Museum Show!

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I’ll be giving a talk today at an event for the Mizzou Interdisciplinary Center on Aging at the Museum of Art and Archeology. This talk is on the subject of mediated attention and the ways I try to teach (and learn) through the various technologies that surround us (Click HERE if you’re interested in attending the event – it’s November 4, 2014 at 4PM).

The wonderful thing about this event today is that it’s the first public viewing of an exhibition I have guest-curated at the Museum. This show, called Touching the Past: Student Drawings From the Gallery of Greek and Roman Casts, will be up throughout the month of November and into December. It features 22 artworks by my former students. Student drawings from the likes of Jacob Maurice Crook, Kate Miers, and Allison Jacqueline Reinhart feature prominently. The Museum is open 10am until 4pm Monday through Friday, so come visit the show any time!

S2012_DRW1_CastGalleryStudents working in the Cast Gallery a few semesters ago.

Working in the Gallery of Greek and Roman Casts is one of the most important experiences I can give to my students. I hope you’ll stop by and see works like the ones shown below.

drw1-2013-02Hannah Wallace, Wide Angle Study of Figures in the Cast Collection. 18 by 24 inches, graphite on paper.

DSC07052Kate Miers, Study of Artemis. 24 by 18 inches, graphite on paper.

One special guest I invited to have work in this exhibition is fellow teacher and artist Chris Fletcher. His sensitive, searching drawings from the Mizzou Casts seem deceptively simple. But having spent the last 25+ years studying drawing and painting, I can tell you that they are masterworks of human subjectivity and focused engagement. I love the little marginalia notes he leaves for himself on the edges of the works, and the inquisitive-yet-firm nature of his working. Don’t pass by this small pieces when you visit the show. Really, really great stuff.

List of artists in the Touching the Past exhibition:

Olaia Chivite Amigo

Matthew Ballou

Maggie Berg

Amanda Bradley

Jacob Maurice Crook

Chris Fletcher

Emily Gogel

Terisia Hicks

Rachael Liberty

Kate Miers

Aubrey Miller

Delia Rainey

Allison Reinhart

Tianyuan Ren

David Spear

Andi Tockstein

Duy Tran

Hannah Wallace

 ~

DSC07075Detail of Andi Tockstein’s Study of Apollo… you need to see this drawing in person!

Both Sides of the Brain

Mr. Aaron Coleman, mezzotinter extraordinaire, has been coordinating this traveling exhibition for quite some time. And now the first shows are coming soon.

Cover for the folio cases: GLORY! Photo by Aaron Coleman.

And here’s a listing of the locations for this traveling show – click the highlights for more info about the specific exhibitions:

2012

August 13 – September 18, 2012 ~ Basile Gallery, Herron School of Art. Indianapolis, Indiana

October 3 – October 28, 2012 – Washington Printmakers Gallery. Silver Spring, Maryland

TBA – Gallery 215. Northern Illinois University School of Art. Dekalb, Illinois (link when available)

2013

May 20 – August 29, 2013 – George Caleb Bingham Gallery. University of Missouri, Columbia, Missouri (link when available)

TBA – Lamar D. Fain School of Art. Midwestern State University, Wichita Falls, Texas (link when available)

The edition is in the permanent collections of Herron School of Art and Northern Illinois University School of Art. BOO-YEAH!

Looking Over the Overlooked at MACC

Jacob Maurice Crook and I have a show together at Moberly Area Community College. We installed today and the exhibition opens this coming Monday, June 6th. I hope you can get there to see the show – MACC’s gallery space is quite nice – but if you can’t make it, check below for some shots of the work installed. Click each image for enlargement.

1 ) Crook’s main wall arrangement. One larger oil painting, a small work in oil, and a mezzotint.

2 ) Crook’s inner room set – two oil paintings flank a beautiful graphite and gouache work.

3 ) Crook’s side wall, with an oil piece, two large mezzotints, and a graphite work.

4 ) Crook’s behemoth Hitt Street Garage, an 18 foot, 7 inch oil painting.

5 ) Ballou’s main wall set, with images from Chicago during 2000 and 2001.

6 ) A grouping from Ballou’s 2008 Illinois beach house series.

7 ) Ballou’s 2008 Michigan light photos.

8 ) The 2004 Whitney Ceiling set, installed physically for the first time here (I presented them online during 2010 at this link.)

If you are now sufficiently inspired to see the show for real, MACC is located at 101 College Ave. Moberly, MO 65270.

And here are our statements for your perusal:

Looking Over the Overlooked Exhibition Statement

Matt Ballou and Jacob Crook present work that engages with the proliferation of commonplace, yet ignored, spaces in the urban and suburban landscape.

Using primarily photographic images, Ballou depicts an iconography of geometries and formal tensions based on his experiences with specific interior and exterior spaces over the last decade. Several bodies of work from very different locations around the United States take center stage. These include a latticework of appropriated images showing the ceiling of the Whitney Museum of American Art in New York City, a multitude of manipulated photographs of a skylight in a rural northern Michigan home, and a series of images of the degrading arcs and angles of a dilapidated municipal beach house in northern Illinois. Installing the images in broad arrays allows for a serialized, comparative reading that creates interplay between the total effect of the group and the specific characteristics of individual images. The works are not meant to be singular expressions but rather cumulative contemplations of space, place, light, and the modular effects of specific structures.

A dedicated representational painter and draftsperson, Jacob Crook’s work starts with repeated observation and detailed consideration of the overlooked arenas that quietly dominate the American landscape. Relying heavily on James Howard Kunstler’s book The Geography of Nowhere, Crook’s paintings, drawings, and prints attempt to come to terms with what Kunstler describes as the American “obsession with mobility, the urge to move on every few years” and the results of that tendency: “we choose to live in Noplace, and our dwellings show it.” Casting his eye on the margins of suburbia, Crook tries to locate the dynamic tension that exists between the land and our mundane domination of it. Crook carries on the legacy of landscape painting while rejecting its inherent valorization of the subject matter. Instead of merely creating pleasant pictures, his work uses the historical authority of both painting and the landscape to project a subversive series of questions toward viewers.

Together the work of these two artists is a vision of what American space has become. Not an entirely negative perspective, the work is meant to provoke an introspective attitude in viewers, challenging assumptions and calling questions to mind: “What spaces do I want to live in? What has dictated the sorts of spaces I live in by default? What is my responsibility for the reality of these spaces?” The artists hope that by bringing their own investigations – as humble or as banal as they might seem – to viewers, a thoughtfulness and contemplation might be stimulated.

Biographical Information

Ballou is an Assistant Teaching Professor at the University of Missouri where he has taught since 2007. In 2011 he presented a major solo show at Gordon College in Wenham, MA and will exhibit with internationally renowned artist Tim Lowly at the 930 Art Center in Louisville, KY during the summer of 2011.

Crook earned his BFA from the University of Missouri in 2009. His work was recently included in the prestigious Fort Wayne Museum’s Contemporary Realism Biennial. He has been accepted to Syracuse University’s graduate printmaking program for the fall of 2011.

Jacob Maurice Crook | Artist Statement

My work is a contemplation of how the physical design of our surroundings can influence social behavior and also offer insight to cultural practices that inform the nature of such designs. In choosing the subject matter of my imagery, I focus my sights on the fringe of suburbia, attempting to locate dynamic tensions existing between the landscape and the homogeneous developments quietly dominating its topography. I chose to reject the idealized depiction of subject matter inherent in the history of American landscape painting. Instead of merely creating pleasant pictures, I use the history of both painting and landscape to project a subversive series of questions to viewers: What spaces do I want to live in? What dictates the spaces I live in by default? What responsibility (if any) do I take for the reality of these spaces?

Matthew Glenn Ballou | Artist Statement

These photographs were never meant to be artworks per se. Over the course of many years I have used photography as a way to decipher my own eye, as a way to better understand what visual dynamics draw me to certain scenes or arrangements of form and space. So most of what you see here was entirely reactive and instinctive at the beginning. I was attempting to see something in what others might easily overlook. Ultimately it worked, and in many ways these images have become historical and canonical to me. They are also nostalgic in that they are documents of places and times that carry personal significance. In them I see my own eye remixed, my own memory re-contextualized. In them I see a field of visual forces at play, which I have taken and used, reused, and reapplied. I present them in this way at this time to heighten my experience of their formal tension and balance in contrast with my emotional feeling for the spaces and times they represent. I present them so as to experience all of this again, anew. It is the contrasts and resonances made possible by this new context that bring artfulness to the work. The images themselves remain snapshots while the relationships among these fragments become a place for art experiences to reside: between the lines, in the overlooked spaces, around corners, beyond sight.