Born: 1946, Istanbul, Turkey
Currently Resides: Chicago, IL

Contact Information

Email: webmaster (at) aniafshar (dot) net
www.aniafshar.net
Phone: (773) 6458922

Medium(s) Worked in:

Textile
Jewelry

Teaching Certified: No

Available for commission: textile, woven material, and jewelry
Past Commissions:
Alic Adam: 2 bedspreads, 1 shawl.
Dorothy & Alan Press: 2 bedspreads, 1 silk table runner.
Ruth Horwich: 1 bedspread, 1 silk shawl.
Lolli Thurm: 1 bedspread, 1 silk blanket.
Cathy Upjohn: 1 bedspread

Represented by:
Rezac Galery, Chicago, IL
AniAfshar Studio Boutique, Chicago, IL

Artist Statement:

Once the work is on the loom I follow the chosen colors and overall division of space as closely as possible.

Everything in my weavings start with an impression,a mood.The first stage is a rough sketch in which through notations, shape and division of space I try to capture the feeling of that moment. When I start a piece I select the colors and try to match them with a sketch or vice versa. Once the work is on the loom I follow the chosen colors and overall division of space as closely as possible. The next stage, the details, is spontaneous, I use color like a painter, except mine are used in sequence. In my work color, texture and beads are an integral part of the piece’s creation as it is woven. Nothing is added to the completed work once I have gone forward I can not go back.

Artist Bio:

I started weaving in the 1970s, living in Iran. In the 1980’s, living in Chicago, I began to exhibit my weavings (Evanston Art Center,Hyde Park Art Center, Rezac Galery etc.)and selling to collectors. At this point, I did a number of large works on commission. I also began to incorporate the loom into my beaded jewelry design. During these formative years in Chicago, I was represented by Rezac Galery, until thier close in 1993. In addition to my own practice, I began working as a teaching artist at the Hyde Park Art Center.

I use color like a painter.

In the 1990’s I developed a jewelry collection establishing a presence in N.Y. for fashion jewelry. In Japan, I sold to major department store boutiques through Ku-Croissant Fashion Jewelry, and also in London to V. & A. Museum Store, Harods, Harvey Nichols etc. In the U.S. as well I began to sell my work in high end department stores, museum shops, & boutiques.

Finally, in 2001 I opened ANIAFSHAR/Jewelry Boutique in Lincoln Park, Chicago. Then, in 2006 Schiffer Books published 4 books on my jewelry techniques. Most recently, in 2009, I closed ANIAFSHAR/Jewelry Boutique in Lincoln Park and re-opened ANIASHAR/Studio Boutique at a new location in Logan Square, Chicago, displaying both jewelry and woven designs.

Press & Publications

American Craft Magazine, 1992
Fiber Arts, 1992

Born: Paris, France
Currently Resides: Chicago, IL

Contact Information Email: dgista@yahoo.fr

Medium(s) Worked in:

Painting
Mixed Media

Teaching Certified: No

Available for Commission: Yes

Artist CV:
Download file

HPAC Exhibitions

2008, Flame and Flamenco

Artist Statement

Though a resident of Chicago for the past eight years, David Gista was born and raised in Paris, France. At 45, Gista has established his career in the United states and Europe. Having studied art at the “Ecole des Beaux Arts”, Gista combines his classical fine arts training with his conception of modernity, and a running commentary on contemporary life combining a large variety of mediums.

In 2006 DG begins to work with a blow torch .The process that he qualifies as “dangerous “.

Gista maintains his global exposure and continues to be represented in Paris, France. His life and work have been featured on WTTW-TV’s Art Beat, WGN-TV’s Chicago’s Very Own with Jane Boal, and WBEZ-FM’s interview by Victoria Lautman, as well as articles in The Chicago Sun-Times, Reader, Pioneer Press, and The Daily Northwestern in France he was featured in Telerama by Laurent Boudier

In 2006 DG begins to work with a blow torch .The process that he qualifies as “dangerous ” is at the border of drawing and painting, but has a very strong conceptual resonance: I started at a moment of my life where I was “burnt out”,I used that feeling literally in my work.The result encounter a large success and was featured in a one man show at the Hyde Park art center in Chicago last June 2008.

Artist Bio

Graduated in 1990 with the equivalent of a Masters Degree from Ecole des Beaux Arts. By 1993, Gista began exhibiting his work with his first one-man show in Paris. Discovered in 1995, by the internationally recognized Darthea Speyer Gallery, who also represents Ed Paschke and Leon Golub, Gista’s professional career was established. During that same period of time he received one of the most important awards for emerging painters, the “prix de Vitry,” which means the prize of Vitry (name of city). His career continued to flourish in France where he participated in a variety of solo and group shows.

During his initial visit to Chicago in 1996, he met Gary Marks—and in 1997 held his first one-man show in the United States at the Gary Marks Gallery and received generous press coverage in the Chicago media. He also participated in a group exposition at Chicago’s Zolla-Lieberman Gallery, as well as exhibited his work in Hamburg, Germany, where he established strong connections and increased representation with galleries and other institutions.

In 2001, Gista submitted a proposal to Accor, the parent company of the Hotel Sofitel, to create 274 large-sized digital paintings for their newest hotel built in downtown Chicago. The concept was accepted, and Gista worked for almost a year to complete the project where he combined his drawing, painting, and photographic abilities with the use of digital technology and where his work can still be seen.

Mornea Gallery in Evanston held a one-man show of Gista’s work entitled “Presidents, Etc.” in 2004. Known for his “soul bags,” a form of painting on cloth that verges on sculpture, Gista displayed oversized bags featuring presidential candidates John Kerry and George Bush, in recognition of the previous election. Other featured “soul bags” and paintings included former Presidents Clinton, Reagan, Washington, Jackson, and Lincoln. Images were chosen based on their iconic resonance.

Presidents Etc… was followed by two one-man Gista shows. The first show, October 2004, was held at The University of Illinois in Chicago and featured a variety of canvasses. The second show, November 2004, was held at the Galerie Friedland Rivault located in the Marais District in Paris, France. The show was entitled, “Serie Noire”, inspired by film noir and the universe of fictional crime stories.

During the summer of 2005, as part of the Mayor’s effort to beautify the City of Chicago for the U.S. Conference of Mayor’s; Gista designed, with the assistance of area high school students, a 22-foot by 7-foot mural of Chicago’s service industry workforce. The mural was painted on the floor of Terminal 2 at Chicago O’Hare International Airport. The multi-colored mural was painted in acrylic and the installation will remain during the reconstruction of the terminal.

December of 2005, Gista was part of a group show at The Thomas Masters Gallery, entitled “Blue Show”, which featured 29 artists from around the world. In February of 2006, Gista was also featured as part of a group show called “Go” at Galerie Friedland Rivault .In November 2006 he has his first one man show at the Thomas Masters gallery titled “Stranger in a strange land”. The exhibition received a very enthusiastic response. The following year Thomas Master hosted a new one man show,” Chance meeting” which had again the same kind of success.

Currently Resides: Chicago, IL

Contact Information Email: shawn.dubay1@gmail.com

Medium(s) Worked in:

Painting

Teaching Certified: No

Available for Commission: Yes

Artist CV:
www.shawndubay.com

HPAC Exhibitions

2000, Homegrown

Artist Statement

Painting has become for me a means through which to process information about human behavior and relationships. My work is generally about my past self and surroundings — it’s an attempt at a record of things which are no longer threatening. In a painting I can project onto a neutral surface a real event or story from another time and place. Using observations, studies and memory, I recreate in paint particular factual events either literally or metaphorically. My aim is to set down, rebuild, and reconfigure problems and episodes that have deeply affected me — i.e. problems associated with domestic violence. I choose to reactivate those areas of experience which range from awkward to disturbing to overtly violent.

I attempt to capture in each a unique level of immediacy and directness, which varies depending on the amount of projection and memory used.

Each painting becomes a fleeting moment of clarity, a temporary resolution. I attempt to capture in each a unique level of immediacy and directness, which varies depending on the amount of projection and memory used. Each consists of observed and imagined facts of posture, gesture, and environment, and unfolds from the others to form a picture comprised of numerous glimpses.

I paint because I need to solve problems and I don’t know how else to do it. Painting has allowed me to gain insight into how and why particular events affect me with respect to the people who are most significant to me. Each painting comes from a specific time and place to help validate and work through bewildering experiences. In paint, I can say, “You did this and I saw you. This is the way I saw you and this is what I know now.”

Past Exhibitions

2004-2005
A Woman’s Journey from Victim to Survivor: Collaborative Installation with Stacie
and Mat Dubay, Sparrow Hospital, Lansing, Michigan
Michigan State University School of Social Work, East Lansing, Michigan
Eve’s House Silent Auction, Lansing, Michigan
City Hall, Lansing, Michigan
Michigan State Capitol, Lansing, Michigan

2003
ARTwork IV, Gallery 2, Chicago, Illinois

2001
Group Show, Occhiali Eye Glass, Chicago, Illinois

2000
Homegrown, Hyde Park Art Center, Chicago, Illinois

1999
ARTwork III, Gallery 2, Chicago, Illinois

1998
Get Out, The Smart Museum of Art, Chicago, Illinois

1997
Mid-way, The University of Chicago Law School, Chicago, Illinois

1995
Paintings, Drawings, and Sculpture, Gallery 114, Kresge Art Center, East Lansing, Michigan

Born: New York, New York
Currently Resides: Chicago, IL

Contact Information
Email:
erothe (at) saic (dot) com
http://ellenrothenberg.com/

Medium(s) Worked in:

Installation
Public Projects

Teaching Certified: No

Available for Commission: Yes

Artist CV: Download file

HPAC Exhibitions

2006, 2006, Just Good Art Just Good Art
2007, Consuming war

Artist Bio

After several hours a military team member, asked Rothenberg if she would mind answering a question - could she tell him about Mondrian and Seurat and what they have to do with camouflage?

Ellen Rothenberg’s public projects and installations are informed by social movements, politics, and history. Her work has been presented in the US and Europe at The Institute of Contemporary Art and The Museum of Fine Arts Boston, London’s Royal Festival Hall, The Neues Museum Weserburg Bremen, The Museum of Contemporary Art in Chicago and The Kent Gallery in NYC among others. Rothenberg has received numerous commissions for public projects including “Industry Not Servitude!” installed at the National Historical Park in Lowell, Massachusetts and “Shadow Screens” installed in Chicago at Western Station on the CTA brown line. Her work has been supported by grants from The National Endowment for the Arts, The Rockefeller Foundation, The Bunting Institute at Radcliffe College and Harvard University, and the Illinois Arts Council among others. Currently her work is included in “Experimental Geography” a touring exhibition curated by Nato Thompson and Independent Curators International NYC. Rothenberg lives and works in Chicago.

Artist Statement

“Consuming War” (2007) focused on the U.S. conflict in the Middle East over the past 10 years, Consuming War addresses the ways the American media and consumer culture have manipulated and influenced our perceptions of war, often turning it into a spectacle for American consumption. While war is an underlying theme in all the works, each addresses the concept of war, and our relationship to it, from a variety of angles, creating pieces that range from political cartoons to sculptures that recreate the archeological artifacts looted from the National Museum of Iraq and large suspended papier mâché bombs made from sale advertisements. Timely in its subject matter, Consuming War offers an innovative platform in which the complex and multifarious connections between war, capitalism, American consumer culture, and our everyday lives can be re-situated and critically examined.

“Stealth” (2008) is a series of related works begun post 9/11 and developed during the U.S. invasion of Afghanistan and the Iraq war. The installation attempts to measure unquantifiable distances, from the eye of a smart bomb to fragments left on the pavement, between the contested geographies of war and daily life in the United States.

The installation attempts to measure unquantifiable distances, from the eye of a smart bomb to fragments left on the pavement, between the contested geographies of war and daily life in the United States.

Rothenberg’s research began with a visit to The Natick Soldier Systems Center, a Department of Defense installation responsible for technology development and engineering of US military food, clothing, shelters, airdrop systems, and soldier support. She met with a member of the Materials and Systems Integration Team, the group that develops and tests camouflage. Given access to night vision goggles, body armor, and camouflage make-up; Rothenberg toured various climatic dioramas used to test camouflage effectiveness; and examined their extensive collection of military uniforms from international armies. After several hours a military team member, asked Rothenberg if she would mind answering a question - could she tell him about Mondrian and Seurat and what they have to do with camouflage?

Past Exhibitions

2008-2011
“Experimental Geography,” curated by Nato Thompson and Independent Curators International NYC Richard E. Peeler Art Center, DePaul University, Indiana; Rochester Art Center, Rochester, Minnesota; The Albuquerque Museum, Albuquerque, New Mexico; Colby College Museum of Art, Waterville, Maine; Museum of London, London, Ontario, Canada

2008
“Mapping the Self,” Museum of Contemporary Art, Chicago, Illinois
“HereThereEverywhere,” The Chicago Cultural Center, Chicago, Illinois

2007
“Frame-Up,” Artists and Their Kids, Museum of Contemporary Art, Chicago, Illinois
“Consuming War,” Hyde Park Art Center, Chicago, Illinois
“Stealth,” solo exhibition, Northeastern Illinois University, Chicago, Illinois
“Labor Trade Show,” Mess Hall, Chicago, Illinois
“Sabbatical Exhibition,” School of the Art Institute of Chicago, Chicago, Illinois

2005
“East of Eden,” LandKunstLeben, Steinhöfel, Germany

2004
“After Images, Art and Social Memory,” Neues Museum Weserburg, Bremen, Germany
“Holocaust as Subject,” The Tweed Museum, University of Minnesota, Duluth, Minnesota

2001
“The Anne Frank Project,” solo exhibition, Gallery 312, Chicago, Illinois
“Con/textual, Art and Text in Chicago,” The Chicago Cultural Center, Chicago, Illinois

2000
“Beautiful Youth,” solo exhibition, Vedanta Gallery, Chicago, Illinois
“Searching the Criminal Body,” University Art Museum, State University of NY, Albany, NY

1999
“Gathering Information, Photography and the Media,” The Photographic Resource Center, Boston, MA
“Telling Histories,” Boston University Art Gallery, Boston, Massachusetts

1997
“No Small Feat and Hurry, Hurry!” Rhona Hoffman Gallery, Chicago, Illinois
“Portraits, from the collection,” Rose Art Museum, Brandeis University, Massachusetts

1996
“Difference,” Kent Gallery, NYC, New York

1995
“After Auschwitz,” Royal Festival Hall, London; Manchester City Art Gallery, Machester;
City Gallery, Sunderland; City Arts Center, Edinburgh, England

1994
“Burnt Whole,” Washington Project for the Arts, Washington D.C.; Institute of Contemporary Art, Boston, Massachusetts
“Conditions for Growth,” solo exhibition, Aidekman Arts Center, Tufts University, Medford, Massachusetts
“Partial Index and A Probability…,” solo exhibition, Portland Museum of Art, Maine
“The Label Show: Contemporary Art and the Museum,” Museum of Fine Arts, Boston, Massachusetts
“Milena Dopitova in Context,” Institute of Contemporary Art, Boston, Massachusetts
“Partial Index and selections from A Probability…,” solo exhibition, Kent Gallery, NYC
“Impossible Evidence,” Freedman Gallery, Albright College, Pennsylvania

1993
“Partial Index and A Probability…,” solo exhibition, University Art Museum, UCSB, California
“A Probability…,” solo exhibition, The Bunting Institute, Radcliffe College, Massachusetts

1992
“Three Choices,” Barbara Krakow Gallery, Boston, Massachusetts
“The Object is Bound,” Stephen Wirtz Gallery, San Francisco, California

1991
“Boston Now,” Institute of Contemporary Art, Boston, Massachusetts
“Center Margins,” Howard Yezerski Gallery, Boston, Massachusetts

1990
“Installation and Place,” Boston Center for the Arts, Boston, Massachusetts

1989
“Reproductions,” Boston Museum of Fine Arts, Boston, Massachusetts
“Speak!” solo exhibition, Massachusetts College of Art, Boston, Massachusetts
“Allusion Dimension,” Rose Art Museum, Brandeis University, Waltham, Massachusetts
“Explorations in Handmade Paper,” DeCordova Museum, Lincoln, Massachusetts

1988
SELECTED EXHIBITIONS, continued:
“Boston Now,” Institute of Contemporary Art, Boston, Massachusetts

Born: Milwaukee, WI
Currently Resides: Mount Prospect, IL

Contact Information
Email:
kk30 (at) wowway (dot) com

Medium(s) Worked in:

Mixed-Media
Collage

Teaching Certified: No

Available for Commission: Yes

HPAC Exhibitions

2007, Another Story
2006, Just Good Art

Artist Statement

These collages were created over several years not only in my studio but often as I traveled on trips to Europe, Asia, and South America. They visualize my personal responses to varied locations, their geography, their climate and cultures, to current headlines and the spirit of the times. I hope to elicit ambivalence, tension and fears, the complexity of the accelerated pace of life today. Working with papers available wherever I find myself, I compile these arrangements of digital and paper images proliferating in our times. The ready medium seems suited to the immediate processing of my elusive perceptions, my fleeting impressions, and the ambiguities they imply.

Artist Bio

My background includes an MFA from the School of the Art Institute which I earned after my 4 children were almost grown. My post graduate experience with mixed media often on a fairly large scale has evolved into collage partly because I travel frequently and find myself inspired by the stimuli of unfamiliar surroundings. I find local materials when I travel and collage enable me to realize fleeting visualizations and concepts and to capture impressions and ideas almost as they occur. I can derive the pleasure of the moment.

Past Exhibitions

WOMEN AND THE EARTH Oakton Community College Des Plaines, IL

MILLENNIAL MILIEU Quigley Gallery Dubuque, IA (One person show)

2008 CAC AROUND TOWN Beverly Art Center, Chicago, IL

2008 COLLAGE Founders Gallery Elmhurst College Elmhurst, IL

2007 GLOBAL NARROWING Osterle Gallery North Central College Naperville, IL

2007 GLOBAL GLIMPSES Montgomery Ward Gallery University of Illinois in Chicago Chicago, IL

2007 AOTHER STORY Hyde Park Art Center Chicago. IL

2006 PARALLELED POLITIES Lakefront on Langdon (one person show) University of Wisconsin Madison, WI

1978 PAINTING AND SCULPTURE TODAY Indianapolis Museum of Art Indianapolis, IN

1977 PAINTING AND SCULPTURE TODAY Indianapolis Museum of Art Indianapolis, IL

1977 PAINTING AND SCULPTURE OF THE MIDWEST Washington Gallery Indianapolis, IN

1976 INSTALLATIONS (one person invitational) Clarke Collage Dubuque, IA

2006 - 2003 JUST GOOD ART Hyde Park Art Center Chicago, IL (annual exhibits)

2006 - 2003 WOMENS DAY EXHIBIT Oakton Community College Des Plaines, IL

2003 EXQUISITE SNAKE Printworks Gallery Chicago, IL

2001 FOUR CORNERS OF THE WORLD School of the Art Institute Gallery Chicago, IL

1974 - 1998 Artemisia INVITATIONAL’s: Bradley University, Peoria, IL— Washington Women’s Art Center— Rock Valley College, Rockford IL— Coe College, Cedar Rapids, IA— Madison Art Center, Madison, WI— Northern Illinois University, De Kalb, IL

1992 COLOR, STYLE, AND FANTASY Krasl Art Center Saint Joseph, MI

1991 - 1992 Successive shows Lakeside Gallery Lakeside, MI

1989 PAPER AS SCULTPTURE Forum Gallery Brookhaven College Dallas, TX

1988 WATERCOLOR IMPRESSIONS (one person show) Levy Center Evanston, IL

1988 RITES OF PASSAGE Northwestern University Evanston, IL

1988 FALL INVITATIONAL Dellora A Norris Center Saint Charles, IL

1987 NINE ON NATURE Beacon Street Gallery Chicago, IL

1985 - 1981 Faculty Exhibits Columbia Collage Chicago, IL

1982 - 1980 Corporate Art Source Galleries Chicago, IL

1982 Paul Waggoner Gallery Haitian Benefit Exhibit and Contemporary Art Workshop Exhibit

1980 COLLAGE I INVITATIONAL Evanston , IL

1979 MERRILL CHASE GALLERIES CORPORATE DIVISION EXHIBIT
First National Plaza Chicago, IL

1979 - 1977 Chicago Academy of Art Faculty Exhibit/s Chicago, IL

1978 ARTEMISIA AT MUSEUM OF CONTEMPORARY ART Chicago, IL

1978 - 1974 FACULTY EXHIBIT Evanston Art Center Evanston, IL

1978 Name Gallery Chicago, IL

1977 FABRIC AS IDEA Northwestern University Evanston, IL

1977 OLGA SCHUBKEGEL MEMORIAL SALON Hammond, IL

1977 34th ANNUAL SALON Northern Indiana Center for the Arts Hammond, IN

1977 BURPEE MUSEUM SHOW Rockford, IL

1976 INTERNATIONAL WOMEN’S YEAR ART FESTIVAL Ford Foundation New York City, NY

1976 THE PAPER ARTIST Moving women’s Art Center Madison, WI

1974 DRAWING SHOW Quincy, IL

1974 TRAVELING FELLOWSHIP ART EXHIBITION Art Institute of Chicago Chicago, IL

1974 UNION OF INDEPENDENT COLLEGES OF ART EXHIBITION Conrad Hilton Hotel Chicago, IL

1974 THE SENSE OF WOMAN Countryside Gallery Arlington Heights, IL

1973 SEPTEMBER SHOW Wabash Transit Gallery School of the Art Institute of Chicago Chicago, IL

1973 FABRICATIONS Ann Arbor, MI

1967 SAIC AT WESTMINSTER HOUSE Chicago, IL

Born: 1973, Cleveland, OH
Currently Resides: Chicago, IL

Contact Information

Email:
geoffreytoddsmith (at) gmail (dot) com
www.westernexhibitions.com

Medium(s) Worked in:

Painting
Mixed-Media
Pen/Pencil
Installation

Teaching Certified: No

Available for Commission: Yes

HPAC Exhibitions

2008, Here’s Looking At You Looking At Me Kid

Artist Statement

Though primarily abstract, my drawings, paintings, and installations draw heavily from personal visual experience. They evoke moments from pop culture, recent art history, and activities from my life such as: video games, jigsaw puzzles, doodling, fashion, wall paper, design, sticker collections, board games, soccer balls, nature documentaries and anything I have found visually stimulating. These varied moments are absorbed into my memories and are reinvented as abstract visual hybrids.

The titles given to each work provide insight into my thought process but rarely reveal the entire story. They are intended to capture a certain rhythm, cadence or mood. As the title is read and the image examined the patient viewer is rewarded with a personal experience that may evolve with each subsequent visit.

Artist Bio

Geoffrey Todd Smith is a Chicago based artist. His work has recently been exhibited in a variety of solo and group exhibitions throughout the U.S.A. In addition to Looking You Up To Look You Up & Down at the Main Gallery, he has several upcoming group exhibitions in Los Angeles, San Francisco, San Diego, and San Antonio. He is featured in the current Midwest edition of New American Paintings. Geoffrey Todd Smith is represented in Chicago by Western Exhibitions where he will have a solo exhibition in April of 2009.

Press & Publications

New American Paintings, vol. 77, Midwest edition. 2008.

Ryan Christian, “Geoffrey Todd Smith Interview”, FecalFace.com, February 2008.

Jason Foumberg,”Geoffrey Todd Smith Interview”, What To Wear During An Orange Alert(online), May 2008.

Flavorpill, issue 155. Design credit.Sept. 2007

Joanna Topor, “After Paschke: Rising stars we should be collecting now”, Chicago Magazine, April 2007.

Laura Richard Janku, Art Info (online), ” Fair Report: Affair @ the Jupiter”, Laura Richard Janku, Oct. 2006.

Art Info (online), ” On Collecting: 10 Works We Like for Under $2000”, Oct. 2006.

Bridge Magazine, vol. 7 & 8, images from ” Realm of the Lair “, pages 116-117, 2004.

Born: 1977, Warsaw
Currently Resides: London, UK

Contact Information

Email:

To get in touch with this artist please contact:
4833rph [at] hydeparkart [dot] org

Website:
bathosphere.org/christiankuras/

Medium(s) Worked in:

Painting
Sculpture
Printmaking
Web-based
Conceptual
Mixed-media
Installation
Interdisciplinary

Teaching Certified: No

Available for Commission: Yes

HPAC Exhibitions

2007, The Adventurous Type

Artist Statement

My practice involves working in many media. I make installations, paintings,
photography and prints. My use of diverse media comes from my orientation towards
creating a circulation of ideas through my work, regardless of medium. This leads me
to produce works that mix references to the symbolic and the representational; to
materiality and the narratives we use to situate it. In my work there is always a stutter, infinitely deferred, that falls short of definite conclusions. Always, there is the impossibility of closure.

Artist Bio

Christian Kuras works collaboratively with Duncan MacKenzie

Press & Publications

Born: 1978, Pentwater, MI
Currently Resides: Chicago, IL

Contact Information

Email:
rebeccaringquist (at) gmail (dot) com
www.rebeccaringquist.com

Medium(s) Worked in:

Textile
Installation

Teaching Certified: No

Available for Commission: Yes

HPAC Exhibitions

2008, Soft Life

Artist Statement

I tell love stories and create veiled fractured narratives full of double entendre. My work has been inspired of late by an old autograph book, ripe with flippant sexual innuendos and roses are red poetry.

I alternate between hand embroidery and machine stitching. The harsh difference between the rates of speed with which I work conveys a complicated message. Although the machine stitching is very labor intensive, it also carries with it a sense of violence and aggression, reflecting the tangled messy nature of relationships. The thick orange flames, which lick up at the bed suggestively, are quite different from the sweet daisy imagery that lies beneath.

My work is at times careful, contrasted with moments of fast machine-stitched frenzy, expressing implicit and explicit intensities, and alternating between innocence and recklessness.

Artist Bio

Rebecca Ringquist is a Chicago based visual artist. Her drawings on paper and cloth explore issues of identity through thinly veiled metaphors utilizing old-fashioned imagery and double entendres. Her work has been exhibited nationally. Ringquist earned her MFA from the School of the Art Institute of Chicago in the Fiber and Material Studies department, where she is now an instructor. She is also the director of textile arts at Lillstreet Art Center.

Press & Publications

Adrianne Goodrich, Proximity Magazine featured artist (Issue #2, 2008)

Amy Honchell, Chicago Artists’ News “The Rise of the Haptic: Fiber Art in Chicago” (July/August, 2008)

Denise M. Campbell The Art of the Double Entendre, A Tear in the Fabric Exhibition Catalog (May 2008)

Ashley Schwellenbach A Stitch Runs Through It New Time San Luis Obispo, Volume 22, Issue 40 (May 2008)

Patricia Courson Soft Life Flavorpill (January 20, 2008)

Michelle Grabner Time Out Chicago “Soft Life” (February28, 2008)

Allison Peters Soft Life Exhibition Catalogue (January 2008)

Janeil Englestad Play Exhibition Catalogue (August 2006)

Currently Resides: Sheboygan Falls, WI

Contact Information:

Email: bethlipman (at) mac (dot) com
www.bethlipman.com

Medium(s) Worked in:

Photography
Sculpture
Glass
Installation

Teaching Certified: No

Available for commission: Yes

Artist Representation

Heller Gallery, NY, NY

HPAC Exhibition

2007, Interiority

Artist Statement

My work pays homage to still life paintings from the 17th - 20th centuries. The first true still life- a composition that depicts inanimate objects as the main subject- were painted at the turn of the 17th century in the Netherlands, Germany, Spain and Italy but the tradition of depicting objects dates back to the first century. Still lifes can be contemplated on a purely atheistic level, or they can be interpreted on a political, moral or theological level and were usually influenced by economic or socio-cultural events.

There is a direct parallel between the tradition of still life painting and art made from traditional craft processes. During the 16th and 17th centuries, still life paintings were considered inferior to paintings of political and religious genre. Craft has been considered subordinate to painting and sculpture.

Mimesis- the ability to capture an object’s exact likeness- is one of the most outstanding qualities of the still life. Instead of striving for illusionary perfection, I use the glass process of sculpting and blowing to record of my ability to control the material at that moment. It is a relinquishing of the moment.

The use of glass creates a tangible third dimension, capturing the painting’s polished quality; it foils the viewer’s eye; it frustrates efforts to claim and own what is seen. Its clarity and absence of color captures the essence of an object and offers a counterpoint to trumpe l’oeil (deception of the eye) found in still life paintings. Glass makes perishable objects everlasting.

In its most recent manifestation, the glass still life is reduced to a photograph. I make the glass, create the composition, and use photography to capture the moment. The print is scaled to the actual size of the objects. Afterwards, the glass is destroyed or recycled. The still life is returned to the two-dimension and the glass becomes unattainable.

Artist Bio

Since earning her BFA from Tyler School of Art, Temple University, Lipman has exhibited her work widely and has received numerous awards including a Louis Comfort Tiffany Foundation Grant, Wisconsin Arts Board Fellowship, and a American- Scandinavian Foundation Travel Grant. She has participated in residencies at the Studio of the Creative Glass Center of America at Wheaton Arts in Millville, NJ, the John Michael Kohler Arts Center’s Arts/Industry Program in Kohler, WI, and the Museum of Glass in Tacoma, WA. In 2008, her installation, “After You’re Gone,” will be on view at the RISD Museum in Providence, RI.

Her work has been acquired by numerous museums including the Brooklyn Museum of Art and the Smithsonian American Art Museum. Her work has been acquired by the Brooklyn Museum of Art, the Corning Museum of Glass, and the Smithsonian American Art Museum, and can be found in many private collections. In 2007, Lipman designed Earthly Pleasures, a collection of exotic fruits and pods, for Steuben Glass. Since 2005 she has coordinated the Arts/Industry Residency program at the John Michael Kohler Arts Center in Sheboygan, WI.

Press

ArtDaily.org, “The RISD Museum of Art Presents After You’re Gone, an Installation by Beth Lipman,” August 29.

Lena Bonnevier, VF Kultur & Noje, “Granslos Passion for Glaset,” September 16, Vecka 38

Barbara MacAdam, Art News, “Shattering Glass,” June 2008, page 139

Blanch Craig, Contemporary Glass, 2008

John Drury, GLASS, “What Remains,” Winter, pg. 57, 2007

Mary Louise Schumacher, Milwaukee Journal Sentinel, “Collective Vision,” Cue, May 27

Benjamin Genocchio,The New York Tiimes, “Really? It’s All Made of Glass?” In the Region, Dec 30, 2007

Georgette Gouveia, “Katonah Exhibit Views Glass in a New Light,” NYjournalnews.com, Dec 3, 2007

Neil Watson, Ellen Keiter, Shattering Glass: New Perspectives, Katonah Museum of Art, checklist, 2007

Jane Milosch, Susanne Frantz, From the Ground Up, Renwick Gallery, Smithsonian American Art Museum, exhibition checklist, 2007

Robin Tierney Washington Examiner, “Flights of Hand: Supreme Craft,” Weekend, March 10 & 11, 2007

Blake Gopnik, Washington Post, Here & Now, Sunday, March 25, 2007

Audrey Hoffer, Milwaukee Journal Sentinel, “National Treasures,” Cue, March 25, 2007

Mary Louise Schumacher, JSonline.com, “More on Last Suppers in Art,” video, March 30, 2007

Eve Zibart, Washingtonpost.com, “At the Renwick, Beauty Grounded in Nature, April 13, 2007

The Louis Comfort Tiffany Foundation: 2005 Awards, catalog, 2006

Leslie Umberger, John Michael Kohler Arts Center, Beth Lipman: Still Lifes in Glass, Checklist, 2003

Additional Information

Misc:

Designer, Steuben Glass
Instructor, Pittsburgh Glass Center, Pittsburgh, PA
The Studio at the Corning Museum of Glass, Corning, NY
Penland School of Crafts, Penland, NC
UrbanGlass, Brooklyn, NY
UrbanGlass Abroad, Coldigiocco, Italy
Pratt Fine Art Center, Seattle, WA
Jewish Museum, NY, NY
Bard Graduate Center for the Decorative Arts, NY, NY
New York University, UrbanGlass, Brooklyn, NY
Long Island University, Brooklyn, NY
Parsons School of Design, NY, NY
Haystack Mountain School of Crafts, ME (2009)
Arts/Industry Coordinator, John Michael Kohler Arts Center, Sheobygan, WI

Currently Resides: Chicago, IL

Contact Information:

Email: arongent (at) arongent (dot) com
www.arongent.com

Medium(s) Worked in:

Photography

Teaching Certified: No

Available for photographic commission

Artist CV: Download file

HPAC Exhibition

2008, Are We There Yet?

Artist Statement

The Suz
The images I construct restage events between my Aunt Suzie, routine friends and the rest of our family. I explore her experiences as she navigates through middle age, retirement and living with Down syndrome. Having lived with her parents for her entire life, she now struggles with identifying herself outside of their retirement community. Through the daily activities of tennis lessons, Tuesday night chicken, practicing the organ and playing a few games of UNO before the nights end, I compare the many different situations that will inform the rest of her life after her parents have passed away.

Artist Bio

Aron Gent is an emerging Midwest photographer who recently received his bachelors of fine arts from Columbia College Chicago. He creates large format photographs of people’s relationships together and explores their self-identity. He has been exhibiting in-group shows at the Houston Center for Photography, the Soho Photo Gallery in New York, the Minnesota Center for Photography and numerous show in and around Chicago. He was awarded the Columbia College presidential scholarship, two Albert P. Weisman Grants and first place in the Texas Photographic Societies 22nd annual members only competition.

Additional Information

Group Exhibitions

2008
* GASP Project Space, Boston, MA (“Are We There Yet” curated by Dawoud Bey)

2007
* Silver Eye Center for Photography, Pittsburg, PA (The Looking Glass)
* Soho Photo Gallery, New York, NY (National Competition, juried by Mia Fineman)
* Houston Center for Photography, Houston, TX (Juried Members show, juried by Anne Wilkes Tucker)
* Denver International Airport, Denver, CO (Center for Fine Art Photography DIA Invitational)
* PlaceHolder Gallery, Chicago, IL (All medias group show)
* The 43rd Annual Versionfest Photographic Invitational, Chicago, IL (Curated by Brian Ulrich and Jonathan Gitelson)
* Minnesota Center for Photography, Minneapolis, MN (Photocentric Biennial, curated by Lisa Hostetler)
* Gallery 1905, Sycamore, IL (National NSP Show)
* Texas Photographic Society, San Antonio, TX (22nd annual MOS Show)

2006
* Hokin Annex Gallery, Chicago, IL (Weisman Scholarship Group Show)

2004
* Walkers Point Art Gallery, Milwaukee, WI (Member Group Show)

Born: Kenosha, WI
Currently Resides: Chicago, IL

Contact Information:
krystalmeisel (at) spacefour19 (dot) com
www.krystalmeisel.com

Medium(s) Worked in:
Photography

HPAC Exhibitions

2008 Glow
2007 Just Good Art
2007 Constellations
2007 Amalgamate
2006 Outskirts
2005 Faculty Show

Available for Commissions: Yes

Artist Statement

Photography is a vehicle for communication. By capturing and presenting my vision I invite observers to see, momentarily, in a new light. In this moment the space one occupies expands, creating a slightly more complex understanding of the sphere we, as humans, inhabit.

The images present here were captured with many cameras. I choose these tools in an attempt to minimize decisive interference. Using simple cameras frees me to see instead of compose. Once captured the images remain, never a victim of the impulsive delete button. The imperfections are permitted to exist as well. Presenting the image as it truly was. Embodying the strength to project all aspects and the mind to believe in the beauty of truth.

I elicit the sensual, calm, strong qualities of often-passive structures. I present this continuing collection as evidence of my urge to bare witness to the awe and inspiration of unrecognized beauty. The grit of my journey to this day permeates
the concrete. As does my wish for all of the strength and beauty in the universe to be present and seen as it truly is.

Artist Bio

Meisel established spacefour 19, an artist run photographic studio, while embarking on a freelance career that documents the many phases of womanhood. She offers private tutoring as well as professional development in the vast field of photography. Meisel received a B.A. from the Brooks Institute of Photography in Santa Barbara California. Her passion lies in helping women realize their true beauty, documenting wilderness adventures and taking an extra minute to capture the world around her.

Misc:

2008 Friend of the Chicago River - rain garden installation
2008 East Garfield Park clean up day
2008 Leader of drop in black and white printing workshop for community
2007 Leader of a drop in Cyanotype workshop for the community

Born: 1970, Medellin, Columbia
Currently Resides: Boston, MA

Contact Information:

Email: opalacio(at) massart (dot) edu
www.oscarpalacio.net

Medium(s) Worked in:

Photography

Teaching Certified: No

Available for Commission: Yes

Representation: Howard Yezerski, Boston, MA

HPAC Exhibition

2008, Are We There Yet?

Artist Statement

In the History Re-visited series, Palacio reveals the beautiful and enigmatic disparity that often exists between the monumental historical events that make a site important and what we actually find there. With this series, Palacio explores the nature of public space and how the roles of both architecture and photography shape and create experience.

Artist Bio

Oscar Palacio was born in Medellin, Columbia. He holds a BA in Architecture from the University of Miami, Florida, and an MFA in Photography from Massachusetts College of Art, Boston. Palacio’s work has been exhibited both nationally and internationally; his photographs are included in the collections of the Center for Creative Photography, Tucson, AR; the Fogg Art Museum at Harvard University; the Addison Gallery of American Art, Andover, MA; and the Universidad de Antioquia, Medellin, Columbia, among other institutions. Visit www.oscarpalacio.net for more information.

Additional Information

Solo Exhibitions

2007 History Re-visited, Mills Gallery, Boston Center for the Arts, Boston, MA (PDF)
2005 Unfamiliar Territory, Addison Gallery of American Art, Andover, MA
2004 In-between, Howard Yezerski Gallery, Boston, MA
2003 Turf: New Photographs, Elias Fine Art, Allston, MA
2001 Margins: New Photographs, Elias Fine Art, Allston, MA
1996 Museo Universitario, Medellín, Colombia

Group Exhibitions

2008
*Are We There Yet?, GASP/Gallery Artists Studio Projects, Brookline, MA and Hyde Park Art Center, Chicago, IL (curator: Dawoud Bey)
*Dilated Dialogues, Art Up, Pittsburgh, PA

2006
* Growing the Addison: Recent Acquisitions, Addison Gallery of American Art, Andover, MA
* In Focus: 75 Years of Collecting American Photography, Addison Gallery of American Art, Andover, MA

2005
* Some Color, Howard Yezerski Gallery, Boston, MA

2004
* Drop Out, Julie Saul Gallery, New York, NY

2003
* Photographing Undomesticated Interiors, Smith College Museum of Art, Northampton, MA
* Foundation on Parade Exhibition, 2003, St. Botolph Club Foundation, St. Botolph Club, Boston, MA
* HCP Fellowship Exhibition, Houston Center for Photography, Houston, TX

2002
* Asphalt, Elias Fine Art, Allston, MA (curator: Joseph Carroll).
* National Juried Show, LBI Foundation of the Arts and Sciences, Newark, NJ (juror: Maria Christina Villaseñor, Associate Curator, Guggenheim Museum)
* PRC Members Exhibition, Photographic Resource Center, Boston, MA (juror: Diana Gaston)

2001
* New Directions ‘01, Barrett Art Center, Poughkeepsie, NY (juror: Charlotta Kotik, Curator of Contemporary Art, Brooklyn Museum of Art)
* National Prize Show, Cambridge Art Association, Cambridge, MA (juror: Maxwell Anderson, Director, Whitney Museum of American Art)

2000
* Look Back, Look Forward, Elias Fine Art, Allston, MA.
* Perspectiva Latina: Latin American Artists from New England, Brush Art Gallery and Studios, Lowell, MA

1999
* International Juried Show, New Jersey Center for Visual Arts, Newark, NJ (juror: Lisa Dennison: Deputy Director and Chief Curator Solomon R. Guggenheim Museum)

1998
* Summer Salon V, Bonni Benrubi Gallery, New York, NY
* Polter-Zeitgeist: A Survey of Mischievous Art, Cape Museum of Fine Arts, Cape Cod, MA (juror: Ann Wilson Lloyd, Art Editor for Art in America)
* Photowork ‘98 Barrett House Galleries, Poughkeepsie, NY (juror: Lisa Dennison, Deputy Director and Chief Curator, Solomon R. Guggenheim Museum)

1997
* New Directions ‘97, Barrett House Galleries, Poughkeepsie, NY (juror: Jennifer Blessing, Associate Curator, Solomon R. Guggenheim Museum)
* Ernst Haas Awards Exhibition, Jacob Javits Center, New York, NY

1995
* National Juried Show, Gallery 57, Los Angeles, CA (juror: Elizabeth Smith, Curator, LA MoCA)

1992
* School of Architecture Gallery, University of Miami, Miami, FL

Press

2008
* Weinberg, Lauren. Are We There Yet?, Time Out Chicago, Aug 7-13: Issue 180
* Hopkins, Randi. Naughty by Nature, The Boston Phoenix, July 9

2007
* McQuaid, Cate. Group Shows build on Architecture and Science, The Boston Globe, July 5: E 8 Style.

2005
* Sherman, Mary. Visual Arts: December Highlights, Unfamiliar Territory, WBUR: 29 November.
* Howards, Ellen. Finding Subtleties in the Commonplace, ArtsMedia, November-December: 12-13.
* Millis, Christopher. Close…and Intimate?, The Boston Phoenix, 29 July-August 4, sec. Arts + Entertainment: 20.

2004
* Aletti, Vince. Voice Choices: ‘Drop Out’, The Village Voice, 11 August.
* “Goings on about Town”, The New Yorker, 23 August.
* Johnson, Ken. Art Guide: ‘Drop Out’, The New York Times, 6 August: Weekend.
* Mullarkey, Maureen. Gallery Going, The New York Sun, 5 Aug.: Arts and Letters.
* McQuaid, Cate. Galleries, The Boston Globe, 1 October: C20 Weekend.
* Ortiz, Lori. The Importance of Absence, OffOffOff.com, 4 August.

2003
* Carroll, Joseph. Opening the Road, Communication Arts, March - April: 26+.
* Gaston, Diana. Gallery Walk: Boston, Art on Paper, April: 70.
* Horton, C. Sean. Asphalt: Elias Fine Art, Art New England, February/March: 29. (PDF)
* Koslow Miller, Francine. Focus on: Oscar Palacio, Art on Paper, November/December 2003:36+.
* Schneider Enríquez, Mary. Oscar Palacio at Elias Fine Art, ArtNexus, December 2003/February 2004:132.
*Silver, Joanne. The Edge Picks: Visual Arts, Boston Herald, 19 September: E3. (PDF)
* Temin, Christine. Photo Exhibits offer Intimate Glimpses of Life, The Boston Globe, 3 October: D18 Weekend.

2002
* Brown, Leslie. PRC Members Exhibition, In the Loupe, July-August.
* Dassel, Sara. Photography: Making a Life out Making Art, Art New England, June-July: 10+. (PDF)
* Temin, Christine. Exhibit on Asphalt Offers Surface with a Smile, The Boston Globe, November: C1+. (PDF)

2001
* Koslow Miller, Francine. Reviews: Margins by Oscar Palacio, Elias Fine Art, Tema Celeste, November-December: 84.
* McQuaid, Cate. Tender Images of Desire and Rejection: Art of the Ordinary, The Boston Globe, 12 October: D11.
* Seefelt Lesieutre, Susie. Exploring Things Mayan and Modern: A History of Latin American Arts at Harvard, DRCLAS News, Winter. Harvard University.

1999
* Bischoff, Dan. The Look of Originality, Sunday Star Ledger, 7 February, sec. 4:11+.

1998
* Aletti, Vince. What’s Up, The Village Voice, 28 July: 131.

1997
* Nineteen Ninety-Seven: The Golden Light Awards Winners’ Catalog, (Rockport, ME: The Maine Photographic Workshops, 1997).

1996
* “En VII Concurso Comfenalco Premian Fotografias”, El Colombiano, 6 July: 16A.
* “Fotografia en el Terreno de la Ciudad, la Naturaleza de Oscar Palacio”, El Colombiano, 16 August: 3E
* Montoya, R. Las Fotografias de Oscar Palacio, Agenda Cultural, Universidad de Antioquia, 9 August.
* Vergara, Andres. Fotografias de Oscar Palacio, El Mundo, 13 August, sec. Vida: 3.

Miscellaneous

2004
* Artist-in-Residence, Color Photography Workshop, Addison Gallery of American Art, Andover, MA

2005
* Artist-in-Residence, Home and City Project, Addison Gallery of American Art, Andover, MA
* Curator, Reality Bites Exhibition, Addison Gallery of American Art, Andover, MA

Born: 1974, Naperville, IL
Currently Resides: Atlanta, GA

Contact Information:

Email: imbtd (at) hotmail (dot) com

Medium(s) Worked in:
Painting
Sculpture
Paper/Book
Mixed-media
Audio/Sound
Installation

Artist CV:
Download file

Teaching Certified: No

Available for Commission: Yes

HPAC Exhibition

2007, Another Story
2005, Just Good Art
2003, Zounds

Artist Statement

Any communication or expression must have a medium to carry it. The medium always exists as a physical object or established system with an implied function that evokes an expectation within the recipient. Our understanding of truth and information is constantly shifting while at the same time we are increasingly saturated with new materials and mediums that communicate faster and louder than their established predecessors.

Old books, records, tapes, maps, and other media frequently fall into a realm that too much of today’s art occupies. Their intended role has decreased or deceased and they often exist simply as symbols of the ideas they represent rather than true conveyers of content. They are reduced to status symbols or decorative devices; often displayed as trophies of intellect or hoarded and stored like nostalgic memories.

When an object’s intended function is fleeting the necessity for a new approach to its form and content arises. By altering preexisting materials and shifting functions, new and unexpected roles of old materials emerge. This is the area I currently operate in. Through meticulous excavation or concise alteration I edit or dissect a communicative object or system such as books, maps, tapes and other media. The medium’s role expands. Its content becomes recontextualized and new meanings or interpretations emerge.

Artist Bio

Dettmer is originally from Chicago, where he studied at Columbia College. He currently lives and works in Atlanta, GA.

Dettmer’s work has been exhibited and collected throughout the United States, Mexico and Europe. In 2007 he had solo shows in New York, Chicago and San Francisco and he is scheduled to have solo shows in Barcelona, New York, and Berlin in 2008. His work has been represented at several international art fairs including Bale Latina (Basel, Switzerland), Pulse (Miami), Flow (Miami), MACO (Mexico City), ARCO (Madrid), ARF Fair (New York), Scope (London, Miami), Art Chicago (Chicago) and the Bridge Art Fair (Miami, Chicago, London). He is currently represented by Kinz, Tillou + Feigen in New York, Packer Schopf in Chicago, MiTO Gallery in Barcelona and Toomey Tourell in San Francisco. He has also exhibited with Art & Idea/Haydee Rovirosa in New York, Unit B Gallery in San Antonio, Hotcakes Gallery in Milwaukee and Romo Gallery in Atlanta among several others. Dettmer’s work has been exhibited in several museums and art centers throughout the country including the International Museum of Surgical Science, the Hyde Park Art Center, South Bend Regional Museum of Art, the Rockford Art Museum and the Illinois State Museums in Chicago and Springfield. His work can be found in several private and public collections throughout the U.S, Latin America, Europe and Asia.

Dettmer’s bibliography includes The Village Voice, The New York Times, Time Out, Chicago Tribune, Toronto Star, Proceso Magazine, The San Francisco Bay Guardian and National Public Radio, among others. His work has also been featured on several book covers and music CDs. In 2007 he was selected as the feature artist by the Illinois Art Education Association and posters of his work were distributed to Illinois grade schools with developed lesson plans for student art projects inspired by his work.

Additional Information

Press:
Artner, Alan, “Art Reviews” Chicago Tribune, April 6, 2007

Balzer, David, “Eye Candy” Eye Weekly, Aug. 30, 2007 (Reproduction)

Bischoff, Dan, “Small space, big talents” New Jersey Star Ledger, May 25, 2007

Faiwell, Sara, “Art of the Ordinary” Daily Herald, February 1, 2007 (Reproductions)

Genocchio, Benjamin, “Tougher Than the Rest” The New York Times, July, 1, 2007

Goddard, Peter, “Summer in the City of Dreams” Toronto Star, August 30, 2007 (Reproduction)

Klein, Paul. Online review Art Letter, February 2, 2007 (Reproduction)

Leaverton, Michael, “Digging Into a Good Book” San Francisco Weekly, July 9, 2007

Loerzal, Robert, “Artistic Surgeries create unusual work” Pioneer Press, February, 2007

Martin, Stacy, “ReMixed Media” San Francisco Bay Guardian, July 25, 2007

Nikolopoulos, Stephanie, “You Are What You Art” www.gothamist.com, January 1, 2007

Rosas, Blanca Gonzalez, “Maco 2007”, Proceso Magazine, May 6, 2007

Schechter, Fran, “Ideal Worlds”, Now Toronto Magazine, Aug. 30, 2007 (Reproduction)

Tyson, Josh, “Spine Surgery” Time Out Chicago, March 29, 2007 (Reproduction)

Varner, Jon, “Cut to the chase” Closerlook.com, May 1, 2007

Whiteside, Jessica, “Brian Dettmer- Remixed Media”, www. artbusiness.com July 5, 2007

Baker, R.C. “Best in Show, Buzz-Worthy” Village Voice, December 21, 2006

“Don’t Miss”, Time Out Chicago, Issue 46, January 12-19, pg.54 (Reproduction)

Cain, Amina. “The Inner Light, Brian Dettmer: Visual Art DJ” CAC Newspaper, June 2006 (Reproductions)

Gilmour, Amy Ritthaler. “Reconstructing the Mundane” Online Review, www.mightbegood.com, March 24, 2006

Gonzalez Valdez, Michelle. “In Review” Online Review, www.glasstire.com, May 6, 2006

Holland, Richard. “Bad at Sports Episode 19” Podcast review -www.badatsports.com, January 8, 2006

Slingerland, Cara. “Hotcakes showcases love’s saucier side” The Marquette Tribune, February 10, 2006

Walworth, Catherine. “Reconstructing the Mundane” Online Review, www.artoridiocy.com, March 22, 2006

Walworth, Catherine. “The Art Capades” San Antonio Current, April 5. 2006 (Reproduction)

Camper, Fred. “Reading is Incidental” Chicago Reader, December 23, 2005, Sec 2, p. 24 (Reproduction)

Catania, Lance. (director, producer) Cup of My Blood, Movie, 2005 (Artwork in Scene)

Klein, Paul. Online review Art Letter, December 9, 2005 (Reproduction)

Sill, Robert. (curator, writer) think small!, Exhibition Catalog, p. 14-15, 26, 64, 2005 (Reproduction)

Snyder, Jason. (editor) New Standards fiction journal anthology, 2005 (Reproductions )

Sundell, Ivy. (editor) Living Artists Crow Woods Publishing, 2005, p. 70-71 (Reproduction)

Biles, Jeremy. (curator) “Vulnerescence”, Exhibition Catalog, p. 1, 2003 (Reproduction)

Dutchover, Yvonne. “Holy Art” f NEWS, April, 2003

Faulkner, Tamara. “Galleries and Museums” Chicago Reader, March 7, 2003, Sec. 2, p. 25 (Reproduction)

Faulkner, Tamara. “Galleries and Museums” Chicago Reader, August 1, 2003, Sec. 2, p. 28 (Reproduction)

Feigley, Amy. “Politics as Usual in Unusual Artistic Gallery” Islam Online.net, Aug. 30, 2003 (Reproduction)

Gehring, Kristin. “Reading paper entrails” Chicago Journal, November 2003, p.1, Sec. 2 (Reproduction)

Iannacci, Elio. “Of Artists and Icons” UR Chicago Culture, April 15, 2003, p.31 (Reproduction)

Iannacci, Elio. “Short & Sweet…” UR Chicago Culture, July 17, 2003, p.19 (Reproduction)

Mast, Audrey Michelle. “Glossing, Politics as Usual”, f NEWS, November, 2003

Weins, Ann. “Vibrant Viewing” The Chicago Collection, Fall/Winter 2003, p. 62. (Reproduction)

Lautman, Victoria. (radio DJ, critic) “848 radio show review”, WBEZ 91.5, May, 2002

Misc.: Miscellaneous

2007 Lecturer- Elgin Community College, Elgin, IL

Workshop Instructor- Pasadena City College, Pasadena, CA

Lecturer- Pasadena City College, Pasadena, CA

Feature Artist- Illinois Art Education Association, Illinois

Lecturer- University of Chicago, Chicago, IL

Lecturer- Harper College, Chicago, IL

2004-07 Lecturer- Columbia College Center for the Book and Paper Arts, Chicago, IL

2003 Juror- Columbia College, Hokin Honor Exhibition, Chicago, IL

2001 First Place- Barking Dogma, Union Street Gallery, Chicago Heights, IL