WHITE MICHELE LAURIAT RACHEL WILLIAMS AMANDA LECHNER JON WINET STEVE MCGUIRE KEE-HO YUEN DANIEL MILLER

32 ELIZA AU objects. The dichotomy expressed by the book as meaning Dimensional Practice (Ceramics) versus the book as an object, adds a new and more complex reading to the work. I am interested in how systems work and how they relate to symmetry, repetition, and scale. My work is about using modules based on polygon forms to form a whole. The PETER CHANTHANAKONE design on each module contributes to pattern of the entire Media, Social Practice, and Design (Animation) piece. Using this method, I work with the mandala and the grid to express ideas about sacred space. Two concepts My animations are autobiographical and offer a reflective have been consistent within my practice: the translation space where I am able to imagine different scenarios and of the two dimensional into the three-dimensional, by worlds that defy reality. These worlds are rooted in the stretching a pattern over a three dimensional object or by places I visit which I document through photographs, from creating individual two-dimensional objects that project urban spaces in Europe to remote caves in Asia. Combined into space. with animations that focus on characters who must overcome insurmountable obstacles, my three-dimensional animated films inspire audiences about the unrelenting ISABEL BARBUZZA spirit and the human condition. Both hope and crippling Dimensional Practice (Sculpture) personal obstacles are constant themes in my work. Yet the human struggle, on a micro and macro level, offers My practice oscillates between objects, collage, site endless possibilities for creative experimentation with specific, and installation. Discarded books, paper, artificial animation and technology. flowers, shells, textiles, salt, wax, dust, thread are some of the materials I use in my work. Most of these materials are the leftovers from situations of excess and abundance MONICA CORREIA originating from the intersections of power, economics, Dimensional Practice (3D Design) and geography. I believe the seduction and need to consume and to possess erases any history and value of the Lampyridae Lamp was inspired by the form and warm “thing” being consumed and discarded. light of fireflies. The design started as a three-dimensional model that was turned into two-dimensional slices. The Since 1989 I have been working with discarded books, and shapes were cut in plywood using Computer Numerical I am interested in exploring the use of books as sculptural Control (CNC) laser technology and assembled to create

33 the three-dimensional form. The process minimized LAUREL FARRIN packaging, weight, and left the material with dark edges Painting and Drawing that reinforce the initial intention of warmth. When lit, the light resembles the sunset light. I wrestle to balance the cloud of digital noise with my gravitational presence in the world—to absorb My work focuses on the challenge of transforming ideas information and glean meaning. into functional and aesthetically pleasing unique objects, primarily working with digital technologies but also My work wavers on the threshold between abstraction embracing traditional techniques. and recognition and is embodied in the slowness of paint and other materials that impose resistances, obstructions, turns, and flows.

Familiar may become unfamiliar; pathetic may become JOHN DILG humorous. I stumble into images I have unwittingly Painting and Drawing invented.

I invent landscapes and events that, with the assistance of memory, give me a portal, a pictorial entry into an independence from time. They act out the presumption of stopped time—“stopping time” in the mathematical ROBERT GLASGOW meaning of “taming the continuum of time.” Related to Printmaking this, I have also had a long-term interest in the idea of the pictorial object as a form of souvenir. One can say that The “Aerials Series” resides in the realm of cultural fiction. the purpose of the souvenir is to stop time, through the Surface and subsurface migrations, penetrations, and form of the memory that the object reveals. The fact that traversings describe the flow of beings from both past and landscape is the usual environment in my paintings has less future. Evidences of conflict, avoidance, and isolation, as to do with the American Landscape—as it was defined, well as commonalities of purpose and direction are visible. for example, in the Hudson River School—than it has to do with my respect for the (so-called) “natural” landscape The discovery of these movements encompasses and my sense of regret as we increasingly abandon it. archeological, geological, spectrographic, theoretical, and other, more advanced detective methodologies. Early

34 written language cues sometimes offer insights as to the of art. These combine with issues that focus on the act configurations of panoramic migratory flow, detailed of making as well as waste, coupled with relationships habitation sites, and always present political fractures. between technology, machine, and the human hand. Through an ongoing collaboration with the Studio Art building, I reclaim castoff materials left behind from using laser cutting as well as the backing boards of CNC routers that are the records of the incidental marks of making. SUE HETTMANSPERGER Painting and Drawing

ITERATIONS, paintings: Painting is a unique fictive arena in which potentially anything can occur in an indeterminate, SARAH KANOUSE shifting space between abstraction and representation, Media, Social Practice, and Design (Intermedia) analogue and digital referents. Serving as emblems of the current conflicted ecological awareness we embody Recollecting Black Hawk is a book-length, image-text essay as a culture, these works present a collision of disparate exploring the commemorative landscapes of the Midwest. configurations, and iterated trajectories. Collaged spaces It brings together roughly two hundred photographs of in these paintings weave together elements and systems historical markers and monuments, organizations, sports of botanical form, fragments of detritus, traces of product teams, consumer products, businesses, parks, subdivisions, packaging material, and a range of digital artifacts, while and other places that reference the nineteenth-century collapsing, dissolving, and questioning their boundaries. Sauk leader Makataimeshekiakiak, more commonly known as Black Hawk. Each image is paired with an appropriated text drawn from a wide range of sources: press releases and scholarly histories, government reports and advertisements, and poetry and recipes published in ANITA JUNG tribal newspapers. The accumulated image-texts suggest Printmaking a multiplicity of links between past and present, absence and presence, amnesia and survivance. Traditions of the readymade, appropriation, and art as an everyday occurrence that investigates the act of making and the residue that is left behind is critical to my works

35 MICHELE LAURIAT Discovering, analyzing, and understanding phenomena Grant Wood Fellow in Painting are practices that artists and scientists share, but differ in approach. The profoundly strange and wonderful ideas My drawings begin with observations. I notice how the offered by quantum physics, alchemy, and science-fiction landscape shifts around me as I move through it. I notice find a visual adaptation in my work. Pseudo-sciences and how a bunch of leaves might start as a group, then supernatural investigations are also very intriguing as separate out and become silhouettes of individual leaves, wellsprings for narrative potential. Through a combination before becoming a group again. In the landscape I create of visual and narrative experiments, I explore the nature plein air drawings and photographs to use as source of reality, history, gender, and personal experience and material. In my studio I use water based paints and dry hope to create images that are at once captivating and media to create large, disjointed, landscape drawings. My anomalous. process, taking me back and forth between control and chance, is one of chaos barely tethered. Not unlike our relationship with the landscape. STEVE MCGUIRE Dimensional Practice (3D Design)

AMANDA LECHNER Two decades ago accomplishing an event was separate Painting and Drawing from art making and as simple as saying, “racing on the Iditarod for three days in the dead of winter might make Through my work I envision moments of experimentation a great story.” Then, “sculpture” was an object pointing and discovery. My current egg tempera paintings embody to the experience. Now, I commit craftsmanship and tens the quest for narrative alternatives. The history of science of thousands of miles to building a bike. Bicycles for the and optics inform my recent work. This content meshes Colorado Trail, the Arrowhead and Tuscobia Ultras, and well with the alchemy involved in making paint from the Flint Hills of Kansas. Determining, for instance, bottom scratch using historically based recipes. bracket height, fork offset, and capacity to carry event- specific equipment involves intense interrogation of what What often interests me most about science is the has worked and didn’t, and a history of bicycle design. story behind the research and discovery. Behind every theory and conclusion there is a human story, sometimes mundane, sometimes extraordinary.

36 DANIEL MILLER the thitherto commercial foil medium in their studios. Dimensional Practice (Sculpture) I am currently working on a new foil imaging book to accompany the Codex. Contained has at its center an acrylic dome with a scale model of Chicago inside. Every forty minutes a sun and moon complete a full rotation around this mechanical microcosm. Underneath the city, electronic and mechanical JEFF RICH elements control lighting effects within the model. Within Media, Social Practice, and Design (Photography) the dome “smog,” created by ultrasonic humidifiers, emits from the highway and the nearby coal-fired power station. This work documents the heavily-controlled and harnessed This three-dimensional landscape has a looping time rivers of the Tennessee River Basin after eighty years of the composition that approximates and condenses our daily Tennessee Valley Authority’s policies, ultimately showing cycle. This work was inspired by the now closed Fisk Energy the complicated effects of large-scale modernization. coal-fired power station near Miller’s previous home and The Tennessee Valley Authority was the first government studio in Chicago, IL. agency whose limits were defined by a geomorphological condition: The Tennessee Watershed.

A common misconception of a watershed is that it’s all about the water. While water does play a large part, the VIRGINIA MYERS land plays an even larger role by directing the water to Printmaking a common point, such as a river or ocean. Thus, human impact on the land directly affects the water that runs over The Codex is a five-panel pastel and hot stamped foil it. In “Watershed”, I intended to highlight this relationship work imaging a scathingly critical narrative of our times. between land, water, and man within the Mississippi River Each panel is complete in itself but linked thematically watershed, the largest watershed in North America. Every to the whole. The surreal images newly utilize my own watershed is made up of smaller watersheds or basins, drawings archived over many years. The Codex marks a and the Southern portion of the Mississippi watershed is highpoint of technical achievement in my decades-long made up of three major river basins, the French Broad, the research validating foil as a fine-arts medium, triumphing Tennessee, and the Mississippi. Each of these basins form a over negative criticisms and even vilification, resulting chapter of the “Watershed” project. in the patented Iowa Foil Printer, enabling artists to use

37 RONALD M. ROZENCOHN MARGARET STRATTON Painting and Drawing Media, Social Practice and Design (Photography)

In a universe where so little is seen let alone understood, “Cuba: A Spy in the House that Castro Built” presents confidence in artistic expression may be a meager illusion, the island nation as a puzzle of conflicting identities; yet standing in front of a great painting can be, for us in the romanticized but impoverished ruins of Havana the lives we live day to day, clarifying. Images that linger compete with the beaches and all-inclusive luxury resorts, in the imagination create reprieve. I use my past art to demonstrating the country’s failed socialist model. A begin the next painting, yet once I get going anything can “Spy in the House that Castro Built” captures this conflict happen. The actual painting journey means getting lost through the juxtaposition of scenes that depict the (in the medium) so as, to find one’s way. The found way, if everyday lives of the Cuban people, and scenarios that evocative and interpretable, is a new point of departure. reveal Cuba’s luxury economy and identify the island as an The project of painting is discovery; all else is narrative. idyllic destination for international tourists.

JAMES SNITZER SERINA SULENTIC Media, Social Practice, and Design (Photography) Media, Social Practice, and Design Printmaking Every memory I have of my recent grandmother consists of Photographs have always maintained a distance, in both visits to her garage freezer to see what she made for our time and space, between object and image and between visit, or quick glances at the kitchen counter to see if there image and viewer. These images are an attempt to were tins of cookies ready for our consumption. For the replicate that singular moment of discovery embodied in past year I have been documenting recipes told by family the early processes of nineteenth-century photography. members and some found in her precious recipe boxes. As objects, they possess an uncanny directness, but their This ongoing project has become more than just words on ostensible authenticity only reminds us of the limitations a page. This project has been about documenting every of any photographic image, reproduction, or replica. day functions we do, but never taken the time to fully appreciate. Just like her recipes and stories, I wanted to make this project simple: recreate the beauty of simplicity through photographs and collages.

38 SERHAT TANYOLACAR JOSH VAN STIPPEN Printmaking Dimensional Practice (Ceramics)

As an artist, my intention in artistic production is to use my Nanoparticles are too small to be seen with the human daily life experience in satirical and ironical reconstructions eye, so my work, Nanoscale, brings nanoparticles to often by utilizing nostalgia and national and cultural the human scale. The shapes of nanoparticles captured identity elements. The reconstructed (art) product then through microscopy imaging are appropriated in my intends to create a visual dialogue between itself and its specimens. The size of nanoparticles determines their viewer in a two-way conversation. Especially since 2011 properties and is critical to research and development I have been researching different, radical, poetical, and of materials. Across many scales, my work explores the innovative strategies to form a (more universal or global) positioning and irregularity of nanoparticles and the dialogue between the art work and the audience, even if unique functions that are achieved only on the nanoscale. the subject is specifically the other, or the Orient.

SUSAN CHRYSLER WHITE BREANNE TRAMMELL Painting and Drawing Printmaking There is a basic human tendency to seek order in Dinkholt and Heinbar is the collaborative moniker of the current of experience in which we are constantly Breanne Trammell and Jeff Barnett-Winsby. We utilize swimming. There are a variety of languages (scientific, collaboration and play to break free from the established artistic, and spiritual, as well as ordinary discursive) by narratives of our personal work. Our alternative curiosities which we attempt to organize our worlds, and they and interests, that at times seem peripheral, can be frequently borrow from one another—thus the richness of explored more freely by utilizing collaborative efforts. metaphor. My recent paintings strive to represent interior Increasingly, our interests have ranged from the grotesque experience and its transitory connections among ideas and beautiful to the lonely and the hopeful. and emotional states. How do you show the simultaneity of events, experiences of an unstable environment, an unstable relationship, and deep felt emotional responses in symbolic form?

39 RACHEL WILLIAMS Rather than the physical and psychic trauma associated Media, Social Practice, and Design (Intermedia) with boot camp, our goal was to play with the absurd notion of a humanizing form of military training. A My work is diaristic and made over the course of many soldier’s training regimen was turned upside down as a weeks. Often it begins in my sketchbook. Each layer and demonstration of a demilitarized-military training. drawing influences the next. The pieces start as images and experiences. Sometimes the two are interlaced, sometimes they are distinct. Often through painting and drawing I make sense of the image or images and work KEE-HO YUEN to understand and draw meaning from the experience. Dimensional Practice (Jewelry and Metal Arts) Most of the themes in my work are centered on domestic situations, small backyard dramas, and interpersonal My work is a quest to whimsically comment on human exchanges. I overlay these with family stories, historical emotion and interaction inspired mainly by Chinese events, and things I have read. Most of the paints that I literature. I also use it as a reminder for myself not to drift use are various types of acrylic ink. I also use watercolors, too far from the attitudes I believe to be important in life. gauche, collage, and bits of paper and maps. Some of my work is purely an aesthetic and technical investigation. I employ an eclectic use of contemporary and traditional technologies and materials, ranging JON WINET from combining advanced three-dimensional computer Media, Social Practice, and Design (Intermedia) modeling with CNC machining, to traditional fabrication and enameling. In October 2013 CARPA (Craft Advanced Research Projects Agency) organized a camp at which artists were invited to pursue projects that investigate the military-industrial complex. Camp CARPA was held on a compound in the Mojave Desert town of Joshua Tree, California.

At Camp CARPA, Winet and McGowan tested the alpha version of a mobile web application designed to introduce a new paradigm for programming the soldier athlete.

40 www.art.uiowa.edu uima.uiowa.edu