February 26 - April 4, 2013
(galleries will be closed for Spring Break 3/9 - 3/17 and for Easter 3/31)
Tuesday, February 26
Anni Holm Lecture 4:00PM
RM 218 School of Art
Opening Reception for both exhibits in the galleries 5-6PM
THE MERWIN GALLERY
WITHIN THESE WALLS
Erin Anfinson and Sarah Rowland
Erin Anfinson writes, "I have been making paintings in encaustic media for over a decade. My recent work is influenced by environments in flux: narratives of evolution and the human tendency to interfere with the inevitable processes of nature. Since childhood I have been fascinated with understanding “how things work,” specifically the tiny mechanisms and processes that, when compounded, influence major changes in a given environment. For example, several of my past series of works explored broader ecological phenomena such as collapsing honeybee colonies and the unknown consequences of using hormone-disrupting compounds in consumer products. Problems like these are rarely understood immediately and are often fodder for wild speculation and imaginative answers. This space of uncertainty is where I find inspiration for my work. Since the birth of my son in 2008, my definition of “environment” has turned to my immediate surroundings—most specifically, the home. This recent body of encaustic works was made in a playful effort to reflect on the strange beauty of a stubbornly Sisyphean domestic nuisance: dirty laundry. These piles of soiled garments routinely fill the nooks and crannies of my home and represent the ultimate embodiment of an exercise in futility. They are a concrete representation of an evolutionary process and its grotesque nature. Initially, I began photographing the accumulations of dirty towels, socks and underwear in an attempt to capture their spontaneously arranged compositions. They are a constant source of frustration and annoyance, but addressing them every day led to an appreciation for them as an ephemeral documentation of our daily history."
Erin Anfinson is an Associate Professor of Art at Middle Tennessee State University. She received her undergraduate degree from the University of Northern Iowa and and her MFA from the University of Connecticut. Her paintings, encaustic works and stop-motion animations have been exhibited in a variety of local, regional and national exhibitions and publications.
Sarah Rowland is primarily interested in the home as the center of family life: the stage for life’s milestones and mundane routines. In mixed media paintings, drawings and installations, she uses the walls and objects of the home as a site for the accumulation of memory and history. This accumulation includes layering the illusion of interior space, repeating patterns and textures, and creation of positive and negative space. These rooms are sparse yet familiar. This ambiguity reflects the way we bring our own memories of home to where and how we currently live. Ultimately, the home stands as a living history of both presence and absence.
Born in Southern California, Sarah Rowland’s early experiences working with textiles—layering pattern and fabric—inform her image construction. She holds a BA in Art and Art History from Stanford, an MA in Teaching from Chapman University and is completing an MFA in Painting from ASU. Rowland has exhibited work throughout the US, including California, Colorado, Massachusetts, Texas and Arizona.
Anni Holm is a conceptual artist working with photography, installation, performance, and collaborative art. Born in Randers, Denmark, Holm attended Krabbesholm Højskole in Skive before she immigrated to the US in 1999. She graduated with a BFA in photography from Columbia College Chicago 2004. Holm has participated in an artist residency at the Atlantic Center for the Arts in Florida, been a Featured Artist during the Chicago Artists Month (2006) and a Break Out Artist in Newcity (2007). She has performed and exhibited her work at various locations nationally including Ohio University Gallery, Ohio; Waterloo Center for the Arts, Iowa; Minneapolis Institute of Art, Minnesota; Williamsburg Art and Historical Center, New York; Space 301, Alabama; Bridge Art Fair, Miami; Danish Immigrant Museum, IA; along with the Glass Curtain Gallery, Hyde Park Art Center, National Museum of Mexican Arts, Chicago Cultural Center, and the Museum of Contemporary Art, all in Chicago. International exhibitions include the group exhibitions at the Museum of National History at Frederiksborg Castle, Denmark, Hafnarborg Institute of Culture and Fine Art, Iceland, Amos Andersons Konstmuseum, Finland, Ljungbergmuseet, Sweden and Norsk Folkemuseum, Norway. Holm co-founded and organized Art Walks Chicago (2004-2008), an annual public performance art series on the streets of Chicago with former performance partner Nyok-Mei Wong. She also served as the Director & Curator of Orleans Street Gallery (2004-2009), freelance Curatorial Assistant in the Bank of America Photography Collection (2005-2009) and Art Coordinator at Waubonsee Community College (2010-2013) Currently Holm is an Artist in Residence at Durkin Park School through Chicago Arts Partnership in Education (CAPE) and the Director and Curator of People Made Visible, which organize various multimedia art exhibitions including artXposium and an International Artist in Residency in the City of West Chicago, IL where she resides.
Artist Statement: Photo ID (2006 - ongoing) Human depiction in art began as a venue to venerate gods and heroes in the form of painting and sculpture. These publicly displayed works were intended to evoke worship and admiration from their viewers. The next phase of portraiture extended the privilege of depiction to the wealthy as a symbol of status. Portraits and busts were displayed in the vast homes of their sitters and garnered respect from guests and servants alike. In the 19th century, academic genre painters depicted the everyday life of peasants and working class people for the upper class to view in salons and museums. With the advent of photography, portraiture became more accessible and family portraits soon became standard inventory in many homes. Even in the past decade the Internet has vastly increased accessibility to portraits through digital imaging. At the Chicago World's Exhibition in 1893, employees of the fair were required to obtain an employee identification card to prevent admission fraud. As the first authorization to require a picture of the holder attached to the document, it became the first photo ID in history. Today it seems that there is no limit to what identification cards require a photo ID. Looking back at my own as well as my husband's past photo IDs, I became interested in how our haphazard arrangements and appearances in front of the camera stood to identify us over a long period of time. All of these portraits, originally used for the purpose of identification, have since been scanned and enlarged to 40 x 30 inches, printed on canvas and framed in gold wooden frames. Each piece bears the title of its original identification purpose along with the year that it was produced. The elevation of the previously utilitarian item is a nod to the origins of portraiture and attempt to draw attention to the evolution of the genre. The work can be viewed as a study of expressions according to the ID or simply a study of the changes or lack thereof in physical appearance. At last it can also be viewed as to ask, if these images really, besides showing the facial features and often embarrassing awkward poses, reveal our true identity.
For more information please visit: http://www.anniholm.com/
Merwin & Wakeley Galleries
Ames School of Art
Illinois Wesleyan University
6 Ames Plaza West
Bloomington, Illinois 61701
Tuesday evening: 7-9pm
Saturday & Sunday: 1-4pm
ALL EVENTS ARE FREE AND OPEN TO THE PUBLIC.