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X-WR-CALNAME:Doris Ulmann Galleries
X-ORIGINAL-URL:https://dulmanngalleries.berea.edu
X-WR-CALDESC:Events for Doris Ulmann Galleries
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20160906
DTEND;VALUE=DATE:20170528
DTSTAMP:20260601T061148
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:20260601T061148
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:20260601T061148
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:20260601T061148
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
BEGIN:VEVENT
DTSTART;TZID=UTC:20160228T080000
DTEND;TZID=UTC:20160403T170000
DTSTAMP:20260601T061148
CREATED:20160506T070041Z
LAST-MODIFIED:20240205T004610Z
UID:680-1456646400-1459702800@dulmanngalleries.berea.edu
SUMMARY:Triangulations by Brendan Baylor
DESCRIPTION:Artist Statement: \nBy presenting the often-unexamined history of a space\, I work to understand what cultural norms and systems produce the current landscape. My hope is that by reflecting on my own experience of place I can come to understand the larger contexts each space is embedded in. Formally\, I work to produce an overwhelming cascade of information that envelops the viewer without resolving into a completely solid structure. By leaving an unfinished or speculative quality to the work\, I echo the fluctuating nature of landscape and the socio-political forces that manufacture it.
URL:https://dulmanngalleries.berea.edu/event_cal/triangulations-by-brendan-baylor/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/12-BrendanBaylor.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20160210T080000
DTEND;TZID=UTC:20160505T170000
DTSTAMP:20260601T061148
CREATED:20160506T070847Z
LAST-MODIFIED:20240205T004636Z
UID:683-1455091200-1462467600@dulmanngalleries.berea.edu
SUMMARY:Women at Work Curated by the students in ARH/WGS 243 with Dr. Ashley Elston
DESCRIPTION:This exhibit will be curated by the students in Dr. Ashley Elston’s ARH/WGS 243: Women in Art course.
URL:https://dulmanngalleries.berea.edu/event_cal/women-at-work-curated-by-the-students-in-arhwgs-243-with-dr-ashley-elston/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/15-PU1935-001-5560.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20160119T080000
DTEND;TZID=UTC:20160219T170000
DTSTAMP:20260601T061148
CREATED:20160506T065633Z
LAST-MODIFIED:20240205T004654Z
UID:678-1453190400-1455901200@dulmanngalleries.berea.edu
SUMMARY:The Berea Suite by Steve Armstrong
DESCRIPTION:Artist Statement:\nI have always felt a strong kinship with the craft traditions of Berea College. My maternal grandfather was from Eastern Kentucky and in addition to farming and working in the coal mines\, he made simple furniture and household items out of cherry\, walnut\, and poplar. Typically\, and like many of his peers\, if he needed something\, he made it. As a Kentucky artist and craftsman\, I aspire to be part of that legacy and have a place among the basket weavers\, dulcimer makers\, potters\, chair makers\, and a host of other “makers” that make this region unique. My exhibition will include a selection of old and new work\, encompassing more than twenty years of woodworking. In addition\, I am creating a series of pieces especially for the exhibition\, entitled “Berea Suite” that will celebrate Berea craft traditions. Like all my work\, each piece will have figures that move. Handmade wooden gears\, cams\, and levers\, set in motion by the viewer\, will bring the piece to life.
URL:https://dulmanngalleries.berea.edu/event_cal/the-berea-suite-by-steve-armstrong/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/11-Dignity_of_work_detail.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20160119T080000
DTEND;TZID=UTC:20160219T170000
DTSTAMP:20260601T061148
CREATED:20160506T065232Z
LAST-MODIFIED:20240205T004711Z
UID:676-1453190400-1455901200@dulmanngalleries.berea.edu
SUMMARY:Exposing Desires by Raymond Gonzalez
DESCRIPTION:Artist’s Statement \nThe exploration of the overlap and interrelation between child play\, desire\, adult play\, and sensuality informs the basis of my art. Many of our toys were handed down from generation to generation including Lincoln Logs\, Lego’s\, and wooden blocks. I capture the appeal of those toys that endured time and technology. In someway\, my art is a conceptualization of my life long pursuit of play. At the same time references to adult play inform my work through color\, texture\, and material. Therefore the audience is able to enjoy the work for its quality of design\, stimulating surfaces\, suggested interactivity\, and references to sensuality.\nThe work confronts ideas of beauty in the surfaces and ornamentation of the toys. Alternative materials including flocking\, automotive urethane\, rhinestones\, and monofilament serve to accentuate the forms and flaunt their tactile nature. The most recent series\, Fetishes\, reference both the historical of a ritualistic object as well as the contemporary interpretation of an object of intense sensual desire. The aesthetic value of these pieces transcends its value as a plaything. The unification of these series lays in the formal and conceptual pursuit to evoke memories of play.\nThe embodiment of toy-like qualities and beckoning visual interaction allow the viewer an instant that they can explore the times in which they played\, the times when stresses were few. Toys allow us to recall memories we do not consider with on a daily basis. It is at holidays or birthdays that we tend to mine memories of our childhood. While physical interaction is not allowed\, it is this desire coupled with visual cues that are conjure memories of play.\nThe abstract qualities allow the viewer to create a memory of their own therefore allowing the work to relate specifically to them. In adulthood our play takes on different forms all which link to our nostalgia of childhood: a game of cards\, tinkering on an old car\, or participating in sports. My toys provide a temporary visual escape for the viewer in which they may reflect upon their memories and question how they played\, why they played\, and how they continue to play.
URL:https://dulmanngalleries.berea.edu/event_cal/exposing-desires-by-raymond-gonzalez/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/10-RayGonzalez.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20160112T080000
DTEND;TZID=UTC:20160219T170000
DTSTAMP:20260601T061148
CREATED:20160506T064944Z
LAST-MODIFIED:20240205T004729Z
UID:673-1452585600-1455901200@dulmanngalleries.berea.edu
SUMMARY:You've certainly had a tough time - good luck with it! by Jonathan McFadden
DESCRIPTION:My work explores the deluge of ephemeral text and imagery presented by media and how this cacophony of imagery has altered our understanding of the globalized landscape it presents. The bombardment of information that streams on social media sites and news outlets create a sense of urgency that is intensely focused on the NOW. The often haste and theatric nature of media information elevates the impulsive reaction and dissuades from proper reflection. \nInstead of representing a traditional narrative the consumption of information blurs from one source to another flowing from Facebook to Wikipedia to Reddit and other sources of information. This presents us with a fragmented narrative that is layer with preference to what is liked or voted up. Rather than representing this information as ephemeral my print and installation work uses this information to build a physical history built in the layers of information that makes up my visual aesthetic. Blending issues that are viewed as “serious” with the vernacular of Twitter and Facebook I seek to create imagery that is indicative of contrast between what is considered trivial and significant.
URL:https://dulmanngalleries.berea.edu/event_cal/youve-certainly-had-a-tough-time-good-luck-with-it-by-jonathan-mcfadden/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/09-McFadden1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20151119T080000
DTEND;TZID=UTC:20151217T170000
DTSTAMP:20260601T061148
CREATED:20160506T071532Z
LAST-MODIFIED:20240205T004746Z
UID:687-1447920000-1450371600@dulmanngalleries.berea.edu
SUMMARY:Mid-Year Graduation Exhibition for Art Majors
DESCRIPTION:This exhibition showcases the work of our Art Majors who will graduate in December 2015.
URL:https://dulmanngalleries.berea.edu/event_cal/mid-year-graduation-exhibition-for-art-majors/
LOCATION:Upper Traylor 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:20151101T080000
DTEND;TZID=UTC:20151217T170000
DTSTAMP:20260601T061148
CREATED:20160506T071741Z
LAST-MODIFIED:20240205T004823Z
UID:688-1446364800-1450371600@dulmanngalleries.berea.edu
SUMMARY:The Kentucky Coverlet Connection: Lou Tate\, Little Loomhouse\, and Berea
DESCRIPTION:Mrs. Franklin D. (Eleanor) Roosevelt\, when she visited the Loom Room of Lou Tate\, was attracted by the drafts and coverlets of early Kentucky women. Her keen interest centered on the overshot weave — typical weave of the coverlets woven by women on their four-harness handlooms. She was photographed with Lou Tate while admiring this particular Double Bowknot coverlet. Mrs. Roosevelt was very interested in the early textiles research being done by Lou Tate\, and corresponded with Lou Tate about her extensive teaching activities with weavers. Mrs. Roosevelt ordered custom weaving from Lou Tate for the White House\, as had Mrs. Herbert Hoover before her.
URL:https://dulmanngalleries.berea.edu/event_cal/the-kentucky-coverlet-connection-lou-tate-little-loomhouse-and-berea/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/07-Tate-and-Roosevelt.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20151025T080000
DTEND;TZID=UTC:20151217T170000
DTSTAMP:20260601T061148
CREATED:20160506T072659Z
LAST-MODIFIED:20240205T004842Z
UID:689-1445760000-1450371600@dulmanngalleries.berea.edu
SUMMARY:Lost in Transition by Eleen Lin
DESCRIPTION:Born in Taiwan and grew up in Thailand with a western education\, Eleen Lin is a third culture kid inhabiting in non-places of generic cities.  In the age of cultural cannibalism where everything is brought together and rearranged to formulate new identities\, she reiterates folklores and classical literatures into contemporized cross-cultural narratives.  The Pet series paintings transform mystical intimacies between man and animal to represent complex urbanites’ obsession with pet ownerships\, while the Mythopoeia series portray cynical mistranslations of stories such as Moby Dick.  The paintings illustrate the nomadic solitary experience of drifting among various traditions\, the dichotomy of original and translation\, and the obscurity of cultural boundaries today.  Lin studied at Slade School of Fine Art\, UK (BA 2005)\, and Yale School of Art (MFA\, 2008).  Her work has been exhibited in Guangdong Museum of Art\, China; Queens Museum of Art\, NY; Gwangju Museum of Art\, Korea; and galleries throughout Austria\, Thailand\, Taiwan\, United Kingdom and the United States. Lin has been awarded with Elizabeth Canfield Hicks Award\, Sanyu Scholarships\, and has participated with NYFA Immigrant Artist Projects\, Fountainhead residency as well as the AIM program from the Bronx Museum of Art.
URL:https://dulmanngalleries.berea.edu/event_cal/lost-in-transition-by-eleen-lin/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/Cetus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20151012T080000
DTEND;TZID=UTC:20151112T170000
DTSTAMP:20260601T061148
CREATED:20160506T073003Z
LAST-MODIFIED:20240205T004857Z
UID:690-1444636800-1447347600@dulmanngalleries.berea.edu
SUMMARY:Ferment by Philip Wiggs
DESCRIPTION:Artist Statement:\nIn recent studio work I have been constructing a series of storage vessels whose shape and surface imagery explore the concept of fermentation.\nTo “ferment” means to undergo fermentation\, to slowly brew\, fizz or foam. To “ferment” also means to incite or stir up. I am interested in the dual nature of this word\, and wish to explore both meanings through the form and surface imagery of my pots.\nWhile the voluminous walls on my pots refer to traditional shapes of storage jars\, they also can allude to the easy connection between clay and the human form\, showing bellies stretched to their limit. I want to express a tautness that conveys the feeling of ferment\, of volume stretching outward towards bursting\, showing the promise of fecundity.\nAs a maker of vessels\, I want to remind viewers to look past an easy understanding of function and towards metaphor. The imagery on the surface of my vessels is a guide toward conceptual use\, and often serves as a metaphorical brand or label.\nThis interest in ferment began with an informal study of Korean Onggi fermentation jars. I enjoy that these beautiful large-scale forms are often buried almost completely underground with only the lids showing\, making a functional use of the natural insulating properties of the earth.\nThis act of burying emphasizes the idea of food and storage as a means toward transmutation and mystery\, a search for permanence while acknowledging the inevitability of change.
URL:https://dulmanngalleries.berea.edu/event_cal/ferment-by-philip-wiggs/
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/05-PhilipWiggs.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150909T080000
DTEND;TZID=UTC:20151009T170000
DTSTAMP:20260601T061148
CREATED:20160506T073249Z
LAST-MODIFIED:20240205T004923Z
UID:691-1441785600-1444410000@dulmanngalleries.berea.edu
SUMMARY:Being of These Hills by Roger May
DESCRIPTION:Artist Statement:\nI began making photographs back home as a way to document mountaintop removal coal mining. Be it naiveté or an honest-to-god belief that I could somehow be part of ending this disastrous practice; I thought I could make photographs that would be convincing enough to grind those wheels to a halt. I came to realize that I was up against giant issue that wasn’t as black and white as I wanted it to be and that if real change were to come about\, it would be far slower than I was prepared to work through. Frustrated and wandering\, I began to photograph the things and places of home that were familiar to me that connected me to a time when I never thought about leaving.\nCollectively\, these photographs are a visual love letter to Appalachia\, the land of my blood. This is my testimony of how I came to see the importance of home and my connection to place. After moving away as a teenager\, I’ve struggled to return\, to latch on to something from my memory. These images are a vignette into my working through the problem of the construction of memory versus reality. My work embraces the raw beauty of the mountains while keeping at arms length the stereotypical images that have tried to define Appalachia for decades. It isn’t that stereotypes aren’t true; they’re just not the whole truth.\nI am both an insider and an outsider and though I maintain a safe distance in my photographs\, I attempt to invite you into the intimacy of family\, of sacred space. My work is my bearing witness of a personal journey\, of never truly being able to go home again\, to seek answers from my ancestral home. Appalachia testifies of timelessness and natural beauty. The mountains testify of protection and sanctuary and at the same time the horrible destruction of mountaintop removal mining. The people of Appalachia testify of their pride and resilience. Old time religion testifies of the power in the blood and a heavenly home just across the shore.\nMy grandfather told me that I have two ears and one mouth\, which means that I should listen twice as often as I speak. Through these images\, I’ve tried to do just that – to listen more than I speak\, both with my voice and my cameras. These images arise out of my pride of where I am from and where I am of\, and an enduring love for Appalachia.
URL:https://dulmanngalleries.berea.edu/event_cal/being-of-these-hills-by-roger-may/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/04-Roger-May-Glory-KY.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150906T080000
DTEND;TZID=UTC:20150918T170000
DTSTAMP:20260601T061148
CREATED:20160506T073614Z
LAST-MODIFIED:20240205T004943Z
UID:693-1441526400-1442595600@dulmanngalleries.berea.edu
SUMMARY:Those of Us Still Living by James Arendt
DESCRIPTION:Art making is a way for me to explore our changing relationship with work. My research focuses on transitions in macroeconomic structures through the lens of their effects on individual lives\, communities\, and worker’s relationships to the structures of labor itself.\nI’ve paid witness to the demise of opportunities to engage in meaningful work and seen cities ravaged by the absence of industry. As the landscape of work and labor continue to shift around us\, I use art making as a way to investigate how the division of labor and alienation from work has impacted individual lives. My early engagement with work that was whole and undivided has left me with a persistent feeling that our present economic configuration has alienated most of us from the finest use of our skills.\nArt is labor made visible. The order\, planning and execution of art making serves as a memetic bridge to the work I engaged in with my family as a child. Our farm bound us to it and to one another. The labor put into the land\, livestock\, and implements was our investment in our collective future. We gambled that the rains would come\, that the market would demand a fair price for our crop\, and the bank would not foreclose. Labor became a tangible expression of our hopes.\nUnfortunately\, hope fails. Despite our work\, innumerable low-level disasters plagued the land my great-grandfathers broke and spread my family like chaff. Our plight was mirrored in countless households as the entire region dissolved under the prolonged economic hardship brought about by a new paradigm in labor. Work was retreating beyond our ability to follow and emptying the landscape of the people who once called it home.\nMaking is a way for me to echo the cycles of seasonal death\, unemployment\, natural disasters\, and loss I’ve witnessed. The physical labor involved in the creation of these pieces mirrors the work I engaged in with my family. The scale and application of materials evokes in me memories of the time when there was promise for our endeavor.\nCasting the people I know best into the center of my work\, I explore how the changing landscape of labor has defined them\, not as they were or are\, but as I know them to be. Our lives\, separated by years and distance\, remain entangled around the work we left unfinished.\nI choose materials to work with while seeking to create a greater relevancy between content and form. Denim seems created to be abused\, worn out\, patched\, stained\, and burnt through. Its characteristics are mirrored in the individuals I choose to represent. Yet\, jeans remain supple\, and with the right pair of boots can still go to the ball. I like that.\nStill\, it’s damn hard to make pictures out of it.\nI guess I like that\, too.
URL:https://dulmanngalleries.berea.edu/event_cal/those-of-us-still-living-by-james-arendt/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/02-Arendt-Catherine.1920pxl.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150831T080000
DTEND;TZID=UTC:20151018T170000
DTSTAMP:20260601T061148
CREATED:20160506T074120Z
LAST-MODIFIED:20240205T005001Z
UID:694-1441008000-1445187600@dulmanngalleries.berea.edu
SUMMARY:Borders & Migration: Shifting Geographies by Renee van der Stelt
DESCRIPTION:Throughout the Middle East\, millions of refugees are migrating due to contested territories: some will return home while others will likely resettle in different parts of the world. Global power struggles for oil along with the colonizing impulses of Western governments continue to cause borderlines to shift\, forcing communities and families to leave their homes for a while\, or for the rest of their lives. Geographic borders are enforced through checkpoints\, walls\, police presence\, and passport control at the edge of countries\, and the trauma resonates worldwide. In Kentucky and elsewhere multiple borders exist in simultaneous time; including ethnic and sectarian borders\, socioeconomic borders\, religious borders\, family/friendship borders.\nWhen considering current geographic borders in the Middle East\, it is vital to understand the history of the region\, including past events such as the Balfour Declaration of 1917 and the Sevres Peace Treaty of 1920. In 2006\, Ralph Peters published his re-drawn\, hypothetical future map of the Middle East in the Armed Forces Journal\, which proposed new borders based on ethnic groups as an attempt to bring peace to the region. The complexity and intensity of what is going on in the Middle East today deserves greater attention from those of us across the globe. What are our ethics related to these issues as we learn and listen more deeply to what is going on today?\nMaps reveal truths\, but they also can mislead and lie about places. How we understand space and borders that determine and affect the movements of humans both at home and in the Middle East has everything to do with how we empathize with others. The map of birds migrating is key to a call for empathy and deeper understanding of the earth that supports human life. How we understand our relationship to birds – and pressing ecological issues – along with understanding toward the Middle East matters to all our survival. Media in the U.S. feeds us a plate of desert sand\, tents\, wind and frightening violence\, but what happened to our view of Syria as a fertile crescent?
URL:https://dulmanngalleries.berea.edu/event_cal/borders-migration-shifting-geographies-by-renee-van-der-stelt/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/03-vanderStelt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150826T080000
DTEND;TZID=UTC:20150926T170000
DTSTAMP:20260601T061148
CREATED:20160506T074354Z
LAST-MODIFIED:20240205T005023Z
UID:695-1440576000-1443286800@dulmanngalleries.berea.edu
SUMMARY:Division of Labor by Montana Torrey
DESCRIPTION:My artwork employs the landscape as a metaphorical tool to investigate oppositional structures through temporary outdoor installations and interventions. My work explores memory\, longing\, desire\, and absence in contrast to or in connection with my immediate environment to form a phenomenological understanding of place.\nDivision of Labor references the historic rock fences or stonewalls that created early divisions of public and private land in the Bluegrass Region of Kentucky. Many of the historic walls within the Bluegrass Region were built by Irish stonemasons and slave labor and serve not only as ways of literally manipulating the physical landscape through division\, but also as an artifact of often anonymous labor. My installation calls attention to the traces of this labor by replacing the original permanent\, dense material (rock) with a sewn structure made from fragile material (silk organza). Division of Labor is a ghostly barrier\, a shell-like replica of an historic boundary fence of the region. The seemingly antithetical use of delicate needlecraft to create this fragile barrier directly engages with the uncredited artistry of stonemasonry rendered by forced or exploited labor.\nBy using the fence as a metaphor for interiority and exteriority\, my piece Division of Labor also explores the psychological implications of physical borders or barriers. Installed on the outer edge of campus\, Division of Labor speaks to the contained idea of utopia by exploring the dualities of public/private space.
URL:https://dulmanngalleries.berea.edu/event_cal/division-of-labor-by-montana-torrey/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/09/01-Torrey_Image.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150412T080000
DTEND;TZID=UTC:20150503T170000
DTSTAMP:20260601T061148
CREATED:20160506T074642Z
LAST-MODIFIED:20240205T012449Z
UID:696-1428825600-1430672400@dulmanngalleries.berea.edu
SUMMARY:Spring 2015 Graduating Seniors Exhibit
DESCRIPTION:This exhibition showcases the work of our graduating Art majors.
URL:https://dulmanngalleries.berea.edu/event_cal/spring-2015-graduating-seniors-exhibit/
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:20150125T080000
DTEND;TZID=UTC:20150315T170000
DTSTAMP:20260601T061148
CREATED:20160510T162411Z
LAST-MODIFIED:20240205T005117Z
UID:704-1422172800-1426438800@dulmanngalleries.berea.edu
SUMMARY:Gifts of Insight: Highlights from the Hanson Collection of West African Art
DESCRIPTION:Explores the wide variety of African artifacts from the Hanson family who lived in Africa as a branch through the Ford Foundation. The objects selected from the collection are from different parts of the region and tell a remarkable story and offer insight to a large nation.
URL:https://dulmanngalleries.berea.edu/event_cal/gifts-of-insight-highlights-from-the-hanson-collection-of-west-african-art/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/12.-AfricanArt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150118T080000
DTEND;TZID=UTC:20150227T170000
DTSTAMP:20260601T061148
CREATED:20160510T162653Z
LAST-MODIFIED:20240205T005205Z
UID:705-1421568000-1425056400@dulmanngalleries.berea.edu
SUMMARY:The Blue Collar
DESCRIPTION:Kelly and Kyle Phelps are both Associate Professors at private Catholic universities in Ohio. Kelly Phelps is an Associate Professor /Chair at Xavier University (Cincinnati) where he oversees the sculpture department. Kyle is an Associate Professor at University Dayton (Dayton) where he is the head of the ceramic department. \nBoth Kelly and Kyle continue to work collaboratively to create their artwork and share a studio in Centerville (OH). The twins share numerous grants\, regional\, national exhibitions\, and commissions\, as well numerous public and private collections. The twins also share many major reviews in the world acclaimed Ceramics Monthly\, Sculpture Magazine\, and American Craft Magazine. \nMuch of the twins’ work is about the blue collar working-class\, race relations and the everyday struggles of the common man and woman.  The twins grew up in a blue-collar/factory environment in Indiana where they were inspired by family members and friends who worked in various manufacturing plants\, steel mills\, and foundries.  These everyday people became working class heroes that have inspired nearly two decades of working class art. \nFor a number of years the twins have produced work that incorporates both the hand-crafted (clay/resin cast) juxtaposed with found objects/site specific objects from abandoned factories\, steel mills\, warehouses\, and railway lines. Kyle and Kelly have combined gears\, corrugated metal\, and scrap-machined parts along with modeled ceramic/resin cast figures to create a visual narrative composition about the blue-collar experience. It is important for the twins to continue to combine hand-crafted art form together with these found objects to give our work an authentic sense of place and time. Much of Kyle and Kelly’s work not only allows the viewer to visualize our created compositions\, but also allows the viewer to evoke their other senses as well.  Some of the found objects that we have incorporated into the work are soot-covered or soaked in cutting machine oils that emit a distinctive odor commonly found in automotive factories. \nThe twins figurative narratives combined with authentic found objects are in a since historical artifacts about the fall of American industry and the beginning uncertainty of the American working class. \nArtist Biography\nKyle Edward Phelps and Kelly Eugene Phelps (identical twin brothers) received their B.F.A.s from Ball State University in 1996. They earned their M.F.A. (2000) degrees in Ceramics and Sculpture from The University of Kentucky. The twin brothers studied under professor Bobby Scroggins\, Jack Gron\, Arturo Sandoval and Garry Bibbs. During the spring of 2001\, immediately after graduate school\, Kyle along with his identical twin brother (Kelly Phelps) began to pursue careers in academia as members of the fine arts faculty at the University of Dayton. Kyle Phelps is an Associate Professor of Art and head of the Ceramics area. Kelly Phelps is now the head of Sculpture at Xavier University located in Cincinnati\, OH. Kyle Phelps along with his twin brother\, Kelly\, were awarded tenure and promotion in 2008. In the spring of 2010\, both Kyle and Kelly were awarded their first sabbatical to conduct research and produce a body of work about the modern plight of the blue-collar worker in the United States.
URL:https://dulmanngalleries.berea.edu/event_cal/the-blue-collar/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/John-Henry-Series-3-detail-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20150111T080000
DTEND;TZID=UTC:20150215T170000
DTSTAMP:20260601T061148
CREATED:20160510T162817Z
LAST-MODIFIED:20240205T005227Z
UID:707-1420963200-1424019600@dulmanngalleries.berea.edu
SUMMARY:Overburden: Stripping Away the Mountains and Its People
DESCRIPTION:My work explores what Wendell Berry calls “the unsettling of America\,” namely\, the effects\, the marks\, and the changes that humans make on the land and cultures of a given area. My installations demonstrate my desire to create art that gives viewers time and space to think about the art initiates questions which remind viewers of their importance\, their responsibilities\, and their place\, on earth and in the order of things- the local cultures they share with other creatures. To prepare for each piece\, I research the history of thee place to learn how the interaction between the wild and the human has determined the direction and cultural makeup of the local community. This research\, or what I call “collaborating with a place” helps me understand what I want to say in my work and what I want to share with my audience. \nShawn Skabelund
URL:https://dulmanngalleries.berea.edu/event_cal/overburden-stripping-away-the-mountains-and-its-people/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/10_opt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20141123T080000
DTEND;TZID=UTC:20141212T170000
DTSTAMP:20260601T061148
CREATED:20160510T162939Z
LAST-MODIFIED:20240205T014805Z
UID:708-1416729600-1418403600@dulmanngalleries.berea.edu
SUMMARY:Cross Cultural Exchange
DESCRIPTION:Curated by the students in ARH 263: Introduction to Museum Work along with Meghan C. Doherty\, this exhibition explores exchanges of ideas among cultures through the objects they produced.
URL:https://dulmanngalleries.berea.edu/event_cal/cross-cultural-exchange/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2016/05/180_W_376_original_1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20141116T080000
DTEND;TZID=UTC:20141212T170000
DTSTAMP:20260601T061148
CREATED:20160510T163349Z
LAST-MODIFIED:20240205T005309Z
UID:711-1416124800-1418403600@dulmanngalleries.berea.edu
SUMMARY:Dearest
DESCRIPTION:My studio practice includes interactive soft sculpture\, performance\, and works on paper. I create sensory experiences that allude to sensations such as weightiness\, pressure\, and simple gestures like hugging and hiding. I emphasize tactility to conceptually address a displaced sense of self and a universal search for belonging. Tactility is paramount in my work because it is both intimate yet compromising.\nThe work provides opportunities to find humor in hardship and empathy in embarrassment and prompts dialogue concerning social and bodily awkwardness. By interacting with my tactile sculptures\, viewers make themselves vulnerable in a public space. Such vulnerability prompts introspection and reveals ways in which people engage with their own bodies\, other bodies\, and physical and psychological spaces. \nArtist Biography\nAnna Youngyeun is a Thai-Chinese Asian-American artist born in Hawaii and raised in Missouri.  She received a BFA in Fibers at Truman State University in Kirksville\, MO and her MFA in Textiles at the University of Kansas in Lawrence\, KS. Her work emphasizes tactility in order to examine personal and universal themes of living an amalgamated existence at an intersection of converging identities.  Her special research interests include intersectional identity\, sexuality\, fat and size studies\, and sensory experiences.
URL:https://dulmanngalleries.berea.edu/event_cal/dearest/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/07b.-Youngyeun1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20141116T080000
DTEND;TZID=UTC:20141212T170000
DTSTAMP:20260601T061148
CREATED:20160510T163143Z
LAST-MODIFIED:20240205T005329Z
UID:709-1416124800-1418403600@dulmanngalleries.berea.edu
SUMMARY:Fall 2014 Graduating Seniors Exhibit
DESCRIPTION:This exhibition showcases the work of our graduating Art majors.
URL:https://dulmanngalleries.berea.edu/event_cal/fall-2014-graduating-seniors-exhibit/
LOCATION:Tredennick 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:20141102T080000
DTEND;TZID=UTC:20141212T170000
DTSTAMP:20260601T061148
CREATED:20160510T163607Z
LAST-MODIFIED:20240205T005357Z
UID:712-1414915200-1418403600@dulmanngalleries.berea.edu
SUMMARY:Wilds
DESCRIPTION:Since the death of my twin brother in May 2007\, I have endured suspension between a world I cannot yet enter\, and a world to which I no longer feel I belong. Once-fixed horizons became unmoored\, passages between points in time collapsed\, and concealed specters suddenly emerged. My current research and studio practice centers on exploring these spatial and temporal dimensions of grief. Creating large-scale works on paper\, I invoke forces and life forms of the natural world as metaphors for personal and universal experiences of loss\, as well as on-going processes of healing. Emerging froma repetitive cycle of rendering and erasure\, the creation of my pieces parallels an endless pursuit of reconciling past with present\, duration with collapse\, disjunction with continuity. \nAs author and spiritual teacher Joan Halifax observes\, “The experience of grief often moves into the wilds\, where the forces of the elements\, as well as the presence of creatures\, plants\, land and water forms\, the sky\, and spirits conspire to break open the husk that has protected us from a deeper truth.” Looking to my own observations of these wilds\, preeminently the ocean\, I have aimed to pictorialize the physical and psychological features of this strange and unstable territory—that of the bereaved. Untethered to the physics of everyday life\, my works seek to suggest entry into a world that is as haunting and sinister as it is suffused with hope for healing— an alien\, wayward realm in which all is lost\, and anything is possible. \nArtist Biography\nEmily McIlroy received her Master of Fine Arts at the University of Hawaii at Manoa in 2011. She has several solo and group exhibitions all around the United States\, most of which are located in Honolulu\, Hawaii. Throughout her career she has received several reputable awards\, scholarships\,and grants. She has a permanent collection of her work in the Cantor Art Collection of Phoenix\, Arizona. Mcilroy is also a published author of the book “One Half Living for Two: Cross-Cultural Paradigms of Twinship and Twin Loss”. She is currently a lecturer in the Department of Art and Art History at the University of Hawaii at Manoa\, a lecturer in the Department of Humanities at Windward Community College in Kaneohe\, Hawaii\, and an instructor at the Honolulu Museum of Art School in Honolulu\, Hawaii.
URL:https://dulmanngalleries.berea.edu/event_cal/wilds/
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/06.-McIlroyEmily_Wilds.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20141012T080000
DTEND;TZID=UTC:20141116T170000
DTSTAMP:20260601T061148
CREATED:20160510T163900Z
LAST-MODIFIED:20240205T005416Z
UID:713-1413100800-1416157200@dulmanngalleries.berea.edu
SUMMARY:Religious Arts of the Abrahamic Traditions
DESCRIPTION:In conjunction with the exhibition of the Saint John’s Bible in the Hutchins Library\, this exhibition explores the arts of the Abrahamic faiths in the College Art Collection.  This exhibition incorporates liturgical and devotional objects from Judaism\, Christianity\, and Islam as an exploration of the development of these forms over time.
URL:https://dulmanngalleries.berea.edu/event_cal/religious-arts-of-the-abrahamic-traditions/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/05.-AbrahamicTraditions.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20141010T080000
DTEND;TZID=UTC:20141109T170000
DTSTAMP:20260601T061148
CREATED:20160510T164042Z
LAST-MODIFIED:20240205T005525Z
UID:714-1412928000-1415552400@dulmanngalleries.berea.edu
SUMMARY:Classical and Popular School Japanese Paintings from the Walter and Dörte Simmons Collection
DESCRIPTION:This selection of ink paintings from a noted private collection includes fine works by recognized figures from the 18th-19th centuries.  The Simmons used their insightful and educated eyes to acquire pieces that reflect traditional themes and subjects in a beautiful manner.  Exhibition curator Sandy Kita carefully chose from the Simmons’ collection to assemble an exhibition that offers a lovely overview of their holdings and the particular art historical periods.
URL:https://dulmanngalleries.berea.edu/event_cal/classical-and-popular-school-japanese-paintings-from-the-walter-and-dorte-simmons-collection/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/JapanesePrintSimmonCollection_opt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20140907T080000
DTEND;TZID=UTC:20141019T170000
DTSTAMP:20260601T061148
CREATED:20160510T164252Z
LAST-MODIFIED:20240205T005557Z
UID:715-1410076800-1413738000@dulmanngalleries.berea.edu
SUMMARY:One Thousand Prayers
DESCRIPTION:I am moved when human beings continue to live with pride and hope even under difficult circumstances like wars\, natural disasters\, poverty\, or discrimination in its many different aspects towards minority groups. Other circumstances beyond the control of our individual abilities or wisdom include loss of health and the death of loved ones. The beauty that can come from vanity\, uncertainty\, fragility\, sadness\, and the weakness of being a human touches me. Simultaneously\, I find the energy\, creativity\, witness\, humor\, and love\, human beings can bring to these circumstances encouraging. My work and collaboration projects have been trying to connect with these moments to express the beauty of being human. \n“One Thousand Prayers” is body of work I have been creating for the last fifteen years. They are my prayers for things I don’t have control over but I have responsibilities toward as oe living in this world. There is a common belief in Japan concerning the numbers one hundred and one thousand. For example\, if you make one thousand paper cranes\, your wish will come true. Obviously\, the fulfillment of prayers or wishes does not happen for real often\, but we as human beings would like to believe in something\, especially when those prayers and wishes involve things beyond the control of our individual abilities or wisdom. Even though we live in the twenty-first century and I see human variety\, uncertainty\, and fragility\, but I also see beauty there. During the process of repeating an action on hundred times\, or one thousand times\, our worries erase a little\, and the time spent completing these tasks can meditate us. This meditative time is real\, unchangeable\, and universal. \nIn spite of the problems I hear of and experience in daily life\, I would still like to believe in and express the beauty of being a human being through my work. It is important that my work hold universal beauty\, which can connect to all human beings. I hope that beauty reminds each of us to connect to our own individual spirituality in this universe. \nI am originally from Japan where the medium of printmaking and works on paper has a long tradition and is a highly respected art form. I often feel that printmaking and works on paper are less valued in the U.S. I observe that many prints are made for painters and sculptors\, for whom printmaking is an important\, but ancillary medium. One of my missions is to share the prints\, which only a printmaker can create. I want to transform the paper so it no longer speaks as “paper”\, but has a density of physical presence that is one with its imagery. By using many different printmaking marks\, I wish to unify existing mediums and layers into a seamless language. I would like my work to invite its audience to enter a seemingly infinite and paradoxically intimate space they become installations or environmental works\, which interact with the architecture and create their own atmosphere. I like the possibility of the work “breathing” in its specific environment. The fusion of artwork and space allows for a concentration of attention\, much like prayer. \nArtist Biography\nYoshiko Shimano was born in Tokyo\, Japan and currently resides in New Mexico. She obtained her Masters of Fine Arts from Millis College in Oakland California in 1991. She has many different solo and group exhibitions located in galleries all over the world\, including Tokyo\, Japan. Shimano has participated in many collaboration projects and community/international outreach projects starting in 2002 and continuing into present day. She has received an abundant amount of grants and fellowships to go along with her vast teaching experience. She currently is the Associate Professor of Printmaking at the University of  New Mexico.
URL:https://dulmanngalleries.berea.edu/event_cal/one-thousand-prayers/
LOCATION:Lower Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/03_opt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20140831T080000
DTEND;TZID=UTC:20141005T170000
DTSTAMP:20260601T061148
CREATED:20160510T164433Z
LAST-MODIFIED:20240205T005619Z
UID:716-1409472000-1412528400@dulmanngalleries.berea.edu
SUMMARY:The Arts of Mexico
DESCRIPTION:Organized to help kick off the Center for International Education’s Focus on Latin America\, this exhibit features objects from the Berea College Art Collection that were made in Mexico.
URL:https://dulmanngalleries.berea.edu/event_cal/the-arts-of-mexico/
LOCATION:Rogers Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/02_opt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20140824T080000
DTEND;TZID=UTC:20140926T170000
DTSTAMP:20260601T061148
CREATED:20160510T164651Z
LAST-MODIFIED:20240205T005651Z
UID:717-1408867200-1411750800@dulmanngalleries.berea.edu
SUMMARY:The Helmet Project
DESCRIPTION:At 8am on September 11\, 2001\, it was easy to perceive our lives as serene; we were safe. \nEven while Bernie Madoff’s crimes were being exposed\, most saw our economy\, our country\, as prosperous; we led the world. \nAnd while the scientific community embraces a vision of quantum mechanics and string theory\, shattering our basic understanding of the observable universe\, we are left behind only capable of viewing Newton’s world; we are blind. \nWe are a visually biased society\, living in a time in which we can no longer believe in what we see. \nArtist Biography\nGary Chapman received BA and BS degrees from Berea College and his MFA\, in Painting\, from Cranbrook Academy of Art. He spent many years living and painting in New England before relocation to Alabama as a Professor of Painting and Drawing at the University of Alabama at Birmingham. Chapman defines himself as a conceptually driven figurative painter working in oil and mixed media. He is an active exhibition participant\, having had over 50 solo exhibitions\, as well as having participated in numerous group and invitational exhibitions. \nHe has received many grants and fellowships\, including a 1996 National Endowment for the Arts Fellowship from the Southern Arts Federation and 2002 and 1994 Individual Artist Fellowships from the Alabama State Council on the Arts.
URL:https://dulmanngalleries.berea.edu/event_cal/the-helmet-project/
LOCATION:Upper Traylor Gallery
CATEGORIES:Past Exhibit
ATTACH;FMTTYPE=image/jpeg:https://dulmanngalleries.berea.edu/wp-content/uploads/2015/03/rsz_chapman-thp-ac2.jpg
END:VEVENT
END:VCALENDAR