BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Doris Ulmann Galleries - ECPv6.16.3//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:Doris Ulmann Galleries
X-ORIGINAL-URL:https://dulmanngalleries.berea.edu
X-WR-CALDESC:Events for Doris Ulmann Galleries
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:UTC
BEGIN:STANDARD
TZOFFSETFROM:+0000
TZOFFSETTO:+0000
TZNAME:UTC
DTSTART:20150101T000000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=UTC:20181029T080000
DTEND;TZID=UTC:20181214T170000
DTSTAMP:20260616T013652
CREATED:20181017T191939Z
LAST-MODIFIED:20240205T003109Z
UID:1978-1540800000-1544806800@dulmanngalleries.berea.edu
SUMMARY:"Aesthetics of Influence: David Leach\, Berea College\, and the Mingei Movement" - Curated by Molly Baker
DESCRIPTION:Aesthetics of Influence is an exhibition project that celebrates how ideas and inspirations are explored\, embraced\, and transformed as they flow from one source to another. \nFirst\, this exhibition highlights a very special time in Berea College history. In the late 1970s and early 1980s\, the famed English studio potter David Leach made two visits to Berea College\, where he conducted workshops on campus. Through these events\, Leach engaged with Berea’s ceramics students and the clay community at large\, sharing not only his technical expertise\, but also\, the values that shaped his life as a craftsman. To celebrate this interaction and its resulting influence\, we have showcased a collection of pieces made by Leach along with ceramics created by students and residents who were able to meet him during his time at Berea. By showing these pieces together\, along with personal reflections of those events\, we aim to create a “time capsule” that archives this special time at Berea College. \nThe second component of this exhibition explores a broader stream of activity from which David Leach himself emerged. David Leach’s father\, Bernard Leach\, is a legendary figure in the history of ceramics. Often heralded as the “father of British studio pottery\,” Bernard Leach’s own approach to ceramics was heavily impacted by aesthetics and philosophies associated with Japan’s mingei or “people’s art” movement – an endeavor in which he was an instrumental part. \nThough not without its critics and contradictions\, the mingei movement at large is credited with bringing forth a renewed interest in folk art and crafts\, setting in motion a wave of philosophical and artistic inspiration that found fertile ground in the international ceramics community. To explore this particular trajectory\, we have also displayed ceramic wares created by some of the movement’s most prominent affiliates. Through their work and biographies\, one can see how these figures not only interacted with one another\, but helped to propel mingei-inspired values over space and time. \nUltimately\, by highlighting both the broad wave of the mingei movement and the intimate interaction between David Leach and Berea College\, this exhibit seeks to acknowledge how various seeds of inspiration migrate and grow between people and places. Through this collection\, we hope you can see an example of how intricate strands weave together to form the artistic histories that surround us\, collectively forming our larger creative experience.
URL:https://dulmanngalleries.berea.edu/event_cal/aesthetics-of-influence-david-leach-berea-college-and-the-mingei-movement/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2018/10/LeachBowl2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20181029T080000
DTEND;TZID=UTC:20181214T170000
DTSTAMP:20260616T013652
CREATED:20181005T203605Z
LAST-MODIFIED:20240205T003137Z
UID:1964-1540800000-1544806800@dulmanngalleries.berea.edu
SUMMARY:"Figure Narratives" by David Hicks
DESCRIPTION:Artist Talk: Thursday\, November 1\, 4:30pm \n  \nArtist Statement: \nMy work re-examines the grand metaphorical narrative as a way of exploring both personal content and universal themes within the contemporary human experience. I do this through creating large scale multi-figure drawings and paintings. My narratives present a mixed cast of mythical\, iconic\, historical\, and modern-day characters\, each one playing specific a role in an unfolding story and shared environment. I view the paper as a stage for me to present characters\, juxtapose roles\, and draw connections that literally and figuratively tie the characters in the narrative together. Composing in a metaphorical language gives me the freedom to address a variety of heavy\, complex\, yet all-pervasive themes without forcing a singular message on the viewer. \n  \nImage: Cycle (detail)\, Graphite on Paper\, 2017\, 36″ x 50″
URL:https://dulmanngalleries.berea.edu/event_cal/figure-narratives-by-david-hicks/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Event,Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2018/10/Cycle-detail-2-300-dpi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180910T080000
DTEND;TZID=UTC:20181025T170000
DTSTAMP:20260616T013652
CREATED:20180615T195927Z
LAST-MODIFIED:20240205T003157Z
UID:1929-1536566400-1540486800@dulmanngalleries.berea.edu
SUMMARY:"Seeing the Air Bend" by Gail D. Panske
DESCRIPTION:Artist Talk: October 25\, 4:30pm \n  \nArtist Statement:\nMy work is about the experience of place and time and how those experiences come together. \nFor the work in this series\, I used two books as inspiration\, the novel\, Forgotten Country\, by Catherine Chung; and Difficult Fruit by poet Lauren Alleyne. My goal was\, to paraphrase the artist Robert Motherwell\, maintain my own iconography while using the text as inspiration. \nThe words of the novel and poems were the starting point. I read and re-read the books\, documenting phrases and short passages that resonated with me. Along the way\, I discovered connections and explored new ways to approach the subject matter. The drawings and prints are a visual representation of that dialogue\, a synthesis of experience\, time\, and place. \n  \nImage: Between Flicker and Fade\, Graphite\, 2015\, 28″ x 36″
URL:https://dulmanngalleries.berea.edu/event_cal/seeing-the-air-bend-by-gail-panske/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Event,Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2018/06/panske3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180903T080000
DTEND;TZID=UTC:20181019T170000
DTSTAMP:20260616T013652
CREATED:20180615T184454Z
LAST-MODIFIED:20240205T003237Z
UID:1924-1535961600-1539968400@dulmanngalleries.berea.edu
SUMMARY:"This is Not Pretty" by Margaret Leininger
DESCRIPTION:Artist Statement:\nCloth and its and complex history inspires my work. Using this common everyday utilitarian material that provides shelter and comfort\, I explore cloth’s social and cultural impact on society. Fascinated by cloth’s associations with industrialization\, colonialism\, globalization\, appropriation\, cultural displacement\, labor\, and gender\, I am particularly interested in my personal intersection of this material as a producer and consumer of cloth. I am also intrigued by the connection between architectural spaces of industrial production and the social constructs that evolve around these industrial centers\, especially in the wake of the deterioration of these industrialized centers. \nMy current body of work draws from the personal history of growing up in a textile mill town in SC where many people were employed by textile mills in the area. I witnessed first hand the impact of the industrial production of textiles and the industry’s demise as many of the mills left the country for cheaper labor. The intimate experience of living within a community whose lives revolved around such a blue-collar identity impacted me greatly. As I revisit former mills whose tall clock towers once dominated the landscape\, I collect scattered bricks that litter the landscape picking and choosing those that provide a hint of peeling paint or embossed stamps identifying the brickyard from which they came. I am fascinated by the connection of the production of both the bricks and the cloth. Both are such common objects\, used and then discarded in our disposable economy. Both have become invisible and under appreciated\, not dissimilar to the laborers who produce such objects. Exploring this interconnection between architectural structures\, cloth\, and laborers\, I am creating work that examines the connection between the making of such common\, often discarded\, objects and their cultural value. \n  \nExhibition Statement\nThis Is Not Pretty comes from handwritten note on a 1943 pattern draft of the Churchill Weaver’s collection. Fascinated by the identity of the anonymous maker\, gendered roles and sociological constructs of craft production\, this exhibition explores traditional quilt patterns and replicated woven patterns from a 1771 book from Manchester England intended to be used for clothing artisans\, sailors\, and slaves.\nImage: Labor Cloth (detail)\, Handwoven and industrially woven fabric\, 2018\, 8″ x 12″
URL:https://dulmanngalleries.berea.edu/event_cal/this-is-not-pretty-by-margaret-leininger/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2018/06/Labor-Cloth_Leininger.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180827T080000
DTEND;TZID=UTC:20181012T170000
DTSTAMP:20260616T013652
CREATED:20180615T175526Z
LAST-MODIFIED:20240205T003318Z
UID:1919-1535356800-1539363600@dulmanngalleries.berea.edu
SUMMARY:"Openings" by Melanie Johnson
DESCRIPTION:About the Artist:\nMelanie Johnson received her MFA in Painting from Indiana University. She is Associate Professor of Art & Design and co-coordinator of the Foundations Program at the University of Central Missouri. She lives in Kansas City.  \nArtist Statement: \nI make large scale figurative drawings and paintings using imagery derived from observation and composite sources. Narrative is employed loosely in my work and I draw primarily on the familiar as a catalyst for making.  The imagery gives form to a dissonant accrual of lived experience\, family histories and anecdotes\, appropriated iconography and the acting out of roles both obligatory and imagined. Surface\, palimpsest and indexical histories of making are meaningful in my process. I want the physical work to encapsulate imagery representative of a lived moment as well as the history of its own manifestation. The work should conjure a habitat that has one foot in reality and the other in a state that evokes the slipperiness of memory\, longing or a disquieting curiosity. \n  \nImage: Picking and Choosing (detail)\, Charcoal and Pastel on Stonehenge\, 2012\, 50″ x 42″ \n  \n 
URL:https://dulmanngalleries.berea.edu/event_cal/openings-by-melanie-johnson/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2018/06/MJohnson9.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180319T080000
DTEND;TZID=UTC:20180503T170000
DTSTAMP:20260616T013652
CREATED:20170814T193925Z
LAST-MODIFIED:20240205T003351Z
UID:1772-1521446400-1525366800@dulmanngalleries.berea.edu
SUMMARY:Dragonslayer by Alexander Hanson
DESCRIPTION:Alexander Hanson\n\nI want to know how we think we can ascertain anything optimistic about the world when we insist on looking through dirty glasses. My creative research focuses on the use of objects\, constructed and found\, as a way to ask pointed questions related to faith; and the use or abuse of it in everyday life. My work often takes form through installation or built environments; I use a variety of materials and objects to create instances where the viewer is invited to enter into a constructed fiction.\n\nI attempt to make work that invites\, allows and provides people with the opportunity to see the world differently. I am interested in contradiction and how we use models and principles that do not stand on their own legs to value and derive meaning. I aim to create work that illuminates the complications behind seeing the world narrowly. I want to highlight the futility\, hopelessness\, and failure behind the challenge of extracting a pure or unadulterated meaning of the pieces of the puzzle we are given.\n\nConsider what it means to be broken vs. what it means to be altered. Consider everything is fragile and at any moment everything can change. Consider what makes us make decisions could possibly not be our soul or our learned experiences\, but the balance or imbalance of certain chemicals in our blood at any given point in time. Consider we take part in destroying a world it is in our best interest to preserve. Consider in order to fix a hole\, you have to destroy a pile of dirt.\n\nI employ sculpture as a way to point a finger at our conceived notions of truth and use symbols and objects to invite the viewer to use irreverent skepticism to freely laugh at\, poke holes in and make light of those ideas as a last ditch effort to fully understand them. If magic doesn’t exist\, then that is just fine; but rather than mourning\, we should rejoice\, because we should prefer a world where that is the case.\n\nI want to be able to constantly reconsider what I often believe to be underlying reasons for how to live a good life and how to make the right decision. What is right and what is wrong is never so simple. I want to know what joy is and how to find a real and lasting version of it. I attempt to introduce an audience to instances that can produce despair in the hope of moving them beyond paralysis in the face of seemingly hopeless situations. I want to be the person to shake people off the fence\, not just so I can watch them fall\, but so I can catch them before they hit the ground.\n\nThere will be an artist talk given by Alexander Hanson on March 15th\, 2018 at 4:30 pm.
URL:https://dulmanngalleries.berea.edu/event_cal/alexander-hanson/
CATEGORIES:Past Event,Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/08/IMG_1231.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180315T080000
DTEND;TZID=UTC:20180503T170000
DTSTAMP:20260616T013652
CREATED:20180316T004943Z
LAST-MODIFIED:20240205T003413Z
UID:1906-1521100800-1525366800@dulmanngalleries.berea.edu
SUMMARY:Made for Use
DESCRIPTION:Curated by Philip Wiggs \n  \n 
URL:https://dulmanngalleries.berea.edu/event_cal/made-for-use/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2018/03/IMG_1268.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180219T080000
DTEND;TZID=UTC:20180330T170000
DTSTAMP:20260616T013652
CREATED:20171011T222028Z
LAST-MODIFIED:20240205T003437Z
UID:1813-1519027200-1522429200@dulmanngalleries.berea.edu
SUMMARY:Composed Construct
DESCRIPTION:  \nSusan Beiner \nArtist Statement \n  \nThe most recent concerns in my work deal with making what is organic synthetic. In todays’ world\, most everything is manufactured of artificial materials. This extends to what was once all natural. Genetically altered foods\, cloned animals and the hybridization of everything. Clay and ceramic materials for the most part are all derived from nature\, elements that are naturally mined from the earth. This has lead me to want to use additional materials that are a result of an industrial process such as foam\, plexi-glass and rubber. My use of excess has evolved to issues similar to those in urban sprawl – the sense of being surrounded by a manufactured and engineered environment. \n  \nMy current work displays a shift to ideas about installation\, covering an expanse of space. Installation allows me to reassemble shapes\, attributes\, qualities and quantities on a much larger scale suggesting an essential connection to our physical space. My interest is fueled by elements of layering\, fragmentation\, multiplication\, juxtaposition and complication. Intense brilliant color reveals an obviously artificial man-made reality. Color is swirled together in rhythmic sequences mirroring the activities of a microscopic sample or aerial topography. The encrustation’s are abstracted from real plant life\, allowing the viewer to proceed into the interior pattern of a stylized manufactured plastic plant life. So as a viewer we are challenged by our own perceptions of what is authentic and what is not. \n  \nThere will be an artist talk on February 16th\, 2018. This event is open to the public.
URL:https://dulmanngalleries.berea.edu/event_cal/compost-construct-by-susan-beiner/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Event,Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/10/Beiner-13.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180122T080000
DTEND;TZID=UTC:20180223T170000
DTSTAMP:20260616T013652
CREATED:20171129T224247Z
LAST-MODIFIED:20240205T003508Z
UID:1831-1516608000-1519405200@dulmanngalleries.berea.edu
SUMMARY:The Art of Collaboration
DESCRIPTION:curated by Sheridan Bischoff\, ’18 \nA solitary artist is not a stereotype for a printmaker. Printmaking is a medium with a long history of collaboration. Great printmakers often were the heads of workshops where apprentices would learn the skills of the trade in exchange for their contribution to the art. In contemporary art\, collaboration is a significant means of networking that create partnerships in the arts allowing for artists to work together for an equal opportunity in the distribution of artwork\, future connections\, and patronage. Dadaist believed that the value of art was not in the work produced\, but in the act of making and collaborating with others to create new visions of the world. A collaboration is not something for a day\, but a long and committed process. Working together\, artists can experiment\, take chances\, and learn from one another. \nThis exhibition curtesy of the generous donors Gerry and Shelly Elliott. They started their collection after responding to an ad from Associated American Artists\, New York City in fortnightly publication “The Reporter.” They sent in twenty-five cents and received a catalogue and Mr. Elliott said\, “the rest was history.” Neither of them received “any formal art education. Mr. Elliott has a BA in Government from Beloit College and MA\, ABD (all but dissertation)\, in Political Science from the University of Minnesota. Ms. Elliott has a BA in English from Chanpaign-Urbana\, IL and a MS in English from the University of Wisconsin.     \nThere will be a talk given by the curator in the Lower Traylor Gallery at 4:30 pm on February 22nd\, 2018.
URL:https://dulmanngalleries.berea.edu/event_cal/the-art-of-collaboration/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Event,Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/11/08-Laura-Weaver-Huff.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180115T080000
DTEND;TZID=UTC:20180223T170000
DTSTAMP:20260616T013652
CREATED:20171011T221532Z
LAST-MODIFIED:20240205T003530Z
UID:1812-1516003200-1519405200@dulmanngalleries.berea.edu
SUMMARY:The Department of Human Capital
DESCRIPTION:Sarah Irvin  \nArtist Statement  \n  \nMy practice is enabled by and exists within the context of motherhood as both a lived experience and social construct. By responding to the biological act of bearing an infant and the discipline of care-taking that is the commitment to “mother” a child\, I seek to open up a dialog about what it means to take on these responsibilities and how these actions shape the individual performing them. The pieces are derived from the everyday\, but the interface of materials and processes of art making with the everyday provides an entry point into broader topics of gender\, production\, reproduction\, care\, biological processes\, and cultural systems.  \n 
URL:https://dulmanngalleries.berea.edu/event_cal/the-department-of-human-capital-by-sarah-irvin/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/10/Irvin9.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20180109T080000
DTEND;TZID=UTC:20180209T170000
DTSTAMP:20260616T013652
CREATED:20171011T221048Z
LAST-MODIFIED:20240205T003551Z
UID:1810-1515484800-1518195600@dulmanngalleries.berea.edu
SUMMARY:Private Sanctuaries by Lisa Kriner
DESCRIPTION:An exhibition of new work by Lisa L. Kriner\, Berea College Professor of fibers and Printmaking.
URL:https://dulmanngalleries.berea.edu/event_cal/private-sanctuaries-by-lisa-kriner/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/10/Night-Night-detail.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171001T080000
DTEND;TZID=UTC:20171117T170000
DTSTAMP:20260616T013652
CREATED:20171011T223345Z
LAST-MODIFIED:20240205T003618Z
UID:1816-1506844800-1510938000@dulmanngalleries.berea.edu
SUMMARY:Juried Alumni Exhibition
DESCRIPTION:Doris Ulmann Galleries is proud to announce the opening of its first Juried Alumni Exhibition. Held in the Lower Traylor Gallery of the Rogers-Traylor Art Building\, the show will be on display from Oct. 1 until Nov. 17\, 2017. A closing reception is scheduled 3 p.m.\, Friday\, Nov. 17\, to kick off Homecoming weekend.  \nKelly and Kyle Phelps\, nationally renowned ceramic artists and art faculty members at the Xavier University and University of Dayton\, respectively\, juried entrance into the competitive show. The Phelps brothers’ work has been exhibited nationally and featured in Ceramics Monthly\, Sculpture\, and American Craft magazines.   \nComprised entirely of studio art alumni\, this exhibition celebrates the different interests\, media\, and styles the Berea College Art Department cultivates. Doris Ulmann Galleries would like to encourage visitors to attend the reception\, engage the artists\, and enjoy food and beverages. This exhibition is supported by the William A. and Leola Piper Boyce Art Exhibition Endowment Fund.  \nThe artists included are: Larry Allen (1978)\, Paul Atkinson (1976)\, Monica Barnett (1986)\, Jamie Brown (2012)\, Hannah Cameron (2005)\, Daniel Chapman (1986)\, Gary Chapman (1984)\, Hoyt Childers (1972)\, Charlie Cummings (1995)\, Stephen Drabicki (2006)\, Billy DuVall (1988)\, Darla Elam (1994)\, Sandi Hass (1990)\, Ann Hazels (1998)\, Sean Hennessey (1995)\, Amy Judd (1986)\, Daniel Kilpatrick (1970)\, Rebecca Lowery (1994)\, Patrick Lynch (1985)\, Jimmy Morris (1986)\, Laura Poulette (2000)\, Karen Pritchett (1987)\, Timothy Ryan (1983)\, Margo Selski (1986)\, Todd Shelby (1987)\, John Simmons (1964)\, Charles Sitton (1984)\, Parker Stafford (1989)\, David Skillman Thomas (1967)\, Suzanne Thompson (1975)\, Priya Thoresen (2009)\, Rowena Throckmorton (1992)\, Clovy Tsuchiya (2012)\, Alfred Vason (1979)\, T. Sammie Wakefield (1965)\, Patricia Watkins (1971)\, Bobby Wilson (1986)\, Timothy Withers (1984) 
URL:https://dulmanngalleries.berea.edu/event_cal/juried-alumni-exhibition/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/10/22154268_1678706148837794_4994992277698084015_n-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20171001T080000
DTEND;TZID=UTC:20171103T170000
DTSTAMP:20260616T013652
CREATED:20170814T190226Z
LAST-MODIFIED:20240205T003704Z
UID:1720-1506844800-1509728400@dulmanngalleries.berea.edu
SUMMARY:Trophy Hunted by Corinne Teed
DESCRIPTION:As a research-based artist\, my work explores identity in the context of human and non-human animal interactions. Through printmaking\, installation\, time-based media and participatory projects\, I collaboratively re-imagine multispecies communities of cross-species empathy in this era of environmental devastation and climate change. I often include participatory and collaborative practices to integrate others’ voices and experiences into my work. Participants are encouraged to reflect on their relationships to animals amidst ecological crisis\, and on aspects of human identity.   \n  \nIn the work presented here at Berea College in Trophy Hunted\, I question our human role in wild landscapes with a particular focus on contemporary and historical relationships to Gray Wolves. Wolves are a keystone species\, meaning they are a predator whose presence or absence has a disproportionally large effect on the surrounding ecosystem. With such a significant impact on ecosystems\, wolves raise complicated questions about habitat usage and human/wolf relationship. For example\, while gray wolves have been exterminated from Kentucky for over 150 years\, a wolf from a Great Lakes pack crossed into the state in March of 2013 and was killed in Hart County.   \n  \nThe Trophy Hunted print series uses photographs that trophy hunters post to the internet holding up wolves they have killed. I remove the hunter from the photograph\, their silhouette haunting the fragility of the wolf carcass carved into a relief print. The hunter is surrounded by plant species who share ecosystems with wolves and are currently categorized as threatened – including White Pine\, Bulrush\, Lakeside Daisy\, Dwarf Lake Iris\, Houghton’s Goldenrod\, and Ash. These prints resonate with the work in Therophobia\, which explores gray wolves as ecological subjects and contentious figures in American history. The animation appropriates settler colonial imagery while the audio is constructed from interviews I conducted with wolf biologists and indigenous leaders.   \n  \nWork in Trophy Hunted was supported by a fellowship residency from the Virginia Center for Creative Arts\, an artist residency at ACRE\, a faculty research grant from Minnesota State University Moorhead and the participants in interviews for Therophobia and portraiture for Mapping the Burrows.  
URL:https://dulmanngalleries.berea.edu/event_cal/corinne-teed/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/png:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/05/Teed.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170418T080000
DTEND;TZID=UTC:20170418T170000
DTSTAMP:20260616T013652
CREATED:20170418T165503Z
LAST-MODIFIED:20240205T003729Z
UID:1717-1492502400-1492534800@dulmanngalleries.berea.edu
SUMMARY:Graduation Exhibit for Art Majors
DESCRIPTION:The collective body of work that extends through the Upper and Lower Traylor galleries\, are the result of years of hard work in which our graduating art students the opportunity to show their artistic skill. \nSenior Artists \nNoah Broomfield\, Ceramics \nCallie Denham\, Sculpture \nFelicia Flesch\, Ceramics \nSara Gallimore\, Printmaking \nCayla Jones\, Painting \nO.H. Jackson Napier\, Sculpture \nVictoria Slaughter\, Ceramics \nTaylor Styles\, Ceramics
URL:https://dulmanngalleries.berea.edu/event_cal/graduation-exhibit-for-art-majors-2/
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/03/ForAlumni.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170413T080000
DTEND;TZID=UTC:20170507T170000
DTSTAMP:20260616T013652
CREATED:20170418T163442Z
LAST-MODIFIED:20240205T003906Z
UID:1715-1492070400-1494176400@dulmanngalleries.berea.edu
SUMMARY:Monsters of Suburbia
DESCRIPTION:Monsters of Suburbia focuses on a 10 year old boy\, Jason\, who has become fearful of the world and of the changes he faces while growing up. Jason’s fears manifest as monsters which he must overcome to fulfil moral obligations and develop self confidence. Formally\, my art connects to the tradition of comic books through the use of ink and Bristol paper My passion for sequential art comes from the freedom it allows artists to develop stories without the restrictions or regulations that are present in film making and other narrative media. Creative freedom is a cornerstone of this body of work and will continue to influence my artwork in the future.
URL:https://dulmanngalleries.berea.edu/event_cal/monsters-of-suburbia/
LOCATION:Tredennick Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/png:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/04/1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170413
DTEND;VALUE=DATE:20170508
DTSTAMP:20260616T013652
CREATED:20160719T232551Z
LAST-MODIFIED:20240205T003932Z
UID:901-1492041600-1494201599@dulmanngalleries.berea.edu
SUMMARY:Graduation Exhibit for Art Majors
DESCRIPTION:Join us in appreciating the work of our exiting art majors!
URL:https://dulmanngalleries.berea.edu/event_cal/graduation-exhibit-for-art-majors/
LOCATION:Upper & Lower Trayor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/IMG_4755-sm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20170319T080000
DTEND;TZID=UTC:20170504T175900
DTSTAMP:20260616T013652
CREATED:20160719T232243Z
LAST-MODIFIED:20240205T004014Z
UID:899-1489910400-1493920740@dulmanngalleries.berea.edu
SUMMARY:Brush\, Ink\, Line: Calligraphy of Japan
DESCRIPTION:Selected from the Berea College Art Collection\, Brush\, Ink Line: Calligraphy of Japan focuses on presenting the tools\, artworks\, writings\, and poetry that encompass Japanese calligraphy. Many of these objects were given to the College by women who spent time in Japan. Generally\, calligraphy is thought of as penmanship\, simply a way of communication for another culture. However\, the mastery of skill takes years of practice because of the types of material required. With the work that goes into marking the page with ink and a brush by hand\, each artist adds a personal touch in understanding the patience and determination it takes to perfect the skill. This diverse collection from the 9th century to today illustrates the growth of the language as an art form. \nCurated by Jessica Schroader \n  \nThis exhibit of Japanese calligraphy is a corollary to work by Nishiki Sugawara-Beda\, on display in Upper Traylor Gallery. \nJapanese\, Tanzaku Calligraphy(detail)\, Ink on paper\, 2 3/8″x14 1/2″\, 20th c. \n  \n  \n 
URL:https://dulmanngalleries.berea.edu/event_cal/calligraphy-of-japan/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2017/03/170-38-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170227
DTEND;VALUE=DATE:20170401
DTSTAMP:20260616T013652
CREATED:20160719T230112Z
LAST-MODIFIED:20240205T004033Z
UID:897-1488153600-1491004799@dulmanngalleries.berea.edu
SUMMARY:Words Walking
DESCRIPTION:As a child\, I learned Japanese calligraphy at school. When I was growing up\, I watched my father\, a calligrapher\, practicing and saw how he approached his work. We talked about the meaning behind each proverb he was writing or about his practice itself.We still do. Together with Sumi-e (Japanese ink painting)\, Japanese calligraphy has become an activity that immediately connects me to my foundation as an individual and artist. \nNishiki Sugawara-Beda
URL:https://dulmanngalleries.berea.edu/event_cal/words-walking/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/09-Sugawara-Beda-Finale-detail-1-300-11x8.jpg.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170227
DTEND;VALUE=DATE:20170401
DTSTAMP:20260616T013652
CREATED:20160719T225246Z
LAST-MODIFIED:20240205T004059Z
UID:895-1488153600-1491004799@dulmanngalleries.berea.edu
SUMMARY:Daydreaming in an Open Land
DESCRIPTION:My drawings and paintings document how I grew into my Vietnamese-American identity. In my work\, I reflect on themes of growth\, integration\, and reconciliation. These paintings combine Eastern and Western traditions of depicting nature to describe a space that is as much emotional as it is physical. This space\, at once thunderous\, mysterious\, and hopeful\, mirrors the refugee experience of creating a new home in a foreign land. \nThuan Vu
URL:https://dulmanngalleries.berea.edu/event_cal/daydreaming-in-an-open-land/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/05-Vu-Daydreaming-in-an-Open-Land-copy.jpg.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170122
DTEND;VALUE=DATE:20170304
DTSTAMP:20260616T013652
CREATED:20160719T224845Z
LAST-MODIFIED:20240205T004119Z
UID:893-1485043200-1488585599@dulmanngalleries.berea.edu
SUMMARY:Ritual
DESCRIPTION:My ceramic vessels portray spirituality and are influenced by symbols in religious architecture.  Inspirations include Islamic temples and mosques and architecture of the Czech Republic that are topped with domes\, spires and finials. Luxury or ceremonial wares that were originally made to reside in holy or other culturally significant edifices are also an influence. Such examples include Islamic metalwork and pottery and Chinese ritual bronze vessels. I seek to take advantage of clay’s ability to retain carefully defined and metal-like details while using luxurious metallic finishes\, only possible through the ceramic process\, that highlight the symbolic elements of the work. \nSeth Green
URL:https://dulmanngalleries.berea.edu/event_cal/ritual/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/07-Green-Teapot.jpg.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170115
DTEND;VALUE=DATE:20170218
DTSTAMP:20260616T013652
CREATED:20160719T223646Z
LAST-MODIFIED:20240205T004148Z
UID:891-1484438400-1487375999@dulmanngalleries.berea.edu
SUMMARY:Horizon Line
DESCRIPTION:While I am influenced by the southern tradition of narrative figure painting\, my work focuses mainly on drawing. My drawings have paint\, of course\, but they are not really paintings—the drawn line is what tells the tale. I use painting and mixed media elements enhance the mark making\, and reassert the shallow space of the picture plane. The pops and veils of color and the stained surfaces provide a ragged sort of embellishment.  But line is what makes the edges and directs the characters and each mark provides a kind of unstable punctuation.My drawings are informed by psychoanalytic theory\, symbolist poetry\, and absurdist humor. Each work has a cast of characters\, images and elements\, in flattened landscapes or ambiguous spaces. I set up these vignettes as a way of investigating what makes people be the way they are\, but I am the worst sort of detective. I just like to pile up clues and rearrange them into melancholic jokes\, farcical calamities and occasional moments of grace. \nKathryn Jill Johnson
URL:https://dulmanngalleries.berea.edu/event_cal/horizon-line/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/06-Johnson-Little-Symbols-of-Your-Devotion.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20170115
DTEND;VALUE=DATE:20170218
DTSTAMP:20260616T013652
CREATED:20160719T223343Z
LAST-MODIFIED:20240205T004218Z
UID:889-1484438400-1487375999@dulmanngalleries.berea.edu
SUMMARY:Plight of Ought: Earth Tones in Bloom
DESCRIPTION:Installation and performance by Daniel Feinberg
URL:https://dulmanngalleries.berea.edu/event_cal/plight-of-ought-performance-1/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/08-Feinberg-Plight-of-Ought-Performance-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20161117
DTEND;VALUE=DATE:20161217
DTSTAMP:20260616T013652
CREATED:20160719T222822Z
LAST-MODIFIED:20240205T004242Z
UID:888-1479340800-1481932799@dulmanngalleries.berea.edu
SUMMARY:Mid-Year Graduation Exhibit for Exiting Art Majors
DESCRIPTION:This exhibition showcases the art of our two graduating art majors: Dana Dotson and Taylor Dresden. \n 
URL:https://dulmanngalleries.berea.edu/event_cal/mid-year-graduation-exhibit-for-exiting-art-majors/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/IMG_1216-sm.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20161106
DTEND;VALUE=DATE:20161217
DTSTAMP:20260616T013652
CREATED:20160719T222413Z
LAST-MODIFIED:20240205T004309Z
UID:886-1478390400-1481932799@dulmanngalleries.berea.edu
SUMMARY:Representing Race
DESCRIPTION:This exhibit is focusing on depictions of race in art. It will be curated by Meghan Doherty’s students in ARH 263\, Introduction to Museum Studies. \nRobert Blum\, Negro Settlement (detail)\, watercolor on paper\, 6 7/8″x 9 1/2″\, 19th c. Gift of Mrs. Charles Sprague-Smith
URL:https://dulmanngalleries.berea.edu/event_cal/representing-race/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/03-Blum-Detail.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20161009
DTEND;VALUE=DATE:20161129
DTSTAMP:20260616T013652
CREATED:20160719T211533Z
LAST-MODIFIED:20240205T004334Z
UID:878-1475971200-1480377599@dulmanngalleries.berea.edu
SUMMARY:Decomposing the Monument of the Third International
DESCRIPTION:Decomposing the Monument to the Third International is an interactive art project that considers how the practices of art\, food\, and education might be drawn together in order to plug some of the microflows of capital distribution. The hope is to encourage a rising-up of human essence that is based on creating networks of survival whereby the fulfillment of our most basic needs opens-up possibilities for new value systems that are not driven by profit and yield. \nJosh Hoeks \nArtist talk December 2nd\, noon
URL:https://dulmanngalleries.berea.edu/event_cal/decomposing-the-monument-of-the-third-international/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Event,Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/01-Hoeks-Decomposing-the-Monument-of-the-Third-International.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20161009
DTEND;VALUE=DATE:20161112
DTSTAMP:20260616T013652
CREATED:20160719T210304Z
LAST-MODIFIED:20240205T004412Z
UID:880-1475971200-1478908799@dulmanngalleries.berea.edu
SUMMARY:Thicket
DESCRIPTION:My work is a balance of thoughtful observation\, memory\, and ample invention\, drawing information from a variety of sources. It focuses on experiencing a place\, both in person and through recollection. Constructed out of scattered fragments of light and location\, these scenes are an invented geography\, losing space and site. Specificity of place becomes blurred in a fiction of memories\, as coal towns of Appalachia become indistinct from Italian villages. These landscapes are presented through a lens of recollection\, distorted by nostalgia. By sharing these personal perspectives\, the landscape is opened to be reexamined with a fresh interest. \nParticularly in my prints\, I rely on the translation of process\, letting the materials assume partial control of the final image. I enjoy how this process works with the idea of a motif. By pushing the mono-type beyond a single print\, each repetition brings new changes\, each with their own singularity. Like memories of a place gradually altering themselves\, every new print further removes the image from the original\, inventing a new landscape. \nSean Ware \nArtist talk November 11th\, noon
URL:https://dulmanngalleries.berea.edu/event_cal/thicket/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Event,Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/07/02-Ware-Ascension-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160906
DTEND;VALUE=DATE:20170528
DTSTAMP:20260616T013652
CREATED:20160624T215019Z
LAST-MODIFIED:20240205T004433Z
UID:756-1473120000-1495929599@dulmanngalleries.berea.edu
SUMMARY:International Focus: Southeast Asia
DESCRIPTION:As part of our showing of objects from the College Art Collection\, we at the Doris Ulmann Galleries like to display art to go along with the Francis and Louise Hutchins Center for International Education’s International Focus. This year’s International Focus is Southeast Asia. Join us in the Masterpiece Gallery to appreciate the fine works of art that come from Southeast Asia. \n 
URL:https://dulmanngalleries.berea.edu/event_cal/international-focus-southeast-asia/
LOCATION:Masterpiece Gallery\, Berea\, KY\, United States
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/png:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/06/Screen-Shot-2016-06-24-at-1.40.34-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20160414T080000
DTEND;TZID=UTC:20160508T170000
DTSTAMP:20260616T013652
CREATED:20160506T071103Z
LAST-MODIFIED:20240205T004453Z
UID:684-1460620800-1462726800@dulmanngalleries.berea.edu
SUMMARY:Spring Graduation Exhibition for Art Majors
DESCRIPTION:This exhibition showcases the work of our Art Majors who graduated in May 2016.
URL:https://dulmanngalleries.berea.edu/event_cal/spring-graduation-exhibition-for-art-majors/
LOCATION:Upper & Lower Trayor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/IMG_4757-e1442259985609.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20160314T080000
DTEND;TZID=UTC:20160408T170000
DTSTAMP:20260616T013652
CREATED:20160506T070508Z
LAST-MODIFIED:20240205T004519Z
UID:682-1457942400-1460134800@dulmanngalleries.berea.edu
SUMMARY:Living on the Over Door by Sarah McRae Morton
DESCRIPTION:Artist Statement: \nThe studio where I am most at home is in rural Lancaster County Pennsylvania. Its a hayloft above horse stalls. A hatch lets in a net of north light\, a view of Amish farmed fields and swallows who nest in the rafters. It has been my studio since childhood\, shared with my brother and sister\, our rabbits\, chickens and piglets. We worked at making everything from hay bale forts to murals in this place. \nFrom the day we discovered a secret annex in the barn- behind a hidden door was a room cluttered with relics from a generation past- our fort seemed cast with magic. That discovery may have set us all on our courses to find hidden doors and forgotten places. My brother became a musician\, sister a writer\, and I am a painter. I read and reread through a trove of art history books kept in the barn. I had walls to freely paint on and subjects in the menagerie of animals. The idea was planted behind my eyes to see more and to look harder- the frontier of curiosity unrolled. \nAs a teenager\, I studied drafting and color theory with Myron Barnstone. I attended the Pennsylvania Academy of the Fine Arts and the University of Pennsylvania. A travel fellowship was a path to Europe to take a chemistry course in Rome on the chemical composition – or decomposition -of pieces from art history. I traveled to Norway to study with painter Odd Nerdrum. When I returned from abroad\, I settled in a coal mining region of West Virginia to make a body of work about the local history\, a changing landscape and a knotted family tree. This work yielded a Mattisse Foundation fellowship to attend the Skowhegan School of Painting and Sculpture. \nSince\, my work has taken me to Cerrillos New Mexico\, Carmel California\, Baltimore Maryland\, to the Vermont Studio Center in Johnson. I currently live in Cologne\, Germany but I often return to my first studio- the barn in Pennsylvania’s Amish country. It is my favorite place to work\, to remember where I am from and what I have seen elsewhere. I depend on the canon of western art history for my visual vocabulary and lore of my home town for context. I am aware that my lens has been curved\, its point of view shifted by travel\, books\, passed artists and new meetings. \nMy paintings mimic American academic construction. The compositions draw from a canon of western paintings where a common goal was to deceive the viewer- to build a believable window view to an invented scene by an alchemaiic process using dirt\, stone oil\, sap\, gems and flax. \nThese creations are pictorial maps of retraced steps\, records of the roads taken to try to capture images of people long gone. As there is an optimal viewing distance for every painting\, it seems true of history too – perspective clarifies some facts and can obscure what we wish not to see. Its a metaphor I allude to by rendering some detail finely while blurring other passages within the same frame. \nMy recent works are invented portraits of the shells of tenacious spirits who have survived because their stories are transmitted around campfires\, between rocking chairs\, and under moth eaten black skies. They had memorable lives or unforgettable brushes with death and left enough legacy\, artifacts or genetic residue to retell their stories. The style of my pieces slightly varies according to the prevalent style of art during each main subject’s lifetime\, displaying facets of aesthetic traditions or challenges to convention that made American art history. The subjects of my recent paintings are the people from whom I am descended\, by blood or by the “marrow of artistic tradition”\, all of whom led me to a place and time along a trail of curiosity.
URL:https://dulmanngalleries.berea.edu/event_cal/living-on-the-over-door-by-sarah-mcrae-morton/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/14-Banks-and-Smith-60-x-841.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20160228T080000
DTEND;TZID=UTC:20160408T170000
DTSTAMP:20260616T013652
CREATED:20160506T070259Z
LAST-MODIFIED:20240205T004541Z
UID:681-1456646400-1460134800@dulmanngalleries.berea.edu
SUMMARY:Lù|Way by Leah Schreiber Johnson
DESCRIPTION:Lù|Way is an exhibition of work inspired by Leah Schreiber Johnson’s visit to Wuhan\, China\, where she spent 6 weeks teaching and traveling. Rich with texture\, pattern\, and ornament\, the busy city sidewalks became an important physical and visual experience- heightening her awareness the varied and cobbled terrain of the growing urban landscape. The included monotypes and collages are made with pigment\, ink\, and water\, responding to the historical significance of these local materials and traditions\, while reflecting on the fleeting nature of China’s quickly shifting populations and places.
URL:https://dulmanngalleries.berea.edu/event_cal/luway-by-leah-schreiber-johnson/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/13-LeahSchreiberJohnson.jpg
END:VEVENT
END:VCALENDAR