Visiting Assistant Professor of Art History James Denison will conduct a public lecture from 6 to 7 p.m. Thursday, April 11, at the Kalamazoo Institute of Arts titled “Hogan-Minded: Race and Place in Georgia O’Keeffe’s Southwest.”
Denison will discuss his recently completed dissertation, which argues that past interpretations of O’Keeffe’s New Mexican paintings have obscured her engagement with Southwestern indigenous cultures. He will highlight the influence of tourist contexts and period racial thinking on her work, describing how it relied upon and perpetuated romantic stereotypes about those cultures circulating within interwar New Mexico and the Manhattan avant-garde. Ultimately, her paintings and writings show that she saw the region much as countless others had before: as both deeply informed by the presence and history of its native peoples and as open, empty and ripe for claiming.
Denison, a native of the Washington, D.C., area and a graduate of Bowdoin College, completed his Ph.D. in art history at the University of Michigan. He joined the KIA and Kalamazoo College last summer as the postdoctoral curatorial fellow. The event is presented jointly by KIA and Kalamazoo College.
The lecture is free to attend, but registration is encouraged through the KIA website.
James Denison is a postdoctoral curatorial fellow at the Kalamazoo Institute of Arts and a visiting assistant professor of art history at Kalamazoo College.
Heather Boersma ’89 is the artist behind COVID Purse Diary, which is on display now at the Light Fine Arts Gallery.
A Kalamazoo College alumna who got her start in art as a child by making creations out of everything from McDonald’s containers to acorns, will be the guest of honor in a reception highlighting her recent work at the Light Fine Arts Gallery.
The Department of Art and Art History is presenting COVID Purse Diary, an exhibition by alumna Heather Boersma ’89, from 9 a.m. to 5 p.m. through October 12. In the exhibit, Boersma uses recycled materials and random objects to represent a variety of subjects related to the COVID-19 quarantine. At her reception—from 3:30 to 6 p.m. Thursday, September 22—Boersma will read a few poems related to her visual art at 4 p.m. and 5:30 p.m.
Rather than shopping for a new spring purse in 2020, Boersma started taking longer walks, slower bike rides and collecting natural specimens and discarded artifacts that spoke to her about the shifting values of the world through the quarantine. Baking bread, walking on trails, trying to cut our own hair, hoarding toilet paper and wearing masks became global trends that fascinated her, inspiring her art for the exhibit. She hopes that in years to come people will look at the series and be able to find pieces that they can relate to and be inspired to use art to help process challenging times.
Since studying art and English at K and earning a Master of Fine Arts in creative writing at Western Michigan University, Boersma has taught writing, reading and aesthetic education at WMU and elementary schools throughout Kalamazoo County. She has received multiple grants and awards in Western Michigan shows and at ArtPrize in Grand Rapids. Since the pandemic, she has shifted to creating and she exhibits her artwork full-time in shows and competitions.
The public is invited to the free exhibit and the free reception. No registration is necessary. For more information on her work, visit her website.
Jo-Ann and Robert Stewart Professor of Art Tom Rice is among 25 artists featured in “Points of Return,” an online exhibit dedicated to climate change.
An online art exhibit dedicated to pushing for action against climate change while there’s still hope for the planet features two artists with Kalamazoo College connections.
Jo-Ann and Robert Stewart Professor of Art Tom Rice and alumna Bethany Johnson ’07 were among the 25 international artists chosen from more than 300 entrants for “Points of Return.” The exhibit focuses on the harm humans have caused to the Earth, particularly since the beginning of the Industrial Revolution, while emphasizing there are still multiple paths and approaches that can be taken to restore an environmental balance.
“Points of Return” is presented by A La Luz, which translates from Spanish as “spotlight” or “to shed light on.” The group was founded in 2015 by environmental artists David Cass and Gonzaga Gómez-Cortázar Romero to be a wide-ranging platform for sustainable and environmentally focused creative work. The exhibit unfolds across six sections, defined as viewing rooms, that describe a movement that comes full circle through planetary ecosystems, art disciplines and mediums.
Bethany Johnson ’07, who is featured in “Points of Return,” uses materials such as chipboard, foam, hardboard, paper, plastic, plexiglass, particleboard, plywood and wood in “Safe Keeping,” which deals with material consumption and the resulting pollution, climate change and landfill waste.
“‘Points of Return’ represents artists from many different parts of the world, which is important because climate change is a global issue,” Rice said while calling his selection to the global exhibit an honor. “What we do locally or nationally impacts areas of the world that contribute much less to the climate crisis. The online format of the exhibition ensures that many more people will have the opportunity to spend time with the artwork than if it had been a physical exhibition. Accessibility to information is critical to changing people’s minds and behaviors related to climate-change issues.”
Rice used an Alberta-area oil refinery as the main visual resource for “Precarious Living.”
“I hope that my work will help people be self-reflective and ask questions about the climate crisis,” Rice said. “‘Precarious Living’ is a large-scale drawing installation that poses more questions than it answers. The subject matter is focused on an oil refinery made up of a mass of pipes, upgraders, holding tanks, chimineas and flares that amount to an absurd maze of fragile connections. What is really going on here? How can we comprehend the impact of an industry that is the very foundation of our economy, but threatens our very existence? The drawings have large sections of redacted information. For me, these redacted or negated elements represent both subterfuge by the fossil fuel industries, and our own self-imposed delusion that we can continue burning fossil fuels and that technology will save us. ‘Precarious Living’ is about being at the tipping point of global warming.”
Johnson’s artwork is represented by Moody Gallery in Houston, Texas, and she is an Assistant Professor in the School of Art and Design at Texas State University. Her work in “Points of Return,” titled “Safe Keeping,” deals with material consumption and the resulting pollution, climate change and landfill waste. She feels those are important issues for artists to face given the work they pursue and how they pursue it.
“I think there can be an attitude in the art world that one’s conceptual ideas must be realized by any means possible; that essentially, the scale, media and production methods must inherently follow from the artist’s greater conceptual idea,” Johnson said. “This can lead to an incredible amount of material consumption, energy use, and the utilization of toxic, unsustainable materials within the art world. Under the current conditions of our climate crisis, I feel that the art world is in desperate need of material and energy ethics; that we think seriously about the impacts of our work on the environment, and strive toward artmaking practices that are renewable, environmentally sensitive and even climate positive in their impacts.”
In line with the overall exhibition, Johnson’s display embodies anxiety and hope along with grief and joy as she uses layered materials that are reminiscent of geological core samples, land formations and geological processes. Her materials include paper, plastic, foil food wrappers, aluminum and foam that bring new life to discarded waste.
“I hope to offer an opportunity for discussion and reflection on the issues of human consumption and material waste, while also generating works that are entrancing and poetic, independently from their environmental themes,” Johnson said. “In this way, my goal is for them to contain ‘layers’ of meaning, which hopefully allows them to reach a wide audience in different ways.”
Johnson said she doesn’t blame artists—or any individuals for that matter—for the climate emergency as the problems that contribute to it are systemic, and intrinsic to capitalism, energy systems and powerful corporations. However, individuals must grapple with the results of it.
“This is where I think we can all recapture some power from that system by mindfully adopting ethical, responsible and sustainable models of living and working,” she said. “It can be, at its best, a hopeful, even joyful, act of resistance and psychic repair.”
Johnson feels that individuals who stay politically active can have great power against climate change and environmental problems by acting locally when they act together.
“Much environmental policy and action happens at levels beyond the individual, so voting and getting involved with local and regional politics can be hugely impactful,” she said. “For example, I live in a neighborhood in Austin, Texas, that used to house several environmentally toxic commercial facilities where oil had been leaching into the ground for years. A small group of concerned neighbors spent many years advocating for the cleanup and environmental remediation of these sites, and were eventually successful. The fact that I can live here with a sense of safety for my own health is thanks to a dedicated group of people working on a specific, concrete goal. Both in terms of the actual environmental impact as well as the sense of personal agency that it can create, I think finding a specific, actionable and realistic goal on a local level can have a great impact.”
Rice agrees that the collective actions of individuals are likely to be beneficial.
“Timothy Morton asks in his book Hyperobjects: Philosophy and Ecology After the End of the World, ‘does my driving a Prius or recycling my plastic bottles really help,’” Rice said. “I think the answer is no, of course not, but that doesn’t mean it isn’t important to do those things. I think it was Elizabeth Kolbert in The Sixth Extinction who points out it will take mass social movements to create real change related to the climate crisis. Social change happens a person at a time. Individually, we can’t initiate real change, but we are part of a larger network. What we do individually matters.”
A major grant from the Andrew W. Mellon Foundation will provide new learning opportunities for Kalamazoo College students and faculty seeking solutions to societal problems and promote the critical role of the humanities in social justice work.
The $1.297 million three-year grant will provide funding for the College’s Humanities Integrated Locational Learning (HILL) project, which is building student coursework rooted in K’s commitment to experiential learning and social justice to address issues such as racism, border policing, economic inequities, homelessness and global warming, while examining history, how humans share land, and the dislocations that bring people to a communal space.
The project was envisioned by Associate Professor of English Shanna Salinas (Co-PI), Arcus Center for Social Justice Leadership Assistant Professor of Sociology Francisco Villegas (Co-PI) and Professor of English Bruce Mills. HILL will invite K faculty to build curricula that foreground how power structures produce destabilizing dynamics and the collective response(s) of affected communities through the development of course materials, collaborative faculty-student research and community engagement, the development of program assessments and the sharing of oral histories tied to partnering projects and organizations.
Arcus Center for Social Justice Leadership Assistant Professor of Sociology Francisco Villegas
Each class within the curriculum will fit into one of two cluster programs: the first focuses on hubs outside of Kalamazoo such as New Orleans, St. Louis and San Diego; the second looks within Kalamazoo with themes relevant to the city such as prison reform and abolition, and migrants and refugees. Both cluster programs will contribute to a digital humanities initiative for publishing, archiving and assessing coursework and partnerships. Each will provide opportunities for immersing students in local heritage, cultures, landscapes, opportunities and experiences.
Salinas and Villegas will co-direct the HILL initiative. The three sites outside Kalamazoo—New Orleans, St. Louis and San Diego—were chosen for their current or historical dispersion of people from their homeland, as well as dislocated communities with strong histories of social justice movements. About 15 to 20 students at a time will go to those cities to further their experiential learning. Salinas added that faculty and students will first put in research and legwork related to their collaborative partnerships with a year of concentrated work. Then, by about December 2022, they will be ready to conduct in-person learning, first in New Orleans.
Professor of English Bruce Mills
In addition to co-directing the project, Salinas will also serve as the curriculum coordinator for New Orleans. “We hope that students will develop an understanding of place as a living entity with a storied history and people who are a part of that location,” Salinas said. “We want students to learn what it means to be a part of a particular place. We want them to contend with histories, and meet the residents and people who inhabit the spaces we study with a real sense of generosity and purpose. We want to change students’ understanding about how they approach space and operate within it.”
Villegas plans to build on his strong connections within Kalamazoo County in leading the cluster focused on issues inside Kalamazoo. As a member of an exploratory taskforce (and now advisory board chair), he helped Kalamazoo County launch a community ID program in 2018, allowing residents, including those otherwise unable to get a state ID, to obtain a county ID.
“I think the grant speaks to the Mellon Foundation seeing promise in the kind of work we are imagining,” Villegas said. “It’s encouraging that they are willing to invest so greatly in such a project. They’re also recognizing the ethics of the project. They’re trusting that we’re going to engage with cities, including our home city, with a sense of respect and with a recognition of furthering community agendas already in place rather than imposing our understandings to other spaces. Most importantly, we’re invested in thinking about how students can consider the humanities in these projects as a way of producing nuanced understandings toward addressing very big problems.”
Mills will lead the digital humanities portion of the initiative. He noted that one measure of success for participating faculty will be how HILL shows the enduring dimensions of its partnerships with the digital project playing a large role.
“When you create classes, writing projects, oral histories or collaborate on community projects, these efforts often get lost when they just go into a file or a paper or are not passed along in local memory,” Mills said. “The digital humanities hub is an essential part of this initiative because faculty, students and city partners will have a site for a collective work to be published or presented. Community members will have access to it. That means the work being done will not disappear.”
Associate Professor of Music Beau Bothwell
Associate Professor of Anthropology and Sociology Espelencia Baptiste
Professor of Art and Art History Christine Hahn
In addition to Salinas, Villegas and Mills, Associate Professor of Music Beau Bothwell and Professor of Art and Art History Christine Hahn will be curriculum coordinators for St. Louis and San Diego respectively. The first four courses that will be offered in the HILL project are Advanced Literary Studies (Salinas, English); Missionaries to Pilgrims: Diasporic Returns (Associate Professor Espelencia Baptiste, Anthropology and Sociology); The World Through New Orleans (Bothwell, Music); and Architecture Urbanism Identity (Hahn, Art and Art History).
The Mellon Foundation’s grant to K is one of 12 being issued to liberal arts colleges as a part of the organization’s Humanities for All Times initiative, which was created to support curriculum that demonstrates real-world applications to social justice pursuits and objectives.
“Kalamazoo College’s commitment to social justice is most profoundly realized through students’ opportunities to connect the theoretical with hands-on work happening in our communities,” Kalamazoo College President Jorge G. Gonzalez said. “We’re grateful for the Mellon Foundation’s generous support, which will enable us to build on our foundation of experiential education and demonstrate to our students how the humanities have a practical role in fostering positive social change.”
The Mellon Foundation notes that humanities thought and scholarship efforts influence developments in the social world. However, there’s been a sharp decline in undergraduate humanities study and degree recipients nationwide over the past decade despite students’ marked interest in social justice issues. The initiative targets higher student participation in the humanities and social justice while building their skills in diagnosing cultural conditions that impede a just and equitable society.
“The Humanities for All Times initiative underscores that it’s not only critical to show students that the humanities improve the quality of their everyday lives, but also that they are a crucial tool in efforts to bring about meaningful progressive change in the world,” said Phillip Brian Harper, the Mellon Foundation’s higher learning program director. “We are thrilled to support this work at liberal arts colleges across the country. Given their unequivocal commitment to humanities-based knowledge, and their close ties to the local communities in which such knowledge can be put to immediate productive use, we know that these schools are perfectly positioned to take on this important work.”
Anicka Yi’s “Force Majeure,” 2017, is made out of Plexiglas, aluminum, agar, bacteria, refrigeration system, LED lights, glass, epoxy resin, powder-coated stainless steel, light bulbs, digital clocks, silicone and silk flowers. Yi has created art containing olfactory effects.
An Asian American conceptual artist whose work includes a mix of fragrance, cuisine and science along with collaborations with biologists and chemists will be the subject of a Kalamazoo College faculty member’s presentation at noon on December 7 at the Kalamazoo Institute of Arts.
Visiting Assistant Professor of Art and Art History Eunice Uhm will discuss Anicka Yi, a Korean American artist, who has created memorable works of art that have famously contained olfactory effects. Uhm’s presentation will analyze how Yi’s work transgresses the boundaries that are established and sustained by the conventions of Western aesthetics to investigate the racialized and gendered politics of space. The presentation considers the deodorization of the museum in the context of a larger cultural and political process of deodorization in the U.S. that simultaneously excludes smell from aesthetic judgments and establishes aromatic phenomena to be “non-Western” or primitive.
Born in 1971 in Seoul, Yi began working as an artist about 15 years ago after a career in fashion. Yi’s work has won her top honors, including the Guggenheim Museum’s $100,000 Hugo Boss Prize in 2016, which included an exhibition there the next year. Yi’s work elicits visceral sensorial responses in the visitor, demonstrating the subversive aesthetic possibilities of smell to underscore and negotiate biopolitics of race and gender.
Uhm, who serves as a postdoctoral curatorial fellow at K and the Kalamazoo Institute of Arts, specializes in modern and contemporary art, with a transnational focus on the United States and East Asia. Her work examines the conditions of migration and the diasporic aesthetic subjectivities in the works of contemporary Japanese and South Korean art from the 1960s to the present. She has previously taught courses on modern and contemporary art, East Asian art, and Asian American studies at Ohio State University. She has organized panels and presented her work on Asian American art at national conferences.
Padlet is a colorful online system of boards, documents and web pages, which has been convenient for art classes in distance learning.
In examining how Kalamazoo College students, faculty and staff have adjusted to distance learning this spring, it’s easy to see the community’s ingenuity in shifting from in-person instruction.
For example, if it’s true that art imitates life, what is an art professor to do when distance learning forces a college’s classes online? If you’re Sarah Lindley, the Arcus Center of Social Justice Leadership Professor of Art, you paint plans that provide students with the personal interaction they expect, sculpt activities they can do at home with common household materials, and craft an environment that stimulates creativity in technology.
Padlet has been a convenient tool in distance learning for World Pottery, a class that introduces a variety of clay-forming techniques and historical perspectives.
Lindley this term is teaching World Pottery, a sophomore seminar ceramics class, and Mold Processes, an intermediate sculpture class for juniors. The first requires student research and reflection in a class that introduces a variety of clay-forming techniques and historical perspectives. The intermediate class uses mixed media casting processes to develop the more advanced body of work expected of art majors.
The sophomore seminar’s technology is Padlet, a colorful and easy-to-populate online system of boards, documents and web pages that looks a lot like many social media platforms, especially Pinterest. The format allows an asynchronous course model where students view instructions through mediums such as video and submit their projects before meeting individually with Lindley.
Arcus Center of Social Justice Leadership Professor of Art Sarah Lindley provided video through Padlet of how to create a pinch pot at home when a special guest made a cameo appearance.
Their first project involved creating pinch pots with paper and egg whites in an activity like papier-mâché. A second assignment asked students to stack objects from around the house, look at their curves and see how they might emulate pottery.
The juniors also utilize virtual classroom technology, including the use of Microsoft Teams, a collaborative platform that combines chat, video meetings, file storage and more to allow for regular face-to-face exchanges. Lindley wants her advanced students to build confidence for creating art under any circumstances and learn they can start a project from nothing. Lindley added creating something from nothing can feel like one of the hardest things to do and developing that skill will help her students for the rest of their lives.
“A lot of what we are doing this term is creative problem solving,” Lindley said. “Course planning is creative problem solving. This is just a more extreme version than we are used to. I’m also hearing from a lot of students that they really appreciate a curriculum that acknowledges different learning styles.”
So, given the term in distance learning, how does Lindley measure the success of her teaching methods this term?
“I look for indications of depth of learning in lots of little ways—an unanswered question someone raises in a reflection paper, a connection to contemporary pop culture in a presentation on historical objects from a distant past, or an “aha” exclamation in a one on one virtual chat,” Lindley said.
“My goal would be for everyone to participate in each activity this term,” she added. “The students still have rubrics, but students would have to persistently not respond to assignment prompts and feedback not to pass. So far the quality of work has been pretty good to great.”
ARTifact, fueled through K students serving as civic-engagement scholars, is a weekly studio-workshop series for high school students interested in visual art and social justice, while otherwise having limited access to art instruction. The culmination of the ARTifact workshops for the academic year came in an exhibit at the June 7 Art Hop.
When artists create, they express a piece of themselves. Art, therefore, can provide an outlet for underrepresented people to communicate their feelings, struggles and realities with those who will listen. That makes ARTifact, a program offered through Kalamazoo College’s Center for Civic Engagement (CCE), an empowering resource.
ARTifact, fueled through K students serving as civic-engagement scholars, is a weekly studio-workshop series for high school students interested in visual art and social justice, while otherwise having limited access to art instruction. The program creates a space in which participants communicate about complex social issues and express their identities through art.
The program, including the cost of materials, is offered at no cost to participants thanks to the CCE. Since its founding, the CCE has provided service-learning courses, research opportunities, internships, and student-led programs, engaging more than 10,000 K students in partnerships that foster academic learning, critical problem-solving and a lifetime of civic engagement. Through the CCE, students, faculty and staff have worked with thousands of community residents, more than 50 organizations, and in more than 30 community-based courses across K’s academic disciplines.
The CCE employs 25 civic-engagement scholars including Angela Pastor ’21 who are student leaders facilitating programs with community partners in which they and their peers learn from communities. The scholars are supported by generous endowments and grants.
The culmination of the ARTifact workshops for the academic year came in an exhibit at the June 7 Art Hop, a fun evening of art exhibits and events in and around Kalamazoo, sponsored by Arts Council Kalamazoo, that takes place during the first weekend of every month. ARTifact’s exhibit during Art Hop was stationed at the Park Trades Center, a former manufacturing facility on West Kalamazoo Avenue that houses a creative community of more than 100 designers, entrepreneurs and small business representatives.
The ARTifact workshops gathered participants for three hours every Saturday, where they created art, physically crafted their displays and created advertising posters before spreading word of its Art Hop show.
“It’s an honor to be able to provide this experience,” said Pastor ’21 of Los Angeles, a Posse student at K who also benefited from participating in a similar experience as a high school student. “When I went through it, it taught me a lot about what I could create. I know high school is a time for questioning for a lot of people. Art, I think, is a way to figure out yourself.”
Pastor said she enjoyed ARTifact week to week, although long term success would mean expanding the program to more high school students by getting more K students to volunteer. That would also mean realizing ARTifact’s full potential.
“I know some of the high school students explore their identity through sexuality or mental health,” Pastor said. “It’s a way to use art as a tool that educates and helps students explore their identity. It can be used to support their social justice issues and anything they’re passionate about. There was one workshop where we used only recycled materials. We also talked about what makes art worthy of being exhibited and we questioned what art is and what it can be. It makes me feel proud (the high school students) were able to learn about art and have all these experiences.”
Mattie Del Toro ’20 is a student worker for Residential Life, which has updated its suggestions for students regarding what to bring to campus this fall.
When Mattie Del Toro ’20 reflects on choosing Kalamazoo College, she remembers an experience brought to her by the letter K.
As a high school senior, Del Toro attended a Colleges That Change Lives fair near her hometown of Albuquerque, New Mexico, where a good friend had been looking into Knox College. Next to the Knox table, among the Ks and in alphabetical order, was Kalamazoo College.
“I remember thinking, ‘Is (Kalamazoo) the name of a city from a Dr. Seuss book? There’s no way that’s a real place,’ ” says Del Toro, a business and art history major and studio art minor. “I thought if anything it had to be a college named after someone rather than the name of a city.”
“I fell in love with the campus,” says Del Toro, who ended up enrolling at K. “I graduated with a high school class of 50, and when I saw how small and intimate the school is, I was sold. I received a great financial aid offer that made it about the same in terms of affordability as the University of New Mexico, and it was a chance to go across the country for the whole liberal arts experience.”
Del Toro is now a student worker for Residential Life, which has updated its suggestions regarding what to bring to campus for fall. Based on her experiences, as a first-year student living in Trowbridge Hall and as a resident assistant at Harmon Hall, here’s what Del Toro suggests.
Talk with Your Roommate About What to Bring to Campus
K students living on campus this fall should already have received their room assignment with their roommate’s name and kzoo.edu email address. Del Toro suggests contacting your roommate to arrange who will bring what, especially if at least one of you is coming from a considerable distance.
Mattie Del Toro ’20 advises that first-year students consider making their rooms as homey as possible in thinking about what to bring to campus. Items such as dry-erase boards can help students feel more at home.
Del Toro, for example, arrived in Kalamazoo for her first year by plane with her mom and then-boyfriend, now fiancé, bringing Del Toro’s belongings in a total of nine suitcases. Appliances, for example, weren’t an option for her.
“What you bring might depend on whether you’re from Michigan or someplace farther,” she said, adding that a roommate brought a microwave, curtains and mini-fridge, which she was happy to stock with food.
Shop for What You Can in Kalamazoo
Nine suitcases might not sound like much for transporting everything someone might need for an entire term. Del Toro, however, admits she packed too much and advises that less is more.
“When I left for fall, I packed stuff that I took home during winter break,” Del Toro said. Those items included several blankets and some heavy winter gear after she realized she only needed some long-sleeve shirts, jeans and jackets for the crisp weather that arrives late in the fall term.
When those items and other bulky items are necessary, shop for them in Kalamazoo or place online orders from your hometown and pick them up in Kalamazoo. Del Toro says to consider items such as mattress pads, shower caddies and “items that Mom would normally provide,” such as cleaning supplies and laundry detergent.
Preview Your Room Space
Residential Life doesn’t keep floor-plan measurements for specific rooms. Del Toro, however, advises that students look at pictures of residence hall rooms in K’s virtual tour to estimate their potential floor space. Those visuals should provide ideas as to where students can put items such as small cabinets and bins.
“You get a closet and drawers, but it’s beneficial to have bins and totes of your own as well,” Del Toro said. “I quickly realized I didn’t have the surface area I needed for certain items, and the virtual tour would’ve helped me plan better.”
Make Your Room Your Home
Del Toro says that on a residential campus such as K’s, it’s important that students make their residence hall room their home.
Items such as rugs, pictures of family and friends, twinkle lights suspended through adhesive hooks, and small pieces of furniture negotiated with roommates can ward off homesickness and make your room feel like an owned space.
“I didn’t want to get so comfortable in my space that I disrespected my roommate,” she said. “But any home goods can give you more than a brick wall, a desk and a bed,” allowing for greater comfort.
If you visit ArtPrize in Grand Rapids, be sure to check out three entries from artists with Kalamazoo College connections. Help Desk Administrator Russell Cooper ’89, Web Services Director Carolyn Zinn ’82 and Visiting Assistant Professor of Art Firth MacMillan all are participating.
Russell Cooper is competing in ArtPrize for the sixth time. His art shows a black-and-white image of his daughter holding an oval frame at a playground. That frame is reflecting a color image of Violette on a swing.
Cooper is competing for a sixth time at ArtPrize, the event touted by organizers as the world’s most-attended public art event. His two-dimensional work again features his daughter, Violette, although the end result reflects inspirations from photographers and artists who create optical illusions, and the Persian Poet Rumi, who said: “There is a life-force within your soul, seek that life. There is a gem in the mountain of your body, seek that mine. O traveler, if you are in search of that, don’t look outside, look inside yourself and seek that.”
Cooper’s art shows a black-and-white image of his daughter holding an oval frame at a playground. That frame is reflecting a color image of Violette on a swing. The final product is on display at PaLatte Coffee and Art, 150 Fulton St. E.
Zinn is entering ArtPrize for the first time. Her quilt – which is an image of her daughter, Kirsten, that uses 480 hexagons and 60 commercial fabric prints – was designed through a technique called English paper piecing. She said the technique involves wrapping paper shapes in fabric and then stitching the fabric by hand with a thread and needle. The paper is removed before the quilt layers are stacked and topstitched.
Carolyn Zinn’s quilt is an image of her daughter, Kirsten, that uses 480 hexagons and 60 commercial fabric prints.
Zinn added she has been sewing her entire life, although she became fascinated with geometry and the color of traditional Amish quilts when she was a teenager. She made a quilt for the first time when she was a student at K and living in DeWaters Hall. In recent years, Zinn has become involved in art quilting, focusing on original design and nontraditional materials and methods.
“I believe fiber art is an underrepresented medium in the art world,” she said. “By entering my work in this open competition, I hope to raise awareness of the medium and inspire others who work with fiber to continue challenging the boundaries of art, craft and design.”
Zinn’s quilt is on display at the Gerald R. Ford Presidential Museum, 303 Pearl St. NW.
MacMillan has been teaching ceramics and sculpture since coming to K from The University of Colorado-Boulder in 2016.
MacMillan became familiar with ArtPrize while living in New York City through art critic Jerry Saltz. When she returned to Michigan, where she attended high school and college, she took her K sculpture class to ArtPrize, and decided that she should enter this year. Her work is being displayed at the U.S. Post Office at 120 Monroe Center St. NW.
MacMillan’s father, a photography enthusiast, was among the first to inspire her to become an artist. “He helped me learn to frame the world outside through the viewfinder,” MacMillan said.
Firth MacMillan’s sculptures, including the pieces presented at ArtPrize, are often three-dimensional representations derived from her photographs.
In fact, her sculptures – including the pieces presented at ArtPrize – are often three-dimensional representations derived from her photographs.
“In my work I reinterpret experiences of pointed yet everyday moments from life like the play of shadows from sunlight filtering through a canopy of trees,” MacMillan said on the ArtPrize Web page showing her work. “I take these ephemeral moments and translate them into three-dimensional form.”
First-round voting continues at ArtPrize through Sept. 30. Anyone attending ArtPrize can vote in the first round for their favorite artist or artwork to win a share of a half-million dollars in cash and prizes. Public attendees vote through their computers after they register onsite or through the mobile app while visiting the ArtPrize district. Mobile app users need to tap the “thumbs up” icon after entering an artist’s five-digit code. Computer voters tap the “thumbs up” icon at each artist’s profile. The five-digit codes are 64719, 64662 and 66515 for Cooper, Zinn and MacMillan respectively.
ArtPrize runs through Oct. 8. Learn more about the event.
Artist Julie Mehretu ’92, of New York City, has worked for the past 14 months at a deconsecrated Harlem church on two towering paintings measuring 27 feet by 32 feet that required a scissor lift to develop.
Since graduating from K with a degree in art and art history, Mehretu has become one of the leading contemporary artists in the United States. She has received international accolades for her work, with her honors including the American Art Award from the Whitney Museum of American Art and the prestigious MacArthur Fellow award.
Mehretu recently shared a testimonial of the liberal arts including her Kalamazoo College experience with the Council for Independent Colleges.
“The liberal arts experience gives you the opportunity to learn, to fail, to succeed, to really find out who you are,” she said. “When I reflect on how my artistic work has progressed, I think of those early years at Kalamazoo College. My artistic process takes both intense thought and impulse. Balancing this has taken time and evolved over the years. It happens in all kinds of different ways. I’m making all these decisions, determining one thing at a time, and not even so much determining as understanding. I think that’s what Kalamazoo College was for me: a place to begin to understand.”
The final products of her latest efforts will be on display at the San Francisco museum for more than three years beginning Sept. 2. Read more and take a sneak peek of the paintings at the New York Times and Architectural Digest websites. The San Francisco Museum of Modern Art also has a news release at its website.
