The Surface Design Association is an international community engaged in the creative exploration of fiber & fabric. Their mission is to promote awareness & appreciation of the textile arts. This exhibition is compromised of 43 works from a selection of 21 artists from Virginia and West Virginia.
Exhibiting Artists: Mary Beth Bellah, Marilyn Casto, Eileen Doughty, Joan Dreyer, Cheryl Gerhart, Sandi Goldman, Joan Griffin, Lotta Helleberg, Susan Iverson, Jill Jensen, Kristin La Flamme, Ann Liddle, Andrea Limmer, Lorie McCown, Judith McIrvin, Suzan Morgan, Cathy Nault, Helene Renard (collaboration with Martha Sullivan), Diane Siebels, Susan Srygley, Bonnie G. Venable.
This show was curated by Guest Curator, Kristin Harris.
May 3-June 16. Gallery Hours: W-Sun: noon-5pm or for appt email email@example.com
The world is in constant motion, both literally and figuratively, and it is often difficult to locate our place in all that mobility. John Roth takes the problem of being on the move and makes humorous and striking art objects with it. This exhibition centers on a group of sculptures that Roth calls Conveyances: Emotive Conveyance, Stealth Conveyance, Corpulent Conveyance. These sculptures are paradoxical in that they are organic and biomorphic shapes but are made of material that we associate with hard-edged geometry. Roth painstakingly builds forms of Styrofoam or other materials and then covers the forms with gleaming discs of steel. The resulting skin has the reminiscence of fish scales, and like fish scales the discs allow the skin to bend and follow the curvilinear shapes of the sculptures. The sculpture Cretaceous Mode has more than 10,000 scales.
The sculptures speak of the world and the problems of being human but do so in a light and often humorous way. And in nearly every instance, these sculptures rest on wheels of some type – they are mobile. Writing in the Washington Post, Mark Jenkins said, “There’s a bit of the steampunk sensibility to this work, which encompasses industrial smokestacks and antique diving gear as well as fish and dinosaurs.” This sensibility reflects Roth’s former employment as a machinist and technician who built things in order to test their endurance. “I made things to be blown up,” as he said.
John Roth is a professor of art at Old Dominion University in Norfolk. His work has been seen in exhibitions around the country including Slowinsky Gallery and Alan Stone Gallery in New York, Contemporary Art Workshop in Chicago, and the Contemporary Art Center of Virginia. He is currently represented by the Mayer Fine Art Gallery.
Artist Statement Below
After the invasion of Iraq, and my recent move to Norfolk, Virginia — a major military hub — my sculpture increasingly has been informed by thoughts about resources, commodities and consumption and their relationship to politics, world order and the natural environment. Several of these pieces have taken the form of “3-D political cartoons,” satirical one-liners intended to convey a pointed message. My work, on the whole, is far less prosaic and calls for the viewer’s co-authorship. The genesis of recent work is not so much a departure from earlier investigations as an outgrowth.
While living in the Upper Peninsula of Michigan as an undergrad, I observed the vestiges of the mining industry. The juxtaposition of extractive contrivances with their bucolic, boreal environments fed my interest in 19th century industrial architecture particularly as captured in the photographic typologies of Bernd and Hilla Becher.
My sculpture/furniture hybrids evolved into a series I call “Speculative Naval Architecture.” Absurd ship models sometimes reflect my visceral response to the anthropomorphic aspects of machinery, vehicles, and buildings and sometimes serve as metaphors for my reflections upon conveyance and modes of communication. Consideration of that nexus between instinct and intellect, and autobiographical events such as the death of my father and the birth of my daughter, inspired individual pieces. Current work explores the folly of material acquisition and accumulation, particularly brought home to me during my move. However, it was never my intention to create works that read as personal narrative. Insofar as they are reflective of a world-view, that view also is subjected to the prism of dream and fantasy.
My use of the kind of decorative and functional details that are found on Industrial Age factories and mines, public utility buildings, machines and, particularly, marine vessels has the effect of making the fanciful somehow familiar, calling into question considerations of past and future when contemplating the present.
The presentation of my sculpture involves ongoing internal deliberation. I frequently encase my work in traditionally crafted furniture forms or dioramic display cabinets that have the power to add or detract from its thesis. I am interested in expanding the range of materials and processes I use in fabrication, in part to investigate ways of freeing my sculptural forms from enclosure and its implications, and in part to explore options in scale and locale.
Ruth Bolduan received B.A. and M.F.A. degrees from The American University in Washington, DC. She has been awarded Artist Residencies at Cité Internationale des Arts in Paris and Self-Help Graphic Arts Center in Los Angeles. Solo exhibitions include Anton Gallery in Washington, DC and Monterey, California; 1708 Gallery in Richmond, Virginia; and Open Studio at the Glasgow School of Art in Scotland. Other exhibitions include Page Bond Gallery in Richmond, District of Columbia Arts Center, Galerie Ponce Boscarino in Paris, Flor de Luna Art Center in Los Angeles, The Painting Center and Jim Diaz Gallery in New York, Institute of Contemporary Art in San Jose, California, Museo Pedro de Osma in Lima, Peru, China World Trade Center in Beijing, and the Tretyakov Museum in Moscow. Publications include an artist book with Alberto Casiraghy, Frammento di Dante, published by Edizioni Pulcinoelefante in Osnago/Milan. Public collections include the National Museum of Women in the Arts, the American University Museum, Capital One Corporation, and the University of Richmond Modlin Art Center.
Brooke Marcy, received her MFA from George Mason University, a Post-baccalaureate Certificate, The School of the Museum of Fine Arts, Boston and her BA from Hamilton College in NY. She has been awarded a Creative Research Grant, George Mason University and Robert P. Martian Memorial Award, Exhibition Award and second prize in Riverviews 3th Annual Juried Art Show. Her work has exhibited at 123 Gallery at George Mason, Louisiana State University, Circle Gallery, Richmond, VA and School of the Museum of Fine Arts Gallery, Boston, MA
This year we have put together a look book of all the pieces that are on display in the 4th annual juried art show. It includes artist photos and info about the pieces written by the artists themselves, as well as a juror bio and info about the Craddock-Terry Gallery. This look book will also be available in print and will be for sale at the December First Friday event.
Riverviews is excited to open its fourth annual Regional Juried Art Show. The exhibition, juried by Leah Stoddard, Director of Exhibitions at the Taubman Museum, features 32 distinct and creative works, produced by 25 artists throughout the state.
The paintings of Erling Sjovold explore and re-invent the sense of place. In each work, he plays with spatial relationships and perspective to construct a scene or window into a world that is immediately recognizable while possessing a heightened sense of reality.
Sjovold is a faculty member in the art department at the University of Richmond.
Traditionally, Riverviews has welcomed the dog days of summer with light-hearted and unusual offering. This July is no exception as we welcome the wonderful, whimsical work of LA-based sculptor, Benjamin Entner. The exhibition will open with a First Friday reception on July 6th and will run through August 26th.
Inflatable Still Lifes and Portraiture
Drawing on his curiosities and inspirations, Benjamin Entner creates larger than life inflatable “still lifes and portraits”. The works bridge the gap between 2D and 3D and have a sarcastic edge. With each piece, he strives to create something that is aesthetically pleasing, conceptual, and comical.
As a sculptor, with an inferiority complex with respect to the history and gravitas of painting, I am trying to elevate my craft by leeching from the qualities of drawing and painting. As I work on a project, I try to anticipate and plan for the viewers’ experience. I want to make viewers aware of themselves as they relate to my art. I accomplish this by creating a presence of an object or installation that interrupts or intervenes in the passive viewing of a piece and invites an active experience with it. Within the gravitas of a typical art space, I also try to inspire a childlike nostalgia and wonder by engaging the viewer with an object or environment that is playful.
Formally trained as a sculptor, Entner received his MFA from Syracuse and his exhibited nationally and internationally, with recent solo shows in LA, Houston, Kansas City, and Berlin.
Amber Robles-Gordon is a mixed media artist who works mostly in assemblage. The work she creates is representational of her experiences and the paradoxes within the female experience. She focuses on fusing found objects to convey her own personal memories, inspired by nature, and her belief in recycling energy and materials. Robles-Gordon has been creating and extensively exhibiting her work for over 15 years. She has exhibited in California, Germany, Italy, Malaysia, New York, Ohio, Spain and throughout the Washington, D.C. Metropolitan area. Robles-Gordon has also been invited by the Smithsonian and other organizations to teach workshops and was commissioned by the DC Commission on the Arts and Humanities in 2010 to create a mural for the Windows in to DC project at the Walter E. Washington Convention Center. In 2010, she also completed her Masters of Fine Arts from Howard University. Most recently, she has been granted an apprenticeship from the D.C. Commission on the Arts and Humanities, D.C. Creates Public Arts Program.
Helina Metaferia is an Ethiopian-American artist specializing in mixed media artwork. She works with themes of power, self-realization, and femininity. An intuitive artist, she combines the process of introspective meditation and creative art forms in order to tap into a higher consciousness. Her art has been shown in museums and galleries nationwide. She has also completed over fifteen large scale murals in the Washington, DC region. Helina received her formal art education at Temple University’s Tyler School of Art and at Morgan State University. In addition to working as a fine artist, Helina is the founder of The Meta Experience, a visual and healing arts company that provides creative wellness services. She is a certified holistic practitioner in Integrative Yoga Therapy, Shiatsu and Thai Massage, and is a Reiki Master. She has been teaching visual and healing art classes in community based programs since 2004.
On First Friday, June 1st, we will also welcome members of the EC Glass Orchestra. Please join us for an evening of art and music as we support these young performers.
Riverviews is excited to present two sides of acclaimed artist Barbara Crawford. Our latest exhibition will focus on her paintings, as well as her work on the Cy Twombly Louvre project.
March 2 – April 22, 2012
First Friday Opening: March 2nd, 5:30-8pm
Artists Talk: First Friday, April 6thMarch 2 – April 22, 2012
The Paintings: Vivid architectural scenes—reflective dreamlike spaces, color and light, uniting and distinguishing appearances; urban architecture as dramatic and psychological metaphors for the human condition is the basis of her work. Her scenes of the small, southern, factory town she taught in ask viewers to reflect on several levels. There are no people in her paintings. The buildings are devoid of architectural details. What is left for the viewer to contemplate is the relationship between things: the spacing of houses, the distinction between front street and back streets, facades again back alleys, and against all earth, trees and sky. Currently, her scenes include images of the churches found in the town. The spaces between these buildings form a visual question, she says, “about our relationship to the religious intuitions that influence our communities and our lives.”
Crawford describes her work in her own words:
Lately, I have come to think of light more and more in relation to its complement, darkness, shade. Through the relation of these two things, one grasps not only forms, but also space and time. The vividness of what is grasped invites contemplation of life’s energies and processes, of transformation and change, of presence and absence, of clear vision and uncertain memory.
The Louvre: As part of a mission to incorporate more contemporary art into the Louvre’s permanent collection, internationally acclaimed artist Cy Twombly, W&L Class of 1953, was asked to create a painting to cover the ceiling of one of its galleries, the Salle de Bronzes. He enlisted the aid of Lexington, Va., artist and SVU professor Barbara Crawford and her role in the project grew from mixing paint colors to representing Twombly during the creation and installation of the final piece in the Paris museum. Twombly is one of only three contemporary artists to receive this honor and the only American.