FALL EXHIBITIONS 2010

September 24 - October 23, 2010

David Deming - TransFORMations
The Rocker and Centurion Series by David Deming
 MAIN GALLERY

TransFORMations: The Rocker and Centurion Series presents the creative variations and production processes for two dynamic sculpture series by Cleveland artist David Deming. The light hearted Rocker, for which the first rounded model was done while the artist was a student at the Cleveland Institute of Art, was inspired by a Mayan glyptic form and has been translated by Deming into a variety of both smaller bronze variations and large brushed steel outdoor pieces. Centurion, a series initiated just six months ago, recombines a restricted vocabulary of geometric shapes into stately upright bronze pieces. The 10 sculptures in TransFORMations are first formed as wooden models and are finally realized as bronze castings in a variety of patinas. In honor of David Deming’s 41 years as a fine arts teacher, the exhibition will include an example from each series of the production steps from model to casting molds to finished sculpture.

about the artist
David Deming, recently retired President of the Cleveland Institute of Art (CIA), has enjoyed a successful career both as a sculptor and as a teacher and arts administrator. His sculpture is in over 100 public and private collections including the Columbus Museum of Art in Ohio; the Arkansas Art Center, Little Rock, Arkansas; The San Antonio Museum of Art, Texas; Utah State University in Logan, Utah; The David E. Davis Sculpture Park in Cleveland; Case Western Reserve University; and Ashland University, OH. He works in metal as an abstract artist and a portraitist of corporate and political leaders. He is currently completing a figure of Stephanie Tubbs Jones, the deceased Ohio Representative, and a half length portrait bust of Usha and Monte Ahuja, donors to the new University Hospital Ahuja Medical Center in Chagrin Highlands, OH.

Deming graduated from the CIA in 1967 (BFA) and the Cranbrook Academy of Art, Bloomfield Hills, MI, in 1970 (MFA). Before graduate school, he taught sculpture for one year at Boston University’s School of Fine and Applied Arts. Upon receiving his advanced degree he taught sculpture and drawing, briefly design, in Texas, first at The University of Texas at El Paso for two years, then at The University of Texas at Austin for 26 years. At UT Austin he was Chair of the Department of Art and Art History, Interim Dean and then finally Dean of the College of Fine Arts from 1991-1998. Deming served as the President of the Cleveland Institute of Art from 1998-2010.

This exhibition is sponsored by the Cleveland Institute of Art.

 

September 24 - December 18, 2010

Heather McGill
The Last Time I Saw Richard
EUCLID AVENUE GALLERY
and
Aaron L. Peterman
"Repent, Harlequin!"
THE PLATFORM

Heather McGill
The Last Time I Saw Richard
EUCLID AVENUE GALLERY
[Artist's Statement]

Heather McGill's The Last Time I Saw Richard dances across one wall of the gallery as a riotous installation of suspended chains of hundreds of plaid patterned stars and roses, a wall sculpture, air brushed wall stenciling, and laser cut drawings of ominous vultures, ironically worded necklaces, and the chilling words "You be the judge 45 or 410" floating lazily from an Aladdin’s lamp.

Centered upon the long wall of the gallery is an 8 x 6 foot piece, el Farol, a layered aluminum sculpture painted a strident pink and purple plaid with multiple coats of “candies,” the lacquer based automotive paint favored by hot rodders, and a wall stencil of complex interconnected imagery. The laser cut aluminum form is taken from the wing of a child’s balsa wood airplane, a toy of a WW2 bomber manufactured in Detroit, Michigan. Below this is the pattern of enormous roses, forget-me-nots, and discrete silhouettes of strippers and cheerleaders, all concluding in a lantern on a long chain.  Arranged on either side are McGill’s “thinnest sculptures,” framed drawings of laser-cut and hand painted overlaid sheets of paper filled with intricate layers of patterning and appropriated imagery. Dangling over all are the ceiling to floor chains of hundreds of paper stars and roses, the unique plaids created by the artist, the shapes then printed, laser cut, and hand assembled.

The Last Time I Saw Richard reads as a linear narrative with each sign posted drawing, the underlying bomber wing sculpture, and the stenciled imagery adding to the darker themes masked by the instantaneous gaiety of the chains of stars and roses. All McGill's artwork is built up physically by layer upon layer of lacquer "candies" on various three dimensional substrates and of superimposed air brushed colored papers. In this surface perfection and brightness of color the artist presents layer upon layer of illusions and allusions - social, political, and physical.

Heather McGill writes about her work:
My sculpture makes visual reference to automotive customizing and mass production and is predicated on understanding form as defined by light and color. I use automotive paints to finish the surfaces of my sculpture; in particular lacquer based paints called candies. Invented in the 1950's, candies are luscious, transparent colors sprayed over reflective base coats to highlight, define and optically restructure the forms they are applied to. These surfaces are meant to seduce, triggering the viewer's non-verbal, instinctive attraction to color. The candies suggest a deeper space beyond the physical surface and create complex illusions that are revealed through the viewer's different angles of observation.

about the artist
Heather McGill is Artist-in-Residence and Head of the Sculpture Department at the Cranbrook Academy of Art, Bloomfield Hills, MI.. She studied at the University of California at Davis and received her M.F.A. from the San Francisco Art Institute in 1984. Prior to becoming Artist-in-Residence at Cranbrook, McGill taught at the University of California at Berkeley and at the New York State College of Ceramics at Alfred University.

McGill has received grants for both permanent and temporary installations from the National Endowment for the Arts, LEF Foundation, Ford Foundation, California Arts Council, and the San Francisco Arts Commission. As a two-year Artist-in-Residence at the Exploratorium in San Francisco, she designed a piece that became part of the permanent collection after traveling through Europe. In 1999, she received the Louis Comfort Tiffany Foundation Award. She has lectured and served as a panelist at many universities and conferences in the United States, and recently as a peer reviewer for the Fulbright Fellowship applicants in 2001-03.

A former California resident, McGill created installations throughout the West Coast exploring the historical, environmental, and cultural systems specific to each site. Outdoor permanent sculpture includes works in the city of San Rafael and for the State of California at the Elkhorn Slough National Estuarine Sanctuary. Her work is included in the public collections of Sprint, Albright-Knox Gallery, Fidelity Investments, Compuware, Daimler, and the Detroit Institute of the Arts.

In the past few years, McGill has participated in group and one-person shows at the Albright-Knox Gallery, Buffalo, New York; Dwight Hackett Projects, Santa Fe, New Mexico; Miller/Block Gallery, Boston, Massachusetts; The Tang Teaching Museum, Saratoga Springs, New York; Cranbrook Art Museum, Bloomfield Hills, Michigan; Knoedler & Company, New York, New York; L.A. Louver, Venice, California; TZ’ Art & Company, New York, New York; The Detroit Institute of Arts, Detroit, Michigan; Espace Lyonnais d’Art Contemporain, France; Serpentine Gallery, London; Palais des Beaux Arts, Brussels; Seville Museum, Seville, Spain; William Traver Gallery, Seattle, Washington; The Queens Museum of Art, Queens, New York; Whatcom Museum, Bellingham, Washington; Madison Art Center, Madison, Wisconsin; and San Jose Museum, San Jose, California.

Aaron L. Peterman
“Repent, Harlequin!”
THE PLATFORM

With “Repent, Harlequin!” Aaron L. Peterman has inserted into the compact exhibition space a meticulously built structure of folded paper covered with reflective surfaces and decorative printed patterns of appropriated queer imagery. This appealing construction invites visitors to step inside while it subtly subverts aesthetic tradition, social decorum, and viewers' immediate assumptions. The title is from a 1965 Harlan Ellison short story in which the Harlequin character defies the rules of established society and attempts to sabotage those in power through civil disobedience.

“Repent, Harlequin!”is the first exhibition in The Platform, a new Sculpture Center gallery immediately adjacent to the Euclid Avenue Gallery. Each artist whose work is exhibited in the Euclid Avenue Gallery may invite another artist to create new work for The Platform. We anticipate that the two bodies of work will complement and play off one another, perhaps as a foil, and that new insights into both will ensue.

about the artist

Aaron L. Peterman was educated at the University of Evansville and Ball State University in Indiana, and in 2008 received his MFA in Sculpture from Cranbrook Academy of Art, Bloomfield Hills, MI.  His work has been exhibited in galleries nationally and is held in the permanent collection of Fidelity Investments in Boston, MA.  Peterman lives and works in Providence, RI, and is currently represented by Miller Block Gallery in Boston.

 

November 6 - December 18, 2010

November 6
5:30 - 8 PM Opening
6:30 PM The Artist Talks, Beth Campbell in the Main Gallery

Tables: New work by Beth Campbell
MAIN GALLERY

This is the second in a series of annual exhibitions sponsored by the Cleveland Institute of Art's Visual Arts + Technologies Environment to introduce the work of its artist-in-residence.

Tables is a new line of inquiry for artist Beth Campbell, a deft move into “sculpture,” as she lightly describes this work created especially for The Sculpture Center. Campbell is well known for her visual and mental conundrums of perfectly mirrored sets of pristine room furnishings, receding, duplicated storefronts, and mobiles of suspended, fine steel rods, like cascading, repeated gestural notations.  She has turned these quotidian, yet physically removed installations and these striking, spatial gestures into objects that are very domestic and very accessible. These new sculptures are made up of homey tables, chairs, decorative accents, and bent wire, and now they exist in our space, on our worn carpeting, at our everyday scale. Yet, Beth Campbell has again managed ever so subtly to distort and substitute our reality for one of her own, where trusted surroundings are simultaneously and inexplicably replicating, merging, and beginning to dissemble or otherwise transform themselves. Dining is no longer such a seemingly predictable process after all.  Grandmother’s highly polished tea table, formerly displaying framed family photos and knick knacks, now holds only bent wires with intersections and reflections that bring forth unanticipated multiple and overlapping shapes. My Potential Future Based on Present Circumstances, the title of a drawing series by Campbell, neatly and obliquely summarizes the artist’s sculptural motivations and intentions.

The opening reception for Beth Campbell's installation is the final event of the day-long open conference The State of Sculpture hosted by the Cleveland Institute of Art and co-sponsored by The Sculpture Center, the Erie Art Museum, and Edinboro University of Pennsylvania.

To see more of Beth Campbell's work visit: http://nicoleklagsbrun.com/campbell_home.html

Beth Campbell is the artist-in-residence at the Cleveland Institute of Art for spring of 2011. She received her MFA from Ohio University in 1997 and her BFA from Truman State University in 1993. She most recently completed an Arts/Industry Residency at the John Michael Kohler Arts Center, Kohler, WI, in spring 2010. Among numerous group exhibitions and publications, she has most recently had solo exhibitions at the Country Club at Rudolph Schindler’s Buck House in Los Angeles California, The James Harris Gallery in Seattle, Washington (both in 2009), The Nicole Klagsbrun Gallery, and the Whitney Museum of American Art (both in 2008, New York, NY). She has also worked with the New York Public Art Fund on the project Potential Store Fronts (2007), which consisted of a repeating storefront on Maiden Lane in Lower Manhattan.

She has received various awards, most notable and recently, the Louis Comfort Tiffany Foundation Biennial Award, The Santo Foundation Individual Artist Award, and a Distinguished Alumni Award from the School of Art at Ohio University in Athens, OH.

 

Return to Exhibitions 2010/2011

For more information call 216.229.6527 or go to info@sculpturecenter.org.  

The Sculpture Center is a not-for-profit arts institution dedicated to the advancement of the careers of emerging Ohio sculptors and the preservation of Ohio outdoor sculpture as a means to provide support for artists and to effect the enrichment, education, enjoyment, and visual enhancement of the Cleveland community and greater region.

The Sculpture Center receives generous support from Toby Devan Lewis, The Callahan Family Foundation, the Kulas Foundation, The John P. Murphy Foundation, the Bernice and David E. Davis Art Foundation, studioTECHNE|architects, The George Fund Foundation, The Nathan and Fannye Shafran Foundation, a supporting foundation of the Jewish Community Federation of Cleveland, American Greetings, and individual donors to Friends of The Sculpture Center, with additional public funding from the Ohio Arts Council and the citizens of Cuyahoga County through Cuyahoga Arts and Culture.

Gallery hours: Wednesday – Friday, 10 am to 4 pm, Saturday 12 noon to 4 p, or by prior appointment (Free Parking, Handicapped accessible)