Influenced by the cultural richness of his Caribbean heritage and Pan-African studies, Dexter R. Jones unwaveringly removes the veil of self-conscious inhibition by eliminating preconceived notions of beauty. Instead, he masterfully reveals true splendor and regality, even amidst vulnerability.
Jones relentlessly pushes the characterization of beauty not often seen. Encompassing a mixture of texture, hues, flesh and heavy contrast in his editorial photography, his expertise in justly capturing women of vast shades is indicative of his strong matriarchal upbringing.
Born in Brooklyn, New York, Jones works on artistic projects, editorial assignments, and creative collaborations in both photography and film. Storied Portraits is Jones’ first solo show outside of New York and features 20 images produced in large-scale, further enhancing the vibrancy, strength and appeal of his artwork.
Artworks on view during Dex R. Jones: Storied Portraits are available for purchase through The Shop at Krasl Art Center. View a complete list of artworks for sale with pricing here. To make a purchase or for additional information, please email email@example.com.
Chicago-based sculptor Barbara Cooper uses wood, books and glue to create elegantly structured artworks. Using nature as her starting point, the artist is inspired by the stresses and obstacles nature confronts. These evolutions in growth and form provide the foundation to her stunning sculptures.
In an age of memes, satire and political polarization, Lines with Power and Purpose: Editorial Cartoons illustrated historical battles amid politics and popular opinion. It represented a bygone era when printed matter was the status quo and cartoonists were part of the newsroom staff. Featuring fifty-one original editorial cartoons from metropolitan newspapers in the United States, the exhibition spanned across two world wars and the great depression. It illustrated discontent with the US government, presidential elections, and daily work-related battles with dualistic intentions: to provide welcomed comic relief as well as shape opinion.
Included in this exhibition were six Pulitzer Prize winners for editorial cartooning, among others. The collection was culled from the Melton Gallery at the University of Central Oklahoma, which has housed the cartoons for more than three decades.
A Program of ExhibitsUSA, a national division of Mid-America Arts Alliance and The National Endowment for the Arts
Ongoing Matter was a collection of poster designs developed by 11 designers across the United States intended to increase access to, and facilitate engagement with, the Report On the Investigation Into Russian Interference in the 2016 Presidential Election, more colloquially known as The Mueller Report. The exhibition followed a long history of posters as a medium for empowering citizens at crucial, societal, political, and cultural moments in time. As a non-partisan undertaking, an overarching goal of the designers was to help educate and inspire activism, regardless of political ideology affiliation.
Anne H Berry
Sarah Edmands Martin
KAC continued the theme of resiliency into its annual members’ show. VIsitors explored how local and regional artists address this theme through art.
Krasl Art Center (KAC) was proud to present the theme of Resiliency for the 2019 Members’ Show from December 6 – January 20. Each year, members are invited to submit one new artwork of their making addressing the current year’s exhibition theme. Continuing with KAC’s exhibition Resiliency, it is defined as the process of adapting well in the face of adversity, trauma, tragedy, threats and even stress – such as family and relationship problems, serious health problems, or workplace and financial stresses. This exhibition was underwritten by TCF Bank – formerly Chemical Bank.
All media, styles, and skillsets were accepted in the 2019 Members’ Show encouraging creativity and community bonding. Collaborative efforts are encouraged and performance pieces will be considered.
“Our members and the surrounding community are extremely important to KAC, and we are thrilled to celebrate them and their collective resiliency with this unique exhibition. We are pleased to offer this opportunity to present member’s artwork that is professionally displayed in KAC’s beautiful galleries,”
– Tami Miller, KAC Deputy Director and Curator.
This activity is supported in part by an award from the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts.займ онлайн
Resiliency was an exhibition featuring contemporary art from across the nation that explored, celebrated and practiced resiliency. This exhibition was inspired through dialogue between Krasl Art Center and Spectrum Health Lakeland (SHL). In 2016, the latter completed a Community Health Needs Assessment in which mental health emerged as the most urgent need throughout Berrien County. The same year, KAC committed to inspiring meaningful change and strengthening the community through visual arts as its new mission. Combining KAC’s expertise in art, and SHL’s expertise in wellness, Resiliency was a collaborative effort to improve individual lives and community in our area. Using the visual arts as a platform, this exhibition provided applicable tools for guests to craft their own resilient practices and gain empathy for others
Rachel Corbin, Drawing & Mixed Media, Nashville, TN
Alli Farkas, Painting, Dowagiac, MI
Christina E. Fontenelle, Visual Art & Dance, Chicago, IL
Sergio Gomez, Painting, Chicago, IL
John Gutoskey, Printmaking, Ann Arbor, MI
Ginnie Hsu, Illustration, Upstate New York
Olivia Hunter, Photography, New York
the monarq, Painting, Seattle,WA
Martina Nehrling, Painting, Chicago, IL
Seeing nature through an experience of collecting and observing gives voice to the moment. We breathe deeply and find the earth looking back at us. There is more than process and observation – the sightline for meaning looks out to all parts of life on earth. – Jon Hook
The exploration of the natural environment is a central theme within the works of artists Jon Hook and Andrea Peterson. Inhaling the Universe marked an experimental new adventure by the artists and nature alike played out in KAC’s galleries. Sculpture, art and installation, stimulated by, and made in collaboration with nature, reflected on the passage of time and lifecycles; it lead viewers on a thoughtful and conscientious walk through a wonder-filled landscape.
Hook’s wood-fired ceramics use an intense and industrious process that emphasizes the use of local materials for firing as well as glaze making. He reduces local plants such as hay, cattails, thistle, and clay to their molecular essence, which is then used to create unique glazes. He is a forerunner and expert in his field, specifically concerning sustainable and regenerative firing and ceramic studio processes. Hook has received two consecutive Indiana State grants that aided his research of an oil drip burner system to assist the wood-fired kiln on their farm. Hook’s dedication to eco-mutualism in the environment has evolved to center on regional identity. His work creates a sense of place through the use of indigenous patterns of relationships with his community and the natural materials of he and Petersons’ home.
Peterson’s work explores all types of paper fibers and processes including paper works, prints, artist books, and environmental installation pieces. She combines paper arts, printmaking, and book arts to make works that address human relationship to the environment. Peterson received her BFA at School of the Art Institute of Chicago and her MFA in printmaking from the University of Minnesota in Minneapolis. She has lectured and taught extensively, including at Ox-Bow, School of the Art Institute of Chicago, Sciola de Graphica, Venice, Italy, Paper Museum Steyermeuhl, Austria, Syracuse University and Indiana University. She currently teaches in the Fiber and Material Studies Department at The School of the Art Institute of Chicago.
I invite the place that I live to encompass me, wholeheartedly. It is a workplace for my development as an artist and critical thinker of the world we live in, especially the place we all call home. The environment and its workings are ever-present in my work. I look at the world around me symbolically and present it as such in the work that I create. I observe connections between the plant, animal and human world that present concerns, desires and realities for many of us to consider or experience. – Andrea Petersonкредит займ на карту онлайн
My work is synonymous with a fairytale; the paintings are dark, yet humorous. Animals play a leading role and the work blends together to form a narrative. There’s a moral of the story, one that hints at humans’ relationship with nature with a knowing wink. There is an intuitive wisdom in nature. ~ Casey Roberts
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Two Presidents, One Photographer showcased 56 of Pete Souza’s photographs of two presidents from opposite ends of the political spectrum. This exhibit included Souza’s favorite images of Presidents Obama and Reagan, providing us with candid moments that are windows into their humanity. What we saw in Souza’s photographs are two Presidents who clearly respected the office they held, and genuinely respected the people they interacted with, no matter the circumstance.
White House photographs by Pete Souza. This exhibition was organized by art2art Circulating Exhibitions.
Norwood Viviano’s work is about change. Utilizing digital 3D computer modeling and printing technology in tandem with glass blowing and casting processes, Viviano created work depicting population shifts tied to the dynamic between industry and community. Manufacturing Cities visually modeled how populations move and are modified as a result of industry, creating a 3D lens to view that which is invisible or forgotten. Viviano’s use of blown glass forms and vinyl cut drawings are micro-models of macro changes at the regional, national, and international level.займ hairy girl
How is body language represented, depicted and interpreted? It is readable? Is it natural, affected, subliminal or known? Is it political? Historical? What is it telling us about this contemporary moment? Body Language was an exhibition that explored this form of non-verbal communication through visual representation. It spoke to multiple generations and was indicative of the postures and posturing we see all around us.
This exhibition sponsored by:
In tandem with the Body Language exhibition, dance artist Carolyn Pampalone-Rabbers creatively installed multiple screenings of newly developed dance performances and body movements. Rabbers is a member of Wellspring/Cori Terry & Dancers. She graduated from Western Michigan University with a BFA in Dance and has performed for Coldplay, Omi, Royal Caribbean, Celebrity, Poet Theatricals, The Union Project Dance Company, LACDC, Clairobscur, Vox Lumiere’s Phantom of the Opera, Diavolo EdCo, & Nickerson-Rossi Dance Company.займ без отказа hairy girls
This artlab exhibition explored the evolution of domestic appliances and how they have gradually shaped humans into creatures of comfort. Consisting of sculptural apparatuses connected through the elements and functions of domestic appliances, Yehelena & Michael re-imagined these household object’s place within consumption, preservation, sustainability, and necessity. By altering the functionality of domestic appliances, the tools are turned into metaphors that reflect our dependency on these devices and the desire to break free from their comforting grasp at the same time.займ онлайн займы без отказа
FREE & OPEN TO THE PUBLIC
Curated by Sara Terry and Teun van der Heijden, Aftermath: War is Only Half the Story told the incredibly moving stories of the people left behind after the cameras have moved on from a war zone. Drawing on photographs from over fifty photographers, these personal and often poetic post-war views unveiled not only another side to the devastating effects of war, but also told the stories of people coming together to rebuild and heal. Aftermath: War is Only Half the Story illumines and defines our humanity while giving visibility to those coping with the lingering ramifications of conflict.
The exhibition was a ten-year retrospective of the work of the groundbreaking documentary photography program The Aftermath Project. Founded to help change the way the media covers conflict – and to educate the public about the true cost of war and the real price of peace – The Aftermath Project has discovered some of the most groundbreaking photojournalists in the world – as well as internationally acclaimed photographers Stanley Greene, Nina Berman, Davide Monteleone, Justyna Mielnikiewicz, and Jim Goldberg, among many others – working on post-conflict themes.
The end of war does not mean peace. It is simply the end of war, the end of death and destruction. Every story of war includes a chapter that almost always goes untold – the story of the aftermath, which day by day becomes the prologue of the future. – Sara Terry (Founder of The Aftermath Project)
Aftermath: War Is Only Half the Story originated by The Aftermath Project, Los Angeles, and toured by Curatorial Assistance Traveling Exhibitions, Pasadena, California.
Mandala, Allison Svoboda, 2012.
In this extended exhibition, Allison Svoboda’s ethereal collaged paper mandalas remained on view through February 3, 2019. Svoboda uses ink paintings and fine papers to build delicately layered flower-like shapes that float off the gallery walls. кредит онлайн займы на карту без отказа
Frank Martinez, Blanco y Negro, 2008, mixed media
This exhibition reflected more than twenty-five Cuban artists’ ruminations on the quotidian, social, and political realities of the island and the contemporary world. The island geography and political intensity of Cuba inform the work in a way that is immediately identifiable, often concealing coded, even subversive, ideas while simultaneously celebrating the richness of Cuba’s cultural identity. Peeling away the layers of Cuban art often reveals a story of struggle caused by the US embargo and its economic and political consequences, the social upheaval that a true revolution produces.
Spanning several generations, these contemporary Cuban artists come from an unusual place: a country embargoed by our own because of its socialist revolution. All of the artists in this collection grew up in socialist Cuba, and many graduated from the prestigious Instituto Superior de Arte, built at the beginning of the revolution, Havana’s equally excellent San Alejandro Art Academy or the Escuela Nacional de Arte. Others graduated from local art schools. Despite their disparate backgrounds, aesthetic sensibilities, subject matter, materials, and styles, there is something uniquely Cuban about the art in this collection.
Mid-America Arts Alliance co-organized Arte Cubano with the Center for Cuban Studies (NYC) to synthesize two extraordinary private collections held by Kathy and Marc LeBaron and Karen and Robert Duncan. This exhibition could not have been made possible without their collecting vision and loan generosity. The Center for Cuban Studies opened in 1972 and was organized by a group of scholars, writers, artists, and other professionals, in response to the effects of US policy toward Cuba.
A Program of ExhibitsUSA, a national division of Mid-America Arts Alliance and The National Endowment for the Arts.
David Huffman, Hoop Dreams, 2007, color softground and spitbite aquatint etching; image courtesy of Paulson Fontaine Press, Berkeley, CA
There is no singular way to address the conversation of race and representation in contemporary art. Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press presented fourteen artists who capture the personal narratives and political discourses of African Americans across the country, reflecting a collective experience expressed in uniquely individual ways. This powerful exhibition of figurative and abstract artworks channeled the poetics of human experience from past and present, and boldly presented ideas about history, identity, personal story, and spiritual inspiration.
~ Carrie Lederer, Curator ‘s Statement (excerpt)
Personal to Political: Celebrating the African American Artists of Paulson Fontaine Press was organized by Carrie Lederer, Curator of Exhibitions, Bedford Gallery, Lesher Center for the Arts, Walnut Creek, CA.
Louisiana Bendolph (Gee’s Bend Quilter)
Mary Lee Bendolph (Gee’s Bend Quilter)
Loretta Bennett (Gee’s Bend Quilter)
Samuel Levi Jones
Kerry James Marshall
Loretta Pettway (Gee’s Bend Quilter)
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Since 1996, Krasl Art Center has been celebrating art and community with its Biennial Sculpture Invitational. The Biennial places large-scale contemporary sculpture outdoors throughout the cities of St. Joseph and Benton Harbor, Michigan – along the scenic waterfronts and parks, and integrated throughout urban and artist communities. This special exhibition shows the finest artworks by today’s public artists. It is accessible, engaging and fosters exploration of both fine art and its surroundings.
The 2018 Biennial Sculpture Invitational was supported by civic partnerships with the cities of St. Joseph and Benton Harbor, and cultural collaborations with the New Territory Arts Association and the Box Factory for the Arts.
Bill Boyce (Benton Harbor, MI)
Isaac Duncan, III (Chatanooga, TN)
Albert LaVergne (Paw Paw, MI)
KRASL’S COLLECTION JOINS THE BIENNIAL
As Krasl Art Center’s grounds were under construction summer 2018 as part of its Sculpting Community project, KAC’s permanent collection moved offsite and joined the Biennial Sculpture Invitational in the community. New surroundings for familiar artworks provided fresh contexts, encouraged seeing the works anew, and celebrated over 35 years of collecting sculpture.
As the Sculpting Community project was underway outdoors, Krasl Art Center invited guests of all ages and abilities to participate and enjoy a unique, fun, and playful atmosphere that was far from business-as-usual!
Summertime in the Galleries encouraged visitors to explore aspects of KAC’s new grounds by participating in collaborative art projects, examining sculpture, and reflecting on themselves and public spaces. KAC’s newly designed grounds feature the stunning sculpture Rising Crossing Tides by world-renowned artist Richard Hunt. Before the sculpture was installed in the Fall of 2018, guests experienced its monumental scale and dynamic twists and turns in the galleries via a life-size silhouette. Guests were able to investigate and learn about how public sculptures are made and touch sculpture models on display!
While the Sculpting Community project was under construction on KAC’S grounds in summer 2018, KAC campers created their own exciting construction project in the artlab gallery. Using cardboard and make-do fasteners, campers created buildings, structures, and vehicles that benefit communities of the future. KAC Teaching Artist Keith Stevens helped campers work collaboratively and individually. Once the camp ended on June 30, visitors to KAC had the opportunity to add their own futuristic cardboard creation to the collaborative installation. микрозайм buy viagra online
This exhibition was a tribute to the century-old handmade designs and patterns on textiles that originated in Indonesia and were copied and industrialized by Europeans and exported to Africa. Wandering Spirit: African Wax Prints traced the developmental pathway of the African wax print and told how these fabrics reflect the stories, dreams, and personalities of the people who wore them.
Batik is a Japanese word that refers to a traditional technique of wax-resist dyeing, in which a pattern is made on both sides of cotton fabric with warm liquid wax applied by a tjanting, a small brass cup with a spout. After the wax cools and solidifies, the cloth is dyed with a primary color and the wax is then removed, revealing the pattern where the wax had once been.
The success of the wax prints in Africa is driven by many factors, such as the culture, taste, and desires of African consumers. Clothing in Africa serves an important means of communication, sending secret messages and retelling local proverbs. Clothing also depicts a person’s social status and position, political convictions, ambition, marital status, ethnicity, age, sex, and group affiliations. The names and stories associated with the fabrics differ from country to country and region to region. One fabric may have different names in different countries, depending on the symbolism that the consumer can read in the fabric.
The history of the African wax print is a history paved along colonial trade routes and globalization in the post-colonial era. Though not originally African, these textiles have become ingrained in African culture and society, and loved and identified as their own.