Sunday, November 12, 2017

David Versluis—New work: Fulgurite


© David Marc Versluis
Fulgurite (vitrified silica caused by lightening striking sand or soil)
2017
Aluminum, powder-coated
13h x 7w x 7d inches (33 x 18 x 18 cm)

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Wednesday, November 8, 2017

Dordt Hosts Art Reception on the Mathematical Art of Yeohyun Ahn, Nov. 13


Image: ©Yeohyun Ahn, all rights reserved

South Korean artist combines code, typography, and mathematics with calligraphy.

Sioux Center, Iowa: Beginning November 2, a new art exhibition will be on display in Dordt’s Campus Center Gallery. The artwork is by Yeohyun Ahn, South Korean artist and graphic designer.

Ahn is an award-winning typographer and visual designer. She is also an assistant professor of communication at Valparaiso University in Indiana. Previously, she taught at Chicago State University, the School of Art Institute of Chicago, and did freelance graphic art for the New York Times. Her artwork has been featured in the Washington Post and the New York Times, as well as in art galleries in South Korea, Japan, and the United States.

Growing up in South Korea, Ahn was first drawn to typography by learning calligraphy from her grandparents. While her parents encouraged her to study computer science, Ahn eventually decided to pursue an MFA in graphic design.

Her artwork is a representation of “cybernetic ecology”: the harmonization of the human and the machine.  Ahn uses computer coding and mathematical algorithms to create abstract representations of letters and words, which simultaneously evoke cutting-edge technology and the natural or religious. To create her works, Ahn utilizes a variety of computer software, including Adobe Photoshop, Illustrator, InDesign, and “Processing” – a more recent program that integrates coding and artwork.

“[My pieces] convey diversified visual messages inspired by nature,” says Ahn, “addressing environmental issues such as green design, healing through art, and exploring philosophical and religious interpretations regarding life, death and love.”

Two of Ahn’s collections: “The Bible + Code” and “O Antiphones + Code” will be exhibited in the Campus Center Gallery at Dordt from November 2 until the end of December. “The Bible + Code” is inspired by Scriptural imagery, and “O Antiphones + Code” was created for the 2016 Advent Vespers booklet for the Chapel of the Resurrection at Valparaiso University.

A reception will be held at Dordt’s Campus Center Gallery on November 13, from 6:45-8:00 p.m., with a discussion at 7:00 p.m.

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Thursday, September 7, 2017

33 Contemporary Gallery, Chicago: SKETCHBOOK show


33 Contemporary Gallery, Chicago: 
The show will open on September 15 and run to October 14, 2017.
These are the artists who are participating in the SKETCHBOOK show:

Juarez Hawkins, 
Cesar Conde, 
Charlene Moy, 
SPIKA, 
Leisa Shannon Corbett, 
InJung Oh
, Sarvin Haghighi, 
Victoria Szilagyi
, Janet Glazar, 
Joanna Partyka, 
Sally Ko, 
Laleh Motlagh, 
Carrie Baxter,
Bojana Ilic-Bojitt, 
Amy Hassan, 
Gillian Kennedy Wright, 
Marilyn Walter, 
Victoria Fuller, 
Yvonne Beckway,
Sergio Gomez, 
Romana Brunnauer, 
Elisa Boughner, 
Michael Coakes, 
Anke Korioth
, Beth Lowell,
Victoria Clarke, 
Peggy Shearn, 
David Versluis, 
Lynn Garwood
, Melynda Van Zee, 
N Masani Landfair, 
Kelly Mathews.

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Tuesday, August 15, 2017

Dordt College Campus Center Gallery through September 30: Dan Addington — Monumental Heart: Encaustic and Mixed Media Paintings




Dan Addington Artist statement

In the last ten years, travels in Europe and Ireland have had a profound visual effect on my work. Upon returning from that first trip through Ireland, I began a series of paintings initially inspired by feelings and imagery experienced there. These influences were coupled with my own already established love of medieval and gothic forms, historical European religious subject matter, and Irish history. At this time I also began to aggressively explore the use of alternative, often organic materials like wax, tar, wood, and fabric to achieve a more elemental and tactile connection with the work. The exploration of ideas about memory, history, and the passage of time have become an important part of this process.

My paintings often include combinations of anatomical imagery, memorial sculpture, romantic symbolism, and religious iconography. The works are created using deep supports, like boxes, that stand out from the wall and assert themselves in the viewer’s space. In many cases, the physical qualities of the work are meant to suggest the physical weightiness associated with monuments and memorial sculpture. Collaged materials, including heavy fabrics and printed matter, contribute to the initial surface of the work. After this weathered, heavily worked, abstract surface is established, it is sealed in a layer of beeswax, and the more figurative elements of the imagery are rendered in tar and varnish. The organic qualities of the wood, wax, and tar communicate a feeling of timelessness. I believe that the processes of building, weathering, eroding and layering are important to the work’s identity — it creates a history that can be traced, investigated, and experienced by the viewer. The materials and processes used emphasize the paintings as visceral objects with an evocative physical presence. Often, these materials are meant to recall and engage the physical body, and with the accompanying image, evoke a meditational response from the viewer. Through a mixed use of painterly languages, these works explore the nature of mortality, express a sense of loss, and address mankind’s desire to locate spiritual meaning.

About Dan Addington 

Dan Addington is an artist and gallery owner who has been working with wax since 1989 and exhibiting encaustic work professionally since 1992. Dan is the owner and director of Addington Gallery, located in Chicago’s historic River North art district.

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Saturday, June 17, 2017

The systematic formation of circles and the structure of the conceptual line


Alden Dow, principal architect: Midland Center for the Arts, Midland, Michigan.
The encounter of circles: Dow groups together five circles and systematically overlaps them to produce what Wucius Wong calls a super-unit form.

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Sunday, June 4, 2017

The Wall of Respect: Vestiges, Shards and the Legacy of Black Power—Chicago Cultural Center

https://www.cityofchicago.org/city/en/depts/dca/supp_info/wall_of_respect.html
Darryl Cowherd
Portrait of Amiri Baraka, 1967
Gelatin silver print on board
Anonymous loan, Chicago Cultural Center
below: The Wall of Respect, 1967–71.  Public Artistry at 43rd & Langley, Chicago—mural destroyed in 1971.


Roy Lewis
High Priestess of Soul Sunday Morning Visit to the Wall of Respect, 1968
Digital Print
Courtesy of Roy Lewis

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Monday, May 15, 2017

new work: David Versluis's powder-coated steel sculpture “Rungs to Rings” for Public Art Edina 2017-18


Rungs to Rings, 2017
David Versluis sculptor (Versluis is dusting and polishing the piece)
Powder-coated, welded steel, laser-cut circles
8'H x 27"W x 27"D

Artist Statement: Rungs and Rings 
This sculpture suggests a pillar or column that combines bi-dimensional planes, ornamented with a repeating circle motif. Of interest are the circular cut-outs that let observers see through the piece and frame background views, allowing the piece to interact with the location and activating a multi-dimensional experience for the viewer. 
Two thick steel plates, with laser cut-out circles, stand upright at a 90-degree angle. All the parts are welded together perpendicular to a circular base—the weld is a seamless bond that’s solid and weather tight. The sculpture produces a shadow, casting a delightful pattern within the piece and on the ground. Depending on the intensity of sunshine, the shadows can be diffused or hard-edged. 
The proposed color is a powder-coated bright red which is meant to accent the area in which the piece is displayed.
On May 11, 2017 we installed the powder-coated steel sculpture “Rungs to Rings” at 50th and France in Edina, Minnesota. The piece was selected by Public Art Edina and the City of Edina for 2017-18. I’m grateful to Michael Frey, Edina Art Center and assistance from Cory Shubert. The piece stands 10 ft. high including the pedestal and 350 lbs.


Versluis is checking the installation and touching-up the painted anchor bolts.

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