February 22 - March 22, 2019

Sponsored by

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Mother Sea, Haha naru umi: Sayaka Ganz

Sayaka Ganz was born in Yokohama, Japan and grew up living in Japan, Brazil, and Hong Kong. She received a Bachelor of Fine Arts degree from Indiana University Bloomington, and a Master of Fine Arts degree in sculpture from Bowling Green State University (BGSU) in Bowling Green, Ohio. She taught design and drawing courses at Indiana University – Purdue University Fort Wayne between 2002 and 2012.

Sayaka Ganz

Sayaka Ganz

Using reclaimed metal and plastic objects, Sayaka’s recent sculptures depict animals in motion with rich colors and energy. She describes her style as “3D impressionism”, creating an illusion of solid form using plastic objects as brush strokes that become visible upon observation from close proximity. Her recent exhibitions include: “Danze Della Natura” – solo exhibition at the Hermann Geiger Foundation in Cecina, Italy, and “Metamorphosis” – temporary installation at the Lauritzen Gardens in Omaha, Nebraska. Her recent commissions include a series of marine life sculptures for the Monterey Bay Aquarium in California and a permanent installation of an underwater scene featuring whales and turtles in the lobby of Cimer Spa at the Paradise Resort in Incheon, Korea.

Trace Evidence: Claudia Berlinski

Claudia Berlinski

Claudia Berlinski

Claudia Berlinski is a native of Buffalo, New York, where she earned her Bachelor of Fine Arts in Printmaking from Buffalo State College. She attended graduate school at The Ohio State University and has lived in Ohio ever since. Berlinski has exhibited nationally and regionally, with works included in several institutional and private collections. She has contributed to numerous print portfolio exchanges and has curated and adjudicated a number of group exhibitions. Berlinski is currently the Foundations Program Coordinator and McDonough Museum Coordinator at Youngstown State University.

Utilizing photography, Berlinski’s work examines the fugitive nature of personal history and memory. She describes her photographic process through a personal, and global, obsession to record things visually. The imagery used in her works emphasize the importance of the mundane in everyday life, as she documents spending her time traveling, visiting, hiking, working, and being at home. Her recent works involve disrupting the surface of each piece to push the boundary of how much of an image must be recognizable to unleash a forgotten event or encounter. Berlinski also utilizes the disruption of appearance to reinforce the notion that time and emotion alter the accuracy of memories.


March 29 - May 3, 2019

Sponsored by

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Designer / Craftsman Guild

 

39th National Print Exhibition

Cullen Houser

Cullen Houser

For 39 years, Artlink has showcased the best in contemporary printmedia from around the nation. Although printing for most of us is often as immediate as Ctrl+P, the tradition of hand-pulled prints continues on today. This exhibition seeks to highlight this traditional, laborious, and oftentimes tedious, art form. As printmedia moves into a new era, we look forward to highlighting future generations of printmakers using the medium to share their voice.

This juried exhibition features contemporary printmakers across the nation working in all printmaking mediums, including intaglio, lithographs, relief, screenprints, monoprints, letterpress, artist books, digital prints and print installations.

About the Juror

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Monika Meler is the Director of Graduate Studies in Art at the University of Saint Francis in Fort Wayne, Indiana. She earned her B.F.A. from the Milwaukee Institute of Art and Design and an MFA from the Tyler School of Art in Philadelphia. Monika has completed residencies at Zygote Press, Center for Contemporary Printmaking, Frans Masereel Center, Cork Printmakers, and Women’s Studio Workshop. Solo Exhibits include The Color of Distance and Desire at the Western Colorado Center for the Arts, The Center That Cannot Hold at FrontierSpace in Montana, and The Distance Between at the Limerick Printmakers Gallery in Ireland.


May 17 - June 21, 2019

The Art of Metalsmithing Exposed

Curated by Steve Shelby

Alison Antelman

Alison Antelman

The Art of Metalsmithing Exposed will highlight the best of contemporary three-dimensional metal art from around the world. This exhibition features a diverse group of artists, ranging from emerging or self-taught to college professors and silversmithing professionals. Many of the artists teach their craft as freelancer, around the country and parts of the world, in their own facilities, or in colleges or universities. Some primarily design and make jewelry while some come from blacksmithing, welding, or auto body backgrounds. Two of the artists featured, Betty Helen Longhi and Cynthia Eid, have written the definitive book on contemporary metalsmithing, Creative Metal Forming.

This exhibition explores metalsmithing in the cold forming of metal from flat sheet (or ingot) into three dimensional form, using hammer and various other tools (not to be confused with blacksmithing, which is the hot forming of iron and steel). The functional objects that used to be handmade by metalsmiths are now mass-produced, evolving the craft over time into a vehicle for artistic expression.

Emily Sullivan Smith

Emily Sullivan Smith

Emily Sullivan Smith

Emily Sullivan Smith is an Assistant Professor and the Foundations Coordinator at the University of Dayton’s Department of Art and Design. Having received an MFA from Kent State University in printmaking, her studio practice is interdisciplinary and is a hybrid practice including printmaking and sculpture. Her work focuses on various permeations of the effects that human behavior has on the natural world. She has examined species decline, and other resource extinctions and makes work that mimics nature’s building techniques using human labor as a surrogate for nature’s labor. A quote from John Muir, “When one tugs at a single thing in nature he finds it attached to the rest of the world.” has been at the center of the research. Recent exhibitions include; in Duo/Trio at the Riffe Gallery in Columbus, Ohio; Heavy Metal at the Akron Art Museum in Akron, OH; a solo exhibition titled, The Land and The Sea, at the University of Kentucky; Crossing Boundaries: Art and the Future of Clean Energy at the Pensacola Museum of Art in Pensacola, FL and 3rd Annual Hand Pulled Prints at Site : Brooklyn in New York. Solo exhibitions are upcoming at Artlink Contemporary Gallery in Fort Wayne, Indiana, Roy G. Biv Gallery in Columbus, Ohio and The Springfield Museum of Art in Springfield, Ohio. Emily was the winner of the 2018 Regional Exhibition at Artlink.

Sullivan Smith’s work focuses on the global debate concerning the planet and the role each of our lives, choices, conveniences and privileges play. Each work investigates the tenuous balance between humans and nature through the perceived abundance of natural resources declining at the hand of humankind or the impact of daily conveniences on nature. Sullivan Smith examines the push and pull between the capacity of humans to control or shift the environment with the potential for unintended consequences. The works find their impetus from appropriated cultural sources, be they historical photographs, or news of recourse decline. A quote from noted naturalist, John Muir, is ever-present in the work “When one tugs at a single thing in nature he finds it attached to the rest of the world”.


June 28 - August 2, 2019

41st Annual Members’ Showcase

Andrew Dubach

Andrew Dubach

Artlink is pleased to present the 41st Annual Members’ Showcase, celebrating the individual artists that help make Artlink possible through their continual member support of the organization for over forty years. This exhibition features artists working in all mediums at all stages of their artistic careers. The Members’ Showcase provides immediate access to a gallery exhibition for our artist members.


August 9 - September 13, 2019

On Being: Realism and The BGSU School of Art Painting and Drawing Program

Curated by Brandon Briggs and Dennis Wojtkiewicz

Martha Gaustad

Martha Gaustad

Realism, like nature, persists. All visual art is based in the observed. Nature and perception are the minimally required precepts if one is to “make art”. On a grander scale, realism is fugitive, with the maker towing an ever confusing line between control and chaos not dissimilar from the lines walked by the abstract expressionists of the mid 20th century or even that of contemporary painters of all “isms” attempting to organize the natural world into a cohesive statement on a surface.

With realism the natural world is directly coded into the dramatic narrative of the work, and in nuanced ways abstraction is coded into the unfolding of the painted image. Each of the artists are keenly aware of both their surroundings as subject as well as the nuanced efforts that make for interesting marriages of form and content contained naturally in the painted or drawn surfaces as an expression of both intention and improvisation. Formulas, in other words, will never do. Each of these artists is attempting to make realism new, a way to discover the purposes of the image. What is the place in our mechanized, mass-produced, digital world for such hand-crafted, one of a kind, fiercely analog work. Unlike televisual media (film, television, and social media/net-channel) realism has remained relatively quiet. All of the artists represented seek to find balance inside of the quiet place that realism occupies while acknowledging its historical, social, political, and cultural contexts.


September 20 - October 25, 2019

Humanimals in Precarious Positions: Melanie Cooper Pennington

Melanie Cooper Pennington

Melanie Cooper Pennington

Melanie Cooper Pennington has been sculpting for 20 years. It wasn’t until after marriage, two children and 12 years as an interior designer in Chicago that Melanie received an opportunity to pursue her dream of working as a full time artist. Prior to her Master of Fine Arts (MFA) at Indiana University, Pennington began studying the figure at Wheaton College where she received her Bachelor of Arts (BA). She continued figurative anatomy studies at workshops in New York and Colorado, and has since participated in multiple artist residencies and curated exhibitions. She has recently shown with Sculpture in the Parks in Chicago, The Indianapolis Art Center and at The Grunwald Gallery of Art at Indiana University where Melanie has worked as a Visiting Assistant Professor of Sculpture for the past 3 years.

By embodying forms in the likeness of whales, bison and elephants (animals that we keep our distance from because of their physical power and intimidating size), Cooper Pennington’s large-scale sculptures immediately trigger curiosity and wariness. Her ‘Beasts’ are, however, frequently soft and touchable, placed in precarious positions or engaged in a struggle with an opposing force, consequently probing the viewer’s capacity for empathy. The visceral materials by which Cooper Pennington constructs her work range from ceramic and steel to fur and wood. She uses her knowledge of human anatomy to anthropomorphize the beast - incorporating human signifiers that make the imagined creatures feel knowable.


November 8 - December 6, 2019

Unreal Empire: Robert McCann

Robert A. McCann is a Midwest-based artist and educator.  Born and raised in the Ozarks of southwest Missouri, he developed as a studio artist through his studies at Missouri State University, Indiana University, and as a Fulbright scholar based in Berlin, Germany.  In the fifteen years since that time, McCann’s paintings have frequently dealt with the potential for metaphors in our byzantine mass media culture, and the overwriting of epic and intimate events in the particular artifice of painting.

Robert McCann

Robert McCann

In the summer of 2017, he mounted the exhibition “Staged Revolt” at the South Bend Museum of Art in South Bend, Indiana.  He will have a new solo exhibit at Amos Eno Gallery in Brooklyn, New York, in September 2019. McCann is currently an Associate Professor in the Department of Art, Art History & Design at Michigan State University, where he heads the Foundations Area of studio art fundamentals and teaches painting.

McCann describes his paintings as “elaborate fictional spaces”. He utilizes characters from pop cultures and subcultures to stage human drama. These visual threads spiral outward into the shared universe logic of Marvel blockbusters and Pinterest pin boards, and inward to personal mythologies and autobiographical fragments. The paintings use larger-than-life-characters from the world of wrestling, rock & roll history, or educational film reels to evoke a fuzzy boundary between fantasy and reality. His works incorporate staging of affiliated subjects in fragmented narratives plays on a viewer’s incomplete grasp of sublime subjects like memory, future-forecasting, or knowledge of society at large. The subsequent paintings bring together elements of landscape, portraiture, history painting, and improvisational abstraction.

Transparency & Toxicity: Meganne Rosen

Meganne Rosen graduated from Drury University with a Bachelor of Arts with Honors (BAH) in Art History with minors in Fine Art and English in 2006. She completed her Master of Arts (MA) in Studio Art and Theory at Drury University in 2011. She currently resides in Oakland, California, where she recently graduated with a Master of Fine Arts (MFA) at the California College of the Arts (CCA) in San Francisco. During her first year at CCA, she was the co-director of the Graduate Student Alliance, a graduate teaching assistant for three art history courses, and a gallery assistant for the exhibitions department.

Meganne Rosen

Meganne Rosen

Through the investigation of and experimentation with different kinds of materials, Rosen’s works express discontent with the current political climate while reflecting on her experiences growing up in the American Midwest. Her art explores entropy, artifice, consumerism, and her place in the lineage of abstraction in contemporary and modern painting and its relationship with installation art. Using found matter, fiber works, oil and acrylic painting, remnant fabrics, and photography, Rosen composes mixed media pieces which are layered in visual dialogues. The work evokes an intimate recollection of garments worn, skins shed, and packaging discarded. Each assemblage or installation is a partnership between the materials she works with and the sociopolitical, cultural context of our times.