Rogue Gallery Art Center

 

 

 

 

2012 Exhibitions

 

ANIMAL, VEGETABLE, MINERAL
2
012 Members’ Exhibition

Nov. 16 –Dec. 22, 2012

Reception: 
Friday, November 16, 2012 5:00–8:00pm

This exhibition showcases new work by Rogue Gallery & Art Center member artists that is inspired by living beings, growing things, and the earth beneath our feet. Like the popular parlor game, Animal, Vegetable, or Mineral, this show will keep you guessing!

Marie Maretska Chinese Lantern

The annual Member’s exhibition features work by Rogue Gallery members. The Rogue Gallery has had a long history of supporting local and regional artists. This exhibit gives each member an opportunity to exhibit one piece of their work on the central theme of “Animal, Vegetable, Mineral”. With a very diverse group of members, a variety of artwork will be on display including watercolors, acrylic, and oil paintings as well as monoprints and collages.

“The Rogue Gallery has so many talented artists as members,” said Interim Director Kim Hearon. “If you’ve ever played 20 Questions, you know the theme Animal, Vegetable, Mineral, covers just about everything. Works by over 50 artists will be shown, and it will be exciting to see how each artist interprets the theme.”

Participating artists:
Bruce Allen, Erik Anderson, Jennifer Bagwell, L.C. Barnes, Betty Bars, Lynnette Bergstrom, Pat Blair, Nancy Block, Janet Bocas, Linda Boutacoff, Margaret Bradburn, Susan E. Burnes, Katy Cauker, Agnes Chirgwin, Millie Clarke, The Garden Chicks (Janice Bettenburg, Judy Young & Valerie Sauve), Jim Curtis, Cammy Davis, Deborah Ann Dawson, Susan DeRosa, Penelope Dews, Ann DiSalvo, Barbara Eshoo, Linda Elesiya Evans, Kim Faucher, Cynthia Flowers, Lori Garfield, Margaret Garrington, Virginia Govedare, Barbara Budge Griffin, Dodie Hamilton, Claudia Harlow, Kim Hearon, Marilyn Hurst, Zelpha Hutton, Raymond Kelly, Joan Kennedy, Marie Maretska, Denise Marshall, Nancy Jo Mullen, Meredith Page Overstreet, Cecilia Pestlin, Randall Perkin, Charlotte Peterson, Pamela Piper, Linda Purdom, Patrick Ryan, June Shepard, Allen Smith, Stacie Smith, Lo Smucker, Gayla Snow, Alice Stambaugh, Will Storm,
Dorothy Swain, Eva Thiemann, Jeanena Whitewilson, Nancy Zufich

 

Untitled: Bob Bosworth Retrospective

October 5-November 9, 2012

Reception: Friday, October 19, 5-7:00pm

Associated Public Programs:
• Saturday, October 6, 3:00pm - Gallery Tour with Bob Bosworth

• Friday, October 19, 7:00pm - An Architect’s Architect: An illustrated talk that surveys the local architecture projects by Bosworth. Presented by architect John David Duffié. Free.

This exhibition spotlights the creativity of Bob Bosworth—artist, architect, former University of Oregon professor, and a founder of the Rogue Gallery & Art Center. Curated by Nancy Jo Mullen, the display features works from Bosworth’s early professional years that includes paintings and documentary photographs of his completed architectural projects, and a series of new watercolor paintings. 

Watercolor is and has been Bosworth’s medium of choice throughout his 50-year artistic career. Viewers to the exhibition will find 37 original works on the Main Gallery walls, 34 of which were created using watercolor on paper or canvas. His handling of the watercolor medium is masterful, showing an inventive and unique approach to a traditional medium and technique. Some of his early works were made with the assistance of a garden hose to rewet the watercolor pigment. From this early period, too, are numerous landscapes of Oregon beach scenes. Bosworth spent two weeks camping out on the beach to experience it in all its phases. The majority of the early works are on loan from various collectors in the Rogue Valley, and around the state.

One of the most technically impressive works is an untitled work made with felt tip markers dated from the mid-eighties. Thousands of short, colored marks describe an amazing tree-covered mountain landscape created from Bosworth’s memory of his view from Interstate 5 as he was driving south to Medford from Eugene one foggy morning.

Bosworth’s architectural projects are represented by a series of documentary photographs of four private residences (two located in the Rogue Valley) and the Oregon Pavilion. An in-depth look into Bosworth’s local projects will be presented on Friday, October 19 at 7:00pm. The illustrated talk will be presented by architect John David Duffié at the RCC/SOU Higher Education Center in Presentation Hall 132.

His current watercolor paintings are mostly untitled, abstract in composition, and display vivid, psychedelic color. One viewer commented that Bosworth’s paintings are “retina-assaulting” in their color combinations and compositional design. Another commented that his imagery, though abstract, “looks like aerial views of a war zone, with dense bursts of color overlain on a grid structure.”

Exhibition curator Nancy Jo Mullen writes in her curator’s statement, “Untitled: Bob Bosworth Retrospective honors a founding artist member whose impact as an Oregon artist has been lasting, generous, and rigorous.  Bosworth’s gentle and authentic vision was manifest in the design of the Oregon Pavilion at the Seattle World's Fair in 1962. That memorable design included the work of another important Oregon artist, another Rogue Gallery & Art Center founding member, Eugene Bennett. Bennett’s iconic totem poles can be seen in the documentary photograph of the Oregon Pavilion that is presented in this exhibition. In the fall of 1961 I met Bob at an exhibit of his work in the University of Oregon's Student Union. That same year I was in an evening sketch class Bob taught at the University. Fifty years ago, I attended the World's Fair and saw the Pavilion. What I saw in that structure has had a profound effect upon my choices in life and I thank him. His holistic approach to the challenge of creating a structure which would capture the character and creative capacities of a unique state was heady, refreshing and challenging.”

About the Artist

Born 1933 in Klamath Falls, Oregon, Bosworth determined early to pursue an artistic life. He held his first one-person show at age 14. During junior high and high school, he was awarded five successive “Gold Keys” in state of Oregon contests and an “Honorable Mention” in a national competition. When he graduated from high school, he has received four scholarships to major art schools. Instead, he attended University of Oregon where he was “Ina McClung Scholar” and the “Outstanding Graduate in Architecture.” Bosworth was associated with noted architect Charles Warren Callister in San Francisco Bay Area from 1957-1959. He left that firm to establish his own architecture & related design practice, along with painting, in Medford. He is noted for his design of the nationally acclaimed “Oregon Pavilion” for the Seattle World Fair, 1962. Bosworth taught at the University of Oregon as an Assistant Professor of Architecture from 1962 to 1965, and at the University of British Columbia during the summer of 1966. Locally, he designed the Mt. Ashland Lodge, numerous private residences in Medford, and others in the West.

Special thanks to Nancy Jo Mullen, R. Curtis Bosworth, John David Duffié, Betty Huck, On the Wall, Inc, Carol & John Walker, and numerous collectors for their contributions.

Exhibition Sponsors:

 

 

Kathryn Jacobi
WAKING DREAMS: MORTAL FURNITURE 
August 24-September 28, 2012

Reception for the Artist:
Friday, August 24, 5-7:00 pm

Gallery Talk with Kathryn Jacobi:
Saturday, August 25, 10-11:00am

California artist Kathryn Jacobi presents figurative works in oil, ‘Digital Hybrids,’ and computer generated prints inspired by her waking dreams, visions she experienced during the state between sleep and wakefulness. Classically trained as a painter, her realistic style lends to aesthetically rich narratives with human figures engaged in mysterious, frightening, and funny scenarios. Jacobi’s work depicts states of being that are both familiar and unsettling.

In her artist statement, Jacobi writes, “Waking dreams are hypnagogic states that occur in that moment between sleep and waking, almost, but not quite, dreams themselves. The associative process underlying this work is stream-of-consciousness—one image suggests the next, not in a linear progression, but, instead, through nuance, movement, and attention to the entire surface. The resulting images are surprising, especially to me.”

The Mortal Furniture series was created especially for the Rogue Gallery & Art Center exhibition. The series comprises 12 paintings, each one composed in a divided format incorporating a light area on the top and a dark one at the bottom. Within these two areas, human figures appear in various poses and engaged in various activities. Jacobi offers, “The light, smaller panel suggests the enlightened response of waking cognition; it also suggests sky, the heavens, or other forms of enlightenment. The dark, bottom section represents all subterranean, unconscious, dream-state energies that the lighter panel opposes. They are divided by a semi-permeable membrane of border.”

Of her creative process, Jacobi explains, “As the paintings were nearing completion, a loose theme began to emerge. In a sense it became clear that many of the figures were supporting other figures, or were in postures that lent themselves to being sat upon. Decades ago, I created a series of drawings called Man as a Beast of Burden. The present images are more guided by the adage, “We stand on the shoulders of those who came before us.” But that is only a partial and inadequate view of them; the paintings are meant, as poetry is meant, to evoke feelings and responses from the viewer, who becomes an active participant— even an accomplice—in their meaning. To me each presents a small human drama from two perspectives, tangentially connected but directly affecting each other. Each painting evoked a different set of emotional complexities which shifted continuously as the drama unfolded. While in progress, they felt like a poem which could not be adequately explicated. When completed, analysis is no longer my prerogative.” 

In addition to the Mortal Furniture paintings, Jacobi also presents her ‘Digital Hybrids’, and digitally-composed archival pigment prints.The ‘Digital Hybrid’ paintings are a combination of digital prints and oil paintings. To begin this process, Jacobi takes digital photographs of complex, older original paintings and drawings. She then manipulates the digital photographs with graphic design software to conceive and compose the Digital Hybrids. The newly composed digital images are printed out on large pages and varnished to protect the surface. Using the print as her foundational composition or substructure, Jacobi continues her creative process by painting directly on the print to create her ‘Digital Hybrid.’

Other digitally-composed archival pigment prints, such as "They Were Just The Way They Were" are composed and finished entirely on the computer with no direct painting on the print.

Regardless of the medium that Jacobi chooses, her intention is the same, “As with all my imagined work, I think of them in same terms as I think of poetry.” 

The public is invited to attend a free Meet the Artist gathering Saturday, August 25 from 10:00-11:00am. The artist will engage viewers in a casual discussion about her inspirations and creative processes. Those in attendance are encouraged to ask questions about the art on display. 

About the Artist
Kathryn Jacobi received her B.A. and M.A. from California State University at Northridge. Her exhibition credits are extensive with inclusion in over 20 solo and semi-solo and over 30 group shows since 2000 in the western U.S. In 2010, she was honored by the Fresno Art Museum with participation in the exhibition 100 Distinguished Women Artists and she is a frequent award winner in the annual exhibitions presented by Women in Photography International (WIPI). Jacobi has gallery representation in Washington, California, and Georgia and her work is represented in collections in Europe, Canada, and the United States. She has numerous book and illustration credits and owns a small publishing company, Waxwing Editions.

The exhibition is sponsored by the Rogue Gallery & Art Center’s newly established Exhibition Endowment created in 2010 to celebrate its 50th year. RGAC’s Exhibition Endowment provides funds to support a Founders’ Exhibition each year to honor of the Founders and their intentions to showcase “the art of our time and place. Exhibition reception sponsors are RoxyAnn Winery, Harry and David, and Rogue Creamery.

 

 

 

 

TRIO:
MLADENOFF, TOMLINSON, & YAMINS

Reception: Friday, July 18, 5:00-8:00 pm

Exhibit Dates: July 18 – August 17

About this Exhibition:

This exhibition showcases mixed-media paintings by Nancy Mladenoff, highly patterned mixed media drawings by Robert Tomlinson, and embellished gourd forms by Sue Yamins.

Nancy Mladenoff, a professor of fine art at the University of Wisconsin/Madison, presents her Biomes Series 2010/11, a body of work focusing on the various biomes, or ecosystems, of North America. This series is inspired by environmentally compromised biomes in the United States and Canada.

Mladenoff’s highly patterned, multilayered paintings juxtapose the natural environment of flora and fauna with the human figure. She writes, “I construct large-scale paintings that consist of native and non-native examples of various species of plants and animals that make up a particular environment. Due to my research involving women naturalists and other important women of the U.S. in the 18th-20th centuries, I have recently been including some of these figurative elements in my paintings to convey the human element that was and continues to play a major role in our society. I see the resulting paintings as representing a particular historical moment, the drama of which is of my own making – both aesthetically and intellectually.”

Not only is Mladenoff inspired by the early women naturalists that were illustrating the plants and animals of their era, as an artist she is similarly motivated. She writes, “Not only were they making their art to advance the scientific thought of the time, but, as artists, they were freely taking artistic liberties with their work to represent what they saw into the most aesthetic and compelling art possible.” Mladenoff has followed in their footsteps by creating unique contemporary ecological portraits that ask us to consider the interrelationship of ourselves to the natural world-past, present, and future.

A recipient of two Wisconsin Arts Board Fellowship Awards, Maldenoff received her Master of Fine Art degree from the School of The Art Institute of Chicago. She has had numerous solo exhibitions in the U.S. and in Europe, and her work has been included in group shows in the U.S., Europe and Brazil.

Robert Tomlinson displays mixed media drawings, many of which are inspired by the ballades compositions by Johannes Brahms. Abstract compositions that are thematically cohesive, these large-scale drawings were created while Tomlinson listened to the Brahms solo piano compositions. Like Brahms’s ballades, Tomlinson’s drawings are lyrical and dynamic. Made using oil stick, pastel, chalk, pencil and acrylic on paper, Tomlinson’s drawings depict the interaction of shape, space, and color in a rhythmic and patterned format. His drawings are concerned with composition and design, though his execution is direct and playful.

Tomlinson has received numerous residencies in the West and was the recipient of a Krasner/Pollock Foundation Grant. Tomlinson lives in Portland, Oregon.

Sue Yamins crafts functional vessels and sculptural forms using gourds, dyes, and other natural materials. Each of her sculptures and vessels is unique and the technical process involves numerous steps from cutting the gourds and dying them to adding coils of pine needles, grasses, and cattails. Each piece begins with an idea, then develops and changes as the piece is made. Yamins writes, “This morphing, from mind to reality, is one of the most intriguing aspects of the process for me.”

She continues, “I like producing pieces both in traditional and contemporary styles, and I continue to explore and expand my techniques and materials. I find that working with gourds and coiled basketry is a continuous learning process and provides unlimited creative possibilities.”

Pine needles are collected in the fall, some are dyed, and then all are stored for future use. The dried gourds must be cleaned, inside and out, and cut as desired. Then designs are wood burned into the gourd and colors are applied with dyes. Once the gourd is completed the coiling begins.

I like to use a variety of materials in my pieces. I also use different materials for the stitching including waxed linen, raffia, artificial sinew, and wool. As I continue creating gourd/baskets I find an ever-expanding list of materials that can be incorporated into my pieces.

Last year, one of her gourd forms was included in the National Basketry Organization juried biennial exhibit held at the Fuller Craft Museum in Brockton, MA. Her work was recently included in the book “Gourds + Fiber,” by Ginger Summit and Jim Widess, published in 2011

Yamins’ interest in hard-shelled gourds (Lagenaria siceraria) developed over 25 years ago when she was a greenhouse manager at the University of Chicago. She was inspired by their “beautiful shape and durability.” 

 

 

 

 

 

TRIO:
COUTURE, JAVNA, LITTEKEN

June 15–July 14, 2012

About this Exhibition: 

This exhibition showcases contemporary art, including a multi-media installation created by Renee Couture; richly textured abstract paintings by Maggie Javna; and highly patterned social commentary paintings by Matthew Litteken.

Two of the artists in the exhibition, Couture and Litteken, use their artistic process to examine contemporary social issues. Renee Couture, from Glide, Oregon, presents Shadow Effects, an installation incorporating photography, sculpture, video and the written word that explores the intersection of public libraries and public lands. Shadow Effects is a multi-media installation designed to close the gap between these two seeming disparate worlds. Through comparing and contrasting the public library with the Oregon & California Railroad Lands (O&C Lands), Couture explores the following questions: What pressures does capitalism place on the environment and the community? How are these pressures manifested? How can federal lands be managed to benefit the environment, industry, and community?

Couture is interested in broadening the discussion about what is public. She writes in her artist statement, “Hot political topics too often become black and white, right and wrong, us and them issues. A divisive system of binaries. Two sides debating. “This” vs. “that”. What would happen if the debate shifted from jobs vs. environment, exploitation vs. protection toward a discourse focused on ecological integrity and social well-being? Can a paradigm shift from debate toward an open-minded discourse and genuine cooperation happen?”

She includes public libraries as part of this investigation due to the recent debates over funding for libraries in Oregon. Couture’s work is supported in part by an Oregon Opportunity Grant through the Oregon Arts Commission.

Matthew Litteken, from Hamilton, Ohio, investigates the notion of consumerism through the exploitation of money in his highly patterned, vibrantly colored paintings that incorporate the iconography and motifs from U.S. currency. Money is an integral part of our consumer-based existence and Litteken utilizes the many associations of money to societal value and power to explore our roles as consumers. In his artist’s statement, Litteken writes of money, “We are bombarded with its imagery, especially within televised advertising, printed coupons, and journalistic illustrations. Even with technological substitutes for money, paper currency —actual, physical money—is still plainly capable of evoking delight and mystification.”

Like Couture, Litteken is raising questions through his art. “The thrust of my work is to provide viewers with the ironic sense of the sublime as related to the dry motif of money, while raising issues of artistry, value, and pictorial worth. What do we value (monetarily, conceptually, or aesthetically)? For what reason, and to what end? By what standards are these judgments made? In context of the critical assessment and consequent taste of the viewer, I regard my work, not as the answers to these questions, but rather, as the inquisitors,” he writes.
Litteken's project was made possible in part through the support of the School of Fine Arts, Miami University, Oxford, Ohio, where Litteken teaches.

In total contrast to the heady work by Couture and Litteken, Maggie Javna from Ashland, Oregon, offers the viewer a respite from thinking, giving us a purely visual experience. Her richly textured, multi-layered paintings reveal her love of and interaction with her materials—acrylic paints and glazes on wood panels. Javna writes, “My continuing development in painting necessitates distancing myself from art’s cultural history and pursuing an inner, personal expression.”
Javna works without the use of representational imagery—abstract expressionism is the closest genre to her work. She works intuitively, repeating layers of paint and glaze to create a sense of space in her paintings. She writes, “My approach to painting has been the challenge to create pure, intuitive vision. Depth of surface is a continuing exploration in the work. I will sometimes use as many as a hundred layers of color and glaze to develop this depth. Space and emptiness also present a distinct essence in the paintings, reinforced by the application and choice of color.”

The exhibition, TRIO: Couture, Javna, & Litteken, is on display through July 14 in the Main Gallery. Admission is free. This exhibition is sponsored by Rogue Gallery & Art Center Board of Directors.

Eugene Bennett

a life in art

MAY 11– JUNE 8, 2012

About this Exhibition: 

Eugene Bennett was an artist, educator, community activist, native son, and a founder of the Rogue Gallery & Art Center.

After receiving his BA from the Art Institute of Chicago, he returned to the Rogue Valley to live and create for the next 52 years.

During Mr. Bennett’s productive career, his home and studio were filled with works he kept for his own enjoyment.

Works included paintings, mixed media, collage, assemblage, sculpture, and ceramics. Many important works were purchased by collectors while Mr. Bennett was alive. The selection of work on display was supported with paintings on loan from the collection of Fitz and Ann Brewer. These works provide a context for the arc of Mr. Bennett’s career. Thank you to Ann for loaning the paintings to our exhibition.

Thank you to the Estate of Eugene Bennett for enabling these works to be offered to the public. In accordance with Mr. Bennett’s wishes, the proceeds from this sale will benefit the Rogue Gallery & Art Center and the Eugene Bennett Scholarship Fund for the Visual Arts of The Oregon Community Foundation. This exhibition is sponsored by the Horton Family Foundation and Lawrence’s Jewelry.

 

 

 

 

 

 

The Best of the Best
High School Art

April 20–May 4, 2012

About this Exhibition: 

The Best of the Best Student Art Show—in its 27th year—returned to the Rogue Gallery and Art Center (RGAC).

The Main Gallery was filled with artwork made by students from 16 participating Rogue Valley high schools. Nearly 150 individual artworks including paintings, drawings, collage, illustrations, sculpture, ceramics, and woodwork were on display.

Best of the Best Origins and Concept: In 1985-86, members of the Southern Oregon Research and Development Committee (SORD) initiated the Best of the Best Student art show to encourage artistically gifted high school students in the Rogue Valley. This activity, co-sponsored by Southern Oregon University’s Pre-college Youth Programs and different local galleries, far exceeded expectations and has become an annual event each spring.

In 1987-88, Bill LePore, Crater High School, developed an exciting Art Seminar for the exhibiting artists and their teachers.  This seminar, held at Southern Oregon State College (SOU), has become a regular feature of the Best of the Best activity, and includes lectures by Southern Oregon University art professors and art workshops with professional artists and instructors.

In 1991-92, Elaine Barker orchestrated a three-year cycle to rotate show locations between the Grants Pass Museum of Art in Grants Pass, the Rogue Gallery & Art Center in Medford, and the Center for the Visual Arts on Southern Oregon University's campus in Ashland.

 

 

Artist Teen Mentoring Project

March 30–April 13, 2012

About this Exhibition:

The Artist Teen Mentoring Project (ATMP)—now in its seventh year at the Rogue Gallery &Art Center (RGAC)—offers local teens, ages 16 to 18, a realistic look at the life of a professional artist. These aspiring artists have the opportunity to work with established artists to create art in a variety of materials and styles, including those seldom available to high school students. This exhibition, presented in RGAC’s prestigious Main Gallery, is the culmination of the project which displays creative work by both teens and artists. This year’s exhibition—made possible through sponsorship by Rogue Disposal and Recycling, and Lithia Motors—runs from March 30 through April 13, 2012, with a free reception on Friday, April 6, 5-7pm. The public is invited to support these students in their first gallery show. We promise you’ll be impressed by the caliber of the work.

MORE about the Artist Teen Mentoring Project

 

Really Rogue

Eileen M. Bowie 
Peter Van Fleet 
David Lorenz Winston

February 17 - March 23, 2012

Really Rogue Video

About this Exhibition: 
This exhibition features surrealist oil paintings by Eileen M. Bowie, abstract wood constructions by Peter Van Fleet, and offbeat documentary photographs by David Lorenz Winston.

Bowie, Van Fleet, and Winston are brought together in Really Rogue as part of their recognition as award winners in the 2011 Rogue Valley Biennial, a juried exhibition of contemporary art from the region. Each was selected by the jurors to receive a Jurors’ Choice Award during last year’s exhibition held at the Rogue Gallery & Art Center. Really Rogue is the culmination of the artists’ honors.

 

 

TRIO: ANDRADE,BUELTEMAN & HILL
AN EXHIBITION AT ROGUE GALLERY & ART CENTER

January 6 – February 10 , 2012

This group exhibition features abstract watercolor paintings by Virginia Andrade of Grants Pass, OR; the vibrantly-hued chromogenic photographs by Robert Buelteman of Montara, CA; and the found object/mixed media installation by April & Wendy Hill from Medford and Sunriver, OR, respectively. These artists share an interest in using unusual processes and/or materials in the creation of their work.

 

 



 

Back to Top