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+ + Philip Heying (BFA, Painting, KU) Born 1959, Kansas City, Missouri

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+ + Philip Heying (BFA, Painting, KU) Born 1959, Kansas City, Missouri + + Philip Heying (BFA, Painting, KU) born 1959, Kansas City, Missouri; based in Lawrence, Kansas Repurposed billboard west of Salina, Kansas along I-70. 7/13/2014 – 1:40 PM, 2014 from A Visual Archaeology of the Anthropocene inkjet print Museum purchase: Elmer F. Pierson Fund, 2018.0180 Philip Heying’s photographic projects are characterized by ecological responsibility and research-driven investigation. In his series A Visual Archaeology of the Anthropocene, Heying highlights a pattern of connections between human activity and environmental changes. Repurposed billboard presents a view of Kansas grasslands near Salina and a lone billboard at the center of the horizon line. Local citizen Jim Nelson painted the sign in 2013 with the words “I need a kidney” in hopes of finding a kidney donor for his wife Sharon Plucar. Though they received a few leads and many well wishes, Plucar passed away in 2014 after Heying made this photograph. Nelson apparently painted over the billboard a short time later. + + + + Philip Heying (BFA, Painting, KU) born 1959, Kansas City, Missouri; based in Lawrence, Kansas Lee Kindle salvages a pickup truck destroyed by an F4 tornado in a region that had to be evacuated due to toxic mining waste near Treece, Kansas. 2/19/2009 – 2:04 PM, 2009 from A Visual Archaeology of the Anthropocene inkjet print Museum purchase: Elmer F. Pierson Fund, 2018.0182 This photograph by Philip Heying captures the aftermath of a deadly F4 tornado that devastated towns along the Kansas– Oklahoma border on May 10, 2008. The region is notable for its location near the Environmental Protection Agency’s Tar Creek Superfund site, which had a long history of mining lead and zinc until around 1970. The leftover lead dust that blows around the region, as well as the lead and zinc that seeped into groundwater, ponds, and lakes, has led to elevated levels of lead in the bodies of local children. This has resulted in increased rates of children with learning disabilities and physical disabilities. Heying noted that the owner of the truck depicted in Lee Kindle salvages had recently received chemotherapy treatment for colon cancer at the time this photograph was taken, and his daughter had a severe speech impediment. Heying was in awe of their determination and attachment to such a hostile, toxic place. + + + + Sue Ashline (BFA, Painting, KU) born 1947 Keokuk, Iowa; based in Lawrence, Kansas Alice goes to the Art Prom, 2010–2016 gouache, acrylic, ink, sumi ink, gesso, collage Museum purchase: Peter T. Bohan Art Acquisition Fund, 2019.0002 This painting features important qualities of Sue Ashline’s artistic approach, which often includes a whimsical arrangement of still life objects, a combination of abstract and representational elements, and a subtle use of color. This work was inspired by a German woodcut print in the Museum’s collection. Ashline also created and wore a shirt inspired by this print when she rode on a Spencer Museum float in a downtown Lawrence parade in 2010. Beyond her time in the studio, Ashline worked as the matter and framer at the Spencer Museum until her retirement in August 2018. + + + + Ann Hamilton (BFA, Textile Design, KU) born 1956, Lima, Ohio; based in Columbus, Ohio (left and right) Robin Hood against the bad barons, 2018 paperback book slices, wood, book binder’s adhesive on the day the war had ended, 2018 paperback book slices, wood, book binder’s adhesive Courtesy of Ann Hamilton Studio, EL2018.141, EL2018.142 Books are a recurring material and theme in Ann Hamilton’s practice, particularly the ways in which they influence readers and transmit information across languages and cultures. In both of these works Hamilton uses cross-sections of books to create physical alignments between different texts. Her work suggests that meanings are created when texts are put in conversation with one another, which alludes to the hybrid spaces books provide for readers to inhabit. In the words of writer Rebecca Solnit, a frequent collaborator with Hamilton, “Books are solitudes in which we meet.” + + + + Ann Hamilton (BFA, Textile Design, KU) born 1956, Lima, Ohio; based in Columbus, Ohio draw, 2003–2012 video, color, sound (loop); LCD screen; media player, two 15-inch open-frame monitors Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund, 2014.0005 This video work shows a moving line of red thread. Untouched by human hands, the line moves on its own and creates a place by drawing thread through surfaces. The red line also echoes a work by renowned weaver Cynthia Schira, who was Ann Hamilton’s mentor when she was a student at KU. Schira was an influential mentor to many artists featured in this exhibition, including Hamilton and Bhakti Ziek. + + + + Ann Hamilton (BFA, Textile Design, KU) born 1956, Lima, Ohio; based in Columbus, Ohio figura 23, 2012–2013 archival pigment print, digitally printed on Japanese Gampi paper bonded to cheesecloth Museum purchase: R. Charles and Mary Margaret Clevenger Art Acquisition Fund, 2014.0007.a,b In 2010, the Spencer Museum of Art commissioned artist Ann Hamilton and her former KU professor Cynthia Schira to create works of art for the two-person exhibition An Errant Line: Ann Hamilton / Cynthia Schira (2013). Using digital technologies to express the essential nature of cloth and the ways museums organize and communicate the histories of objects, Hamilton and Schira transformed multiple galleries with their monumental installations. Both artists used images and objects from the Museum’s collection, evoking the stored collection and the Spencer Museum as a place, creating a rich and surprising tapestry that revealed the unique landscape of the collection. For figura 23, Hamilton used a scanning process to capture the bottom half of a presepio figure, an object made in 18th-century Italy to be displayed in a public nativity scene. This large digital print mounted on fine gauge cheesecloth draws our attention to the present-day object and evokes the object’s native home, which is both thousands of miles and hundreds of years apart from us. + + + + Ann Hamilton (BFA, Textile Design, KU) born 1956, Lima, Ohio; based in Columbus, Ohio O N E E V E R Y O N E directory, 2017 paper Gift of the artist, T2018.111 In her O N E E V E R Y O N E series, Ann Hamilton photographed volunteers through a semi-transparent membrane that focused on each place where the body made contact. Commissioned by Landmarks for the Dell Medical School at the University of Texas at Austin, the project began with more than 500 portraits of Austin community members. In addition to the series’ photographic prints and newspapers, Hamilton produced this 900-page book, which includes all of the photographs. Please feel free to flip through the book, but leave it in the gallery. + + + + Ann Hamilton (BFA, Textile Design, KU) born 1956, Lima, Ohio; based in Columbus, Ohio O N E E V E R Y O N E newspaper, 2017 paper Gift of the artist, T2018.112 As part of Ann Hamilton’s O N E E V E R Y O N E series, she created these freely circulating newspapers to explore issues that were central to her project, such as touch, empathy, and seeing and being seen. The discussions of these issues are paired with images. Hamilton states: “The O N E E V E R Y O N E series began when a chemist placed a skin-like film into my hand with a note: ‘I think you will find this interesting.’ I did. Its soft rubber-like membrane was thin but extremely tough. I was immediately captured by this paradox, as well as the optical quality of its milky surface rendering only what touches it—in this case, my fingertips—in focus while obscuring everything else…The way it makes touch visible seemed magic to me.” Please feel free to flip through the newspaper, but leave it in the gallery. + + + + Anne Austin Pearce (BFA, Printmaking, KU) born 1968, Lawrence, Kansas; based in Kansas City, Missouri Animals Don’t Take Vows: Tortuga, 2012 ink, acrylic on board Museum purchase: Helen Foresman Spencer Art Acquisition Fund, 2013.0036 This painting reflects Anne Austin Pearce’s memories of coastal Mexico, where she was struck by the contrast between the organic rhythms of nature and the organized structure of civilization. The word tortuga in the title can refer to either an island off the coast of Mexico or the Spanish word for turtle. Pearce states: “While in Mexico for the first time, I was afforded a most private and magical opportunity to observe a green turtle emerging from the moonlit sea, climbing her ancestral beach, laced with phosphorescent matter and digging a nest in the middle of the night. This trip was led by a scientist and turtle expert; we did not disrupt her process. Seeing the eggs drop from her body into the vast hole transfixed me. It was especially difficult knowing how few of these 120 would make it back to the sea, but the few that make it carry on and for that I am delighted. This trip and others to remote natural spaces continue to inform my work. The utter resilience and fragility of the natural world and the necessity of the artist/literary/scientific world continue to work as one to preserve our magical, valuable spaces on the planet.” + + + + Bhakti Ziek (BFA, Textile Design, KU) born 1946, New York, New York; based in Randolph, Vermont Rain, 2013 silk, cotton, rayon, metallic yarn, indigo dye, handwoven satin-based weft-backed Jacquard weaving Courtesy of the artist, EL2018.127.a,b,c In Rain, Bhakti Ziek creates an interplay between visual elements and letters, using an indigo palette.
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