2020 Fall – 2021 Spring Exhibit
Opening Reception on September 9
Featuring Zoi Traiforos and Diana Al Zuhairi
Opening Reception on September 9
Featuring Dyan Gulovsen
Opening Reception on September 9
Featuring Kevin Gilmore, Dyan Gulovsen, Alice Lambert, Darrell Matsumoto, Joseph Ray, Jason Travers, David Wackell, and Michael Yefko
Opening Reception on Wednesday, April 17, 2021 from 5-7 p.m.
Conversation with Artist and Gallery Director, Darrell Matsumoto, 5:30 p.m.
COVID19 protocols: Reception, Virtual Reception, Gallery Visits
Contact: dwackell@annamaria.edu
Featuring Christina Pitsch
The Ordinary Transformed
It is with great pleasure we present Christina Pitsch, Love so so ordinary. This
exhibition in installation form provides a unique view, challenging the
conventions of beauty, utility, and the familiar.
Pitsch’s challenge to the viewer presents a fascinating visual conundrum. She has
chosen commonplace objects, which subvert the typical definition of beauty and value. The “ordinary," at first glance, may be dismissed with haste, because of its apparent plainness. It is clear that the forms used–cinder blocks, wooden loading pallets, and tiles–are elements usually found at a construction site, storage yard, or in a tip bin. However, the ubiquitous, cast-mold form, which is produced/reproduced painstakingly in elegant porcelain and bone china, presents its inherent dichotomy to the viewer. The decorative features of the objects, which are inspired by Chinese export porcelains or gilding, add to the continuous shift of meaning, intention, and transformation. For instance, Pitsch’s floral forms, whether glazed or gilded, are not unlike ceramic funereal decorations found in cemeteries. The iconography of remembrance and veneration adds another layer to the body of work. In this sense the objects are memorialized for posterity. The seemingly indestructible nature of construction materials, which the objects are modeled after, will eventually succumb to the elements. In the same instance, glazed porcelain and bone china are proven to be even more resilient, as it is what cultures leave behind (archaeological finds), subverting conventional expectations of the mundane and the refined.
The juxtaposition of the precious and the ordinary confounds simple explication. We are challenged by the extremes which appear absurd. The work is in constant dialogue with itself. The complexity presented in Love so so ordinary leads from the familiar to the sublime.
Catalog Available
Opening Reception on October 14
Due to recent COVID-19 protocols, the John Dunnigan exhibition has closed as of December 1, 2020.
Featuring John Dunnigan
Sit-Seat, A Primary Action
It is with great pleasure we present John Dunnigan, Practical Solutions to Oblique Problems: Chairs. This exhibition presents a view of a primary form in furniture, through the continuous vision and practice of studio furniture maker, John Dunnigan, representing a series of select smaller chairs produced over forty years.
Sitting is a primary human action. We sit before we learn to crawl, stand, and walk. It is a
basic resting position. Our body weight is supported primarily by the buttocks in contact with the ground or a horizontal object (such as a seat or chair). The torso is more or less upright. There are two major styles of sitting on a raised surface. The first has one or two of the legs in front of the sitting person; in the second, sitting astride something, the legs incline outwards on either side of the body. We sit to rest, to luxuriate, to gather together, and to command. The seat represents the complex social graces and interactions throughout human millennia. Its design is dictated by a myriad of internal and external forces.
Dunnigan’s chairs own a structural base that is human in scale. The structure provides essential support for the act of sitting, exposed for all to see in all but the upholstered seating. The transformation of chair forms is translated through his whimsical ethos, “practical solutions to oblique problems." The act of sitting involves at minimum three main body touchpoints, the seat, the back, and floor or ground. Thus, how a chair sits in space is a determining factor in its suitability. Dunnigan’s chairs are grounded, anchored in traditional chair-form architecture. He employs his sense of poetic pragmatism to re-form classic tenets, of rail, stile, seat, and back. The body touchpoints that make contact with the chair are essential to the quality of sit-ability. The proportions in his chairs are purposeful. The structure, when exposed, is appropriately spare. The variety of tapered, flared, turned, straight leg styles, afford each chair its own personality. The tilt of the back conforms to the body. And the generous seat proportions provide welcome comfort for the sitter. The chair is a primary form and Dunnigan offers elegant solutions to the primary act of sitting.
Catalog Available
Opening Reception on Wednesday, April 28th
Featuring Brittney Cherry, Lindsey Davieau, Swavaughn Small, Cole Walling
Senior Art Exhibition 1
Gallery Visits and Info: contact David Wackell at dwackell@annamaria.edu
Exhibition Dates:
February 8, 2021 – March 12, 2021
Virtual Online Exhibition
ZOOM Awards Presentation: Wednesday, February 24th at 7:15pm
Art Center Gallery, at Anna Maria College will send out ZOOM announcements and invitation
Please contact David Wackell for information detailed information: dwackell@annamaria.edu
Opening Reception on Wednesday, April 28th
Featuring Sabrina Gabriele, Tatyana Lugo-Gardner, Amanda Servis
Senior Art Exhibition 2
Gallery Visits and Info: contact David Wackell at dwackell@annamaria.edu
