Shape Up! Art and Geometry
Sheldon Museum of Art's landmark Philip Johnson–designed building houses the collections of the Sheldon Art Association, founded in 1888, and the University of Nebraska. Together, the collections comprise more than 12,000 artworks in diverse media. The museum's comprehensive collection of American art includes prominent holdings of 19th-century landscape and still life, American Impressionism, early Modernism, geometric abstraction, Abstract Expressionism, pop, minimalism and contemporary art.
More than thirty of Sheldon's monumental sculptures are exhibited throughout the University of Nebraska–Lincoln's City and East Campuses, including major works by Jun Kaneko, Gaston Lachaise, Jacques Lipchitz, Claes Oldenburg and Coosje van Bruggen, Richard Serra, Yinka Shonibare, and Mark di Suvero.
In 1972, Sheldon Museum of Art was among the earliest institutions to receive accreditation from the American Alliance of Museums (AAM) — the highest national recognition afforded museums in the United States — and was most recently reaccredited in 2012. Sheldon is also an institutional member of the Association of Academic Museums and Galleries (AAMG) and the Association of Art Museum Directors (AAMD).
For more than 50 years, Sheldon Museum of Art has provided a venue for students, faculty and staff, alumni, and visitors to engage with art and one another. As an academic art museum, Sheldon schedules its exhibitions to coincide with the academic calendar.
Hoops, Figures, Land Humming The Spirits Of Place Into Life
During the recent four years, my work has come out of my historical bones, meaning my references are from places I have been and not always from just where I now stand. I have become a studio painter, yet the lands of the Great Plains, the Southwest, and now the Pacific northwest call me for their interpretations. The imagery of these places could be almost anywhere and make emotional sense to almost anyone.
The body of work I want shown together is narrative between my Hoops, Figurative, and Land images. My color palette is strongly ochre, sienna's, and blues, white and other choice color strokes. The figurative works are the spirits of the place, and juxtaposed with a Hopp or a Land-image, they inject a more personal consideration into the overal story.
My work provides the venture into snippets of love for the place where I am or you are. Soft-edged forms let your eye travel easily. The corral of limited canvas space holds the awareness gently.
Using the four direction and a sacred hoop, I lay in the impression with paint. This is the structure of my work. Then the interpretation of place comes forth.
The purpose of my art is foremost to explicate my experiences into an art piece, and with this I find my search for sacred center is satisfied, Along with this is the pursuit of showing others how love of earth can appear in art, void of specific cultural constraints.
Dick Termes is an internationally acclaimed artist who’s work has been recognized from San Francisco to Paris, France, from New York to Japan and his one of a kind spherical paintings have been published in books all over the world. Recently, Termes’ piece titled “The Big Bang” was featured on the cover of France’s publication of Une Belle Histoire du Temps which means A Brief History of Time, by Stephen Hawking.
Unlike any other painter; Termes paints on spheres which, when completed, are known as Termespheres. Each Termesphere is a revolving three-dimensional space/time exploration of an entirely closed universe, meaning that what you see, rotating in front of you, is one complete world or environment.
I have always been interest in narratives, the telling of a story.
This comes from childhood experiences. I grew up watching Looney Toons, listening to bedtime stories, and being captivated by theatre work. There is a strong influence of entertainment modes in my past. When I take into account the deeper-seated meaning or message that was often times embedded within these early childhood influences, there seems to be a potentially darker side to what is portrayed. I find these types of narrative formats very appropriate to how I represent the content of my work, which explores desires, fears, and everyday experiences that relate to the larger whole of human existence. I depict themes of conflict, struggle, and isolation in response to social and cultural power structures, and how we interact with our surroundings.
My work is about recognizing these patterns, the confused communication that often results, and the simultaneous fight for both self-control and to let go of control. Therefore, figures are often depicted in self-induced struggles, tangled up in wires that they themselves placed.
Originally from northeast Tennessee, O'Connor studied printmaking at East Tennessee State University. After receiving her BFA, she went on to pursue an MFA at Clemson University, in South Carolina. Since 2009, she has been teaching foundations of art at Middle Tennessee State University, and printmaking for the Tennessee State Governor’s School for the Arts. She has also taught community workshops for the Frist Center of the Visual Arts and Edmonson Pike Branch Library in Nashville; and Moxie! Art Supply in Murfreesboro, TN.
My proposal for an exhibition is to select mixed media work from a current series of mine: Cipher, De-Cipher.
The series is a collection of imaginary glimpses of laboratory or industrial work areas; repurposed numbers that are normally used for measuring, calculating, or recording; and mark making, the impetus each of us has to “mark” a surface with our own brand of notes. The pieces share a common theme: that symbols, notes, icons, and objects serve as a link to individual memories or a personal aesthetic for interpretation. In particular, the series reflects my attraction to iconography taken out of its normal context to become mysterious and imbued with a new purpose. For me, the imaginary spaces that come to mind are abandoned laboratories or the piles of leftovers at construction sites—including used blueprints and scraps of directions.
The collage pieces (16x12x.5 or larger) are created directly on metal panels with much of the material taken from earlier paintings consisting of black and white geometric shapes. I cut these up, sanded them, and used them in conjunction with striped patterns taken from magazines. They represent architectural planning and design residue. I reinforced that feeling by mounting the metal “pages” on cradled panels with carriage bolts anchoring each corner.
I am continuing to work in this series to combine elements from all three approaches to create larger, conglomerate pieces—several 48x30x1.6 canvases hung adjacent to each other. A larger exhibition space would, I believe, have more visual impact and create more of a sense of immersion.
I strive for a dreamlike quality, and a sense of timelessness.
In 2006 Leaycraft began her current body of work. This work includes the layering of landscape images and the play of depth of field and focus. About this work, Ms. Leaycraft has said, “By photographing layered reflections off a glass sphere I am able to capture vivid colors and unusual abstract views of my subjects. I am constantly amazed at the beauty of objects, both natural and man made.” Her work imparts a sense of stillness, and spirituality.
Cathy Leaycraft has been photographing for over 30 years. She moved to Baltimore in 1976, where she still resides today. At that time she was working with other artists creating Video Documentaries. This led her to the study of still photography, which she started at the University of Delaware and continued at the Maryland Institute College of Art in the 1980’s. This was followed by periods of study with photographer Duane Michaels.
Ms. Leaycraft’s work is held in many public and private collections including the Baltimore Museum of Art, the Metropolitan Museum, and the MOMA. She has exhibited widely, and received grants and awards, including a Maryland State Arts Council Individual Artist Award.
Ms. Leaycraft resides in Baltimore, Maryland with her husband, Dan, and a cat.
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