Through a broad, tactile mixture of textiles, printmaking, painting, and sculpture, An Advocate for an Imposter explores the nuanced relationship between imitation and authenticity. Beiswenger’s embroidery, sculpture, and weavings comprise an expansive, kind, and thoughtful conversation.
The central feature of An Advocate for an Imposter is a formal armchair upholstered in AstroTurf, flanked by two log end tables and resting on a large rug. On one side is a bowl of acorns. The arrangement creates interesting conversation about the distinction between “imposter” and “genuine.”
The AstroTurf upholstery is a particularly entertaining juxtaposition. AstroTurf is definitely an imposter, oversaturated plastic pretending to be a perfect, living yard. As upholstery, it’s doubly false–fake grass pretending to be an appropriate fabric for a seat (but actually a prickly, unpleasant surprise). The natural end tables, however, complicate the situation. Raw, unfinished wood–bare nature–is inserted into this indoor, almost domestic scene, yet the AstroTurf upholstery attempts to imitate the vibrance of living plants outdoors. Which belongs where? Who is really the imposter?
The rug below the chair has been printed with scrabble-worthy words that would pose a challenge for even the most experienced elementary school spelling bee champion. The nest of words is beautiful but overwhelming. It can be easy to feel like an imposter, standing in a space covered in terms you are ashamed you don’t know.
The wall facing the gallery entrance is dedicated to a life-sized skeleton, layers of patterned fabric exactingly embroidered with tight, floral embellishments. Next to it is pinned a small, three-inch square portrait. The contrasts between the two–in size, media, style, and presentation–are stark. The portrait, in its intimately small scale and open, unguarded expression, offers a deeply genuine moment of connection, while the skeleton is a much more precisely arranged look inside a person (literally). Both are undeniably appealing, but deeply different.
A series of cloth panels juxtapose carefully embroidered forms with sketches, splotches, and smudges. The organic, unintentional flaws and the precisely realized diagrams both have an appealing integrity to them. Sketches, coffee stains, and wrinkles–the fingerprints of an imperfect reality–honor the time, effort, and person beside the ideals of their work.
An Advocate for an Imposter will be on display in the Godschalx Gallery through October 20.
As fall semester begins, take a moment to reflect on Summer’s End, an exhibition of achingly beautiful work by Rafael Francisco Salas. The exhibition primarily features oil paintings of indistinct rural landscapes and a county fair in “a metaphorical change of season. It is an oblique atmospheric meditation on political and social divides. The landscape emerges as an emotional rather than a literal one. The county fair at summer’s end is a place of reckoning, full of innocence, and innocence lost.”
Salas’ paintings feature luminous backgrounds, their inner glow contrasting with a persistent shadow that creeps in at the corners of the canvases. He doesn’t shy away from saturated, earthy colors, but, paired with muted grays, the overall effect is a sense of disillusioned nostalgia.
Summer’s End layers the hopefulness of the ideal, the clarity of recollection, and the crumbling of memory. Sharply rendered figures and sparkling fireworks are placed atop hazy rural landscapes, bleeding into but distant from their surroundings. Focal points dissociate into abstract strokes of jeweled color, and backgrounds fade into the feeling of a landscape, rather than a physical location.
In addition to large oil paintings, Summer’s End includes a collection of process sketches. This body of delicate, thoughtful works contextualize the ideas that culminated in each painting. It’s interesting to see how a change in medium affects the perception of each subject, with small studies in ink, acrylic, and collaged paper a quietly different treatment than the large oil paintings.
Salas is a professor of art at Ripon College, where he also serves as chair of the department of Art and Art History, and has also been appointed to the Wisconsin Arts Board. His work has been displayed in New York City, San Diego, and Boston. He’s also shown work extensively in the Midwest, including in the Neville Public Museum, the Museum of Wisconsin Art, the John Michael Kohler Arts Center, and the Frank Juarez Gallery. His work is represented by Portrait Society Gallery in Milwaukee. Salas has also worked as an arts writer for the Milwaukee Journal Sentinel, Newcity Art Chicago, The Isthmus Magazine and Urban Milwaukee.
Summer’s End opened on August 29 and can be viewed in the Baer Gallery through September 22. A reception will be held from 5 to 7 p.m. on Thursday, September 8. The gallery is open to the campus and the community.
Blake William’s Commonplace is anything but ordinary. The show, which was housed in the Baer Gallery at the start of the spring semester, includes ceramic and wire sculptures, as well as furniture sourced from Williams’ family, like her great-mother’s dining room table. These sculptures explore the human condition, how an individual relates to their surroundings, and how identity is formed and reformed.
Through imagery of bones and flowers, Williams studies the ghosts of the past in the everyday, the transience of life, and the search for identity. Her work places a special significance on the contributions of domestic work and honors the memories bound up in objects of ancestors.
Blake Williams is an artist and Associate Professor at Michigan State University. Her work has been exhibited internationally, and she has pieces in national private collections, as well as the Jingdezhen Ceramics Museum. Williams has also been featured in American Craft and Ceramics Monthly magazines.
This peaceful, contemplative exhibition was on display between January 24 and February 17 in the Baer Gallery. It was a quiet space to consider home and self, and to honor the sacredness of memory.
The Senior Art Exhibition is the capstone experience for all art majors. Each art major creates a body of work centered around a theme of their choice and exhibit their work in the Bush Art Center galleries. This year’s exhibition, featuring work from eight seniors, explores a wide range of topics, including the greatest moments in sports history, a fantasy world that feels like home, and the power of water.
Our graduating art majors this year are Francesca Facchini, Cora McMains, Marybeth Koss, Kori Halstead, Ally Laidlaw, Trevor Cornell, Megan Huth, and Rita Hamm. The 2022 Senior Art Exhibition is on display in the Baer and Godschalx Galleries until May 6.
The current exhibition in the Baer Gallery, From Me to You, explores topics of self-perception, beauty and the Black female identity through photography and sculpture. Murphy-Price reflects on the problematic weight of expectations as an inherited female legacy, “passed down from me to you.”
Althea Murphy-Price is an artist and professor at the University of Tennessee at Knoxville whose work explores the social implication of beauty and its relationship to female identity, women, and culture. Her pieces, which range from screenprint collages to rugs made from human hair, have been shown internationally, including in Spain, China, Japan, Italy and Sweden. She has also been featured in Art Papers Magazine, CAA Reviews, Contemporary Impressions Journal, Art in Print, Printmaking: A Complete Guide to Materials and Process, and Printmakers Today. She studied at Spelman College and received a Master of Arts in Printmaking and Painting at Purdue University, as well as a Master of Fine Arts from Tyler School of Art, Temple University.
Much of Murphy-Price’s work grapples with the social perceptions and the sense of personal identity tied to Black women’s hair and hairstyles. Her Goody Girl series of photographs responds to the high expectations of #blackgirlmagic, a hashtag intended to uplift and empower, but can also feel like a pressure to perform. Through a metaphor of barrettes and bows, Murphy-Price explores how trying to live up to fantastical expectations can have real consequences.
Her more recent prints, including Black Bird Girl and Requiem, feature 3D printed objects arranged sculpturally in young children’s hair. The dizzying array of hair accessories used in these photographs also composes her sculpture Counter. Some of these accessories, like bows and flowers, are innocent and childlike, but others, like satellites, bullets, and birdcages, have connotations associated with heavier subjects. All have implied expectations, and carrying their weight can be difficult.
From Me to You opened in two stages, on Feb. 28 and March 3, and can be visited through March 31.
The 2019 Senior Art Exhibition boasts the work from seventeen graduating studio art and graphic design major seniors, featuring mediums such as printmaking, packaging design, short film, oil painting, and sculpture, just to name a few. Up now until May 3, 2019 in the Bush Art Center Galleries you can come see the ultimate works of:
Artist statements explaining the artists’ work and visions are provided by each artist and are available for viewing in a binder found inside the doors of the Baer Gallery. Come celebrate the hard work of the graduating art class of 2019 while you can!
Sandra Martinez is a symbolist painter based in Door County, WI. Martinez renders contemporary works on paper, vellum and other materials that reference human, plant, and shelter forms. As part of Martinez Studio, she was recently awarded a prestigious USA Artists Fellowship. Her work has been exhibited at many institutions, including the Smithsonian Craft Show and the Museum of Wisconsin Art.
Martinez’s exhibition, Between the Lines, displayed in the Baer Gallery, is a mixture of paper sculptures and wall hangings, paintings, and woven rugs. Her bold sense of shape and design transports the viewer into entirely new physical and mental spaces: a feat well worth the time to come and experience. Come see her work before it moves on!
Martinez will also be giving an Artist’s Talk in the Bush Art Center on Friday, March 1 from 12-1p.m. Refreshments will not be served, so feel free to bring your lunch while listening and learning something new.
Details on this exhibition’s reception can be found at the bottom of this post.
Recently returned from a fall semester sabbatical, Brian Pirman, Associate Professor of Art at the BAC, has taken over the Godschalx gallery with an explosion of color and pattern. From wall to wall and floor to ceiling, Pirman’s Experiemental Digital Patterns is a visually kinetic space that refuses to be ignored. Don’t miss your chance to experience this show and be struck with wonder.
This past Thursday, November 15 marked the 2018-2019 Annual Juried Student Art Exhibition Awards Reception. Students, both art majors and non-majors, put out a strong showing for this year’s exhibition, creating a monumental task for awards judge Dr. Carol Bruess.
Dr. Bruess is an alumna of the St. Norbert College Art Program and received her M.A. and Ph.D from Ohio University’s School of Interpersonal Communication. She is the author of numerous books spanning topics of family relationships, marital relationships, and communication in the digital age. Dr. Bruess remains an active supporter of the arts and was a jovial and inspirational presence for the students at last week’s event.
The awards shook out as follows:
Morgan Pennings, A Day in the Life, Short film
Lukas Thornton, Dysphoric, Watercolor on paper
Emerson Bartch, Flesh Eater, Wax, soil and wood
Katie Hopkins, Communio, Screen print on paper
Elizabeth Hein, Reliance, Screen print on paper
Devin Morrisroe, Eavesdropping, Charcoal on paper
To see even more of the artwork in this exhibition, come visit the gallery when its regular hours resume after Thanksgiving Break: MTWF from 9am-3pm, and Th from 9am-7pm. The show is up until December 7.
The Needle has Moved: A Retrospective Exhibition Celebrating the Fifty-Year Career of Tattoo Artist Rick Harnowski is the most recent installment at the Bush Art Center Galleries of exhibitions that have generated physically palpable and widespread excitement across the campus community as well as the greater Green Bay community.
Spreading across all three gallery spaces at the BAC, The Needle Has Moved is a visual, auditory, and tactile experience that refuses to be contained by any single medium. The show is about tattoo artist Rick Harnowski and while the walls are plastered with photographs of his tattoo work, it is so much more than that. The show a wunderkammer of memorabilia from Harnowski’s life. With examples of his painting, drawing, graphic design, photos from his childhood, news clippings, an actual motorcycle, and reflections on his immigration from Poland at a young age, this show is a study of Rick Harnowski himself.
In hopes of diving behind the scenes of The Needle Has Moved, I was lucky enough to be able to sit down with the curators of the show themselves—Brian Pirman and James Neilson—and discuss the workings of the show, and find out just what makes this show tick.
Katie Hopkins: Curating a retrospective exhibition for Green Bay tattoo artist Rick Harnowski is no small feat when considering his accomplishments, but for those who don’t know, what has made Harnowski so monumental in the tattoo scene that raises him above and beyond other artists?
Fr. James Neilson: Well the staying power, having a career of fifty years has its merits of course, but Rick was so instrumental in recognizing the need for reform in the industry. He appealed to government agencies and the state itself to have higher standards of excellence for the safety of the clients as well as for the practitioners of this artform.
Brian Pirman: Another part of the equation [in curating this exhibition] is his son Josh, who Rick shares the studio with. Basically Rick has a chair, and just down the way Josh has a chair. Josh went here to St. Norbert, studied art, graduated in 2007, and he’s become part of the equation over at Tattoos by Rick. Knowing Josh, is how we got to know his dad. We actually took a couple of Art Thursday* field trips out there and that started the beginning of this relationship. But to Jim’s point, you know, working with local government to make sure that it’s safe, he won’t tattoo anyone that’s underage, and there are certain tattoos that he refuses to do. He has these ethics that apply to hygiene as well as symbols and concepts.
*Art Thursday is educational programming put on for the Art majors and minors here at SNC.
KH: Looking at Harnowski’s work, the artistry, care, and technique behind each piece, it’s not hard to see why you’ve decided to dedicate an entire show to his career, but tattoos—no matter the quality—are often met with social prejudice based on appearance and assumed personality traits.
What do you hope the response to this show will be based on the marriage between the subject matter and the formal gallery setting?
JN: I hope there’s a greater consideration for the history of this artform by having it here. I’m actually offering a tutorial to twenty honors students in conjunction with this, so we actually have an embedded educational experience. After twenty five years in the art department, I’ve noticed a shift among the students who have ink. A greater number of students today have ink than they did fifteen years ago, so we want to of course recognize and acknowledge this. We want to think deeply together about what’s going on here. I think the personal narrative of tattooing is always fascinating and the ink wants to speak. These images want to speak and so this is about a dialogue, this is about a huge conversation across campus, within the local community and this is a world phenomenon as well. It’s hardly isolated right here, but we have one of our own who has dedicated his life and has passed his skills onto the next generation and that’s worthy of celebrating.
BP: Speaking more to this sea change within the last ten to fifteen years, there’s been a shift when it comes to people acknowledging, appreciating, and getting tattoos. It used to be the biker who would get the Harley logo, or the sailor who would get the anchor, and its really evolved into something much more. Tattooing has gone from pieces of spot art or line art, like an anchor or a ladybug, something that’s high contrast, to highly illustrative pieces and Rick and Josh both have embraced that. And in some regards I think that they’re the best there is in terms of the quality of the work they do. I think the main thing is that there’s that sea change. Now as far as what’s caused it, personally I think it’s professional athletes. Dennis Rodman, twenty years ago, had tattoos all over his body and many people thought he was strange or a freak, but more and more athletes started getting tattoos and I think it eventually meshed itself into the culture of who we are.
KH: Since I have two art professors here to speak to my next query, I want to ask about tattoos from an art history perspective. Tattooing has been around for centuries, and anything that’s survived that long, albeit undergoing transformations, has to have inherent value. What is it about marking our bodies that speaks to us on such a basic level that it has allowed this art form to endure for so long?
BP: I’ll let Jim answer that one—how long have tattoos been going on?
JN: Oh, some say prehistoric times. We can find the evidence with mummified figures. This is ancient. This is a way we understand who we are. It’s as much about memory as it is communicating correctly and mysteriously with others. It’s all part of the whole notion of how we reveal ourselves. Tattoos can be rewards, our own specialized memories, or so many other things. We reveal ourselves through mystery, memory and symbols.
KH: Besides simply coming and enjoying the exhibition as a viewer, are there other opportunities for community members to get involved with The Needle Has Moved?
JN: We’re going to be having live tattooing in here so people can observe how this looks and sounds, and see the process of the artist himself at work. We’ll be teaching the students how to use the tattoo guns, under the supervision of Josh Harnowski, a tattoo artist himself. They will be working on prosthetic skin, learning the basics as Josh learned from his father, which I think he learned on grapefruits maybe.
*Interested parties can keep an eye out for information on these special events through the BAC Galleries Blog, the Gallery website, the SNC Art Facebook and Instagram pages, and SNC News.
KH: Any parting thoughts or tidbits about the show you would like to pass along to the readers?
JN: There is no typical type of tattoo, there’s a huge variety and we hope that the show reveals this. Tattooing has evolved—what was popular in the 50’s or even the 90’s is no longer popular now. It’s a response to the sign of the times and I’m very very curious with new technologies and new ways of thinking to see how this will be understood, received, and inked into the future.
BP: I think the biggest part of this is just to acknowledge Rick Harnowski and his involvement in the community in terms of making tattoos a respected art that follows good hygiene. Rick puts on an international tattoo show every year, but he’s kind of a quiet guy and not much of a self promoter, so I think it takes others like Jim and I to basically get him out front and center to the local population. And from what I understand there’s going to be people visiting this show and reception from not only the United States, but from France and Germany as well. So the reception, I think, is going to be a big to-do and it’s all about paying respect to Rick.
To see this exhibition for yourself come stop by during the gallery’s regular hours, MTWF, 9am-3pm, and Th 9am-7pm. Keep an eye out on all SNC Art media avenues for information on extra events in conjunction with this show and make sure to attend the gallery reception on Thursday, October 11 from 5-7pm.