In Celebration of the 23rd Annual Lotta Art Benefit Event on Saturday, November 7th, School 33 Art Center and BmoreArt Present the Work of Twelve Featured Artists
It has been School 33 Art Center’s longtime passionate goal to provide opportunities that assist in nurturing the careers and art practices of contemporary artists working in the Baltimore region and beyond. It is in this spirit that we have chosen to present the work of twelve featured Baltimore artists in the lead up to the annual Lotta Art fundraising event.
Each of these talented artists has a singular dedication to their studio practice, and has generously donated a work of art to this year’s Lotta Art event. We hope that their work, and that of the over 100 additional artists who donated to this year’s Lotta Art, will inspire you as much as it has inspired us!
Exhibitions Manager, School 33 Art Center
“I make drawings, and drawing installations based on my explorations of and encounters with the city. Often working outside or in my car, I scan the landscape for found fragments of language, recording the poetics of built structures and the communities they frame and contain. Using ink and other water media on paper, I often piece fragments together in a cumulative manner, not unlike the way the urban landscape is collectively authored over time. My drawing installations expand upon these explorations- utilizing my paintings of found landscape elements as raw material, I collage directly onto built armatures as well as the surfaces of the gallery. I further animate the imagery with lighting, resulting in an immersive simulacrum of the city.”
Visit Amanda on the web: http://amandaburnham.com
Biography: Amanda Burnham (born Toledo, Ohio, 1979) makes drawings and installations based on her explorations and encounters with the city. Her work has been exhibited widely; venues include the Volta Art Fair (Basel, Switzerland), Halle Nord (Geneva, Switzerland), the Delaware Center for Contemporary Art, the Aldrich Museum of Contemporary Art, the Toledo Museum of Art, The American University Art Museum (DC), the Urban Institute of Contemporary Art, the Cranbrook Institute of Art, Benrimon Contemporary (NYC), Bridge Gallery (NYC), Christina Ray Gallery (NYC), Dorsch Gallery (Miami), and GV/AS Gallery (Brooklyn, NY), as well as numerous other venues nationally and internationally. She was one of Mera Rubell’s selections for The Washington Project for the Art’s SELECT 2014 exhibition hosted at Marianne Boesky Gallery in NYC and Artisphere. She has been the recipient of a Rubys Grant from the Greater Baltimore Cultural Alliance, Individual Artist Awards from the Maryland State Arts Council in 2010 and 2013, a Mayor’s Art Award via the Creative Baltimore Fund in 2014, and was named a Sondheim Art Prize semifinalist in 2012, 2013, and 2014. In spring 2015 she was a resident fellow at the Embassy of Foreign Artists in Geneva, Switzerland. In summer 2016, she will be a resident at the Swatch Art Peace Hotel in Shanghai, China. A graduate of Harvard University (BA) and Yale University (MFA). Burnham lives and works in Baltimore, MD, USA, where she is currently an Associate Professor at Towson University.
“I enjoy making drawings and paintings about subjects that I find entertaining. During the process of making, or upon the completion of my pieces, I like to get my friends involved, or share them with friends and strangers. Most recently have been making things that appear in my drawing and paintings into actual objects.”
Visit Andrew on the web: http://www.teenandrewliang.com
Biography: Andrew Liang was born in Taichung, Taiwan and moved with his family to Dallas, Texas at age 13. Andrew moved to Baltimore, Maryland to attend the Maryland Institute College of Art where he currently works as an Exhibitions Preparator, continuing his studio practice during moonlight hours. Aside from studio pursuits, Andrew co-directs an artist-run art space, Current Space, with his dear friends Monique Crabb and Michael Benevento. Collaborative projects, traveling, listening to music, and eating food with his friends are the core inspiration of his art.
“I was a messy and unencumbered child: rolling down grassy hills, building backyard forts, and drawing, with permission, on the expansive walls of the attic playroom. I still act on this innate proclivity for play while creating my work and answering the question, “What can I do with this?”
I feverishly collect any material that bears a compelling shape, texture, color, history or potential. Much of my collection is disposable, lowbrow or easily overlooked. For example, scraps of old drawings and sculptures, amateur photographs, Styrofoam packaging, Popsicle sticks, wine corks, and take-out sushi “grass” fill boxes and bins in my studio. The residue, or marks left behind, refer to a performed action, and indicate the passing of time. Process and content collide through the act of gathering, fiddling, and rendering these leftovers as “special” in the form of painting, drawing, collage, and sculptural miniatures.
I manipulate the collected visual and tactile information to create abstracted three-dimensional structures or characters, and two-dimensional fractured spaces. The mediums rely on each other, and the processes allow a new identity to surface within the materials. As a result, a novel story and irregular landscape materialize, scrappy, determined, and yet precariously balanced. Layers of collected imagery pile on top of one another, quietly asking to be peeled back, while partially concealing moments that are full of whimsy and peculiarity.”
Visit Catherine on the web at http://catherinedoconnell.com
Biography: Catherine O’Connell is a visual artist working in painting, drawing, collage, and sculptural installation in Baltimore, Maryland. Catherine builds abstracted tales with two and three-dimensional fragments which reference interactions with space, both existing and invented. She earned her MFA in Interdisciplinary Studio Art from the Maryland Institute College of Art. Catherine has participated in solo and group exhibitions at various galleries including LGTripp Gallery and Gallery Siano in Philadelphia, PA; Arlington Arts Center in Arlington, VA; Gallery CA in Baltimore, MD; Sunshine Art and Design in Lancaster, PA; and participated in the SELECT Contemporary Art Fair in Miami, FL. She was a former Artist-in-Residence at St. Mary’s College of Maryland and her work has been recognized in Baltimore Magazine and Studio Visit Magazine.
“I spent the first six years of my life in a paradise of thick greens and fruiting trees before emigrating to the United States. Having left my home country at a formative age I am what has been coined a Third Culture Kid, a displaced young person who developed the faculty to embody and move through multiple cultures at once. First is my Mexican culture, colorful even when doleful, second is my American culture, strategic and confident, and third is the amalgamation of the two: Hoesy.
As an artist, thinker and curator I believe and perform a practice whose core mission responds to and catalogues the history of my time here on earth. When I engage in the process of ‘making’ I do so to create a record of my experiences interacting within the world around me. I choose to work in a variety of time and object based mediums and can move swiftly from painting to performance. I utilize a cumulative process, often collecting found materials that I am drawn to over the course of weeks or months. In my most recent body of work I present new insight into the archetype of ‘The Scapegoat’. In this series, I use thread and wire to bind found materials together to achieve my desired other-worldly forms before sealing them with resin. My goal is to create compelling situations/objects that abruptly awake an unsuspecting viewer/participant.
Conceptually I embody multiplicity, and work with transformation in order to compel the viewer to deconstruct the artwork in front of them in relation to themselves. In the process of deconstruction, questions of identity, history, sexuality and otherness are revealed in my work, providing potential for understanding the self, the object and our role in civil society.”
Visit Hoesy on the web at http://hoesycorona.com
Landscape(goats). Chairs, marionettes, and other found materials, thread, wire, bones, fur, ribbon, shellac, medium, resin. Featured in the Janet and Walter Sondheim Prize Semi-Final Exhibition, 2015.
Biography: Hoesy Corona (B. 1986) is a multidisciplinary artist living and working in Baltimore, MD. Corona’s multimedia approach explores both time and object based art making processes. His colorful sculptural and performance based works are created as new myths, telling the story of those who exist on the margins of society and have been historically under attack. Corona has shown compelling works and inventive sculptures fitted to the human body at The Baltimore Museum of Art (Baltimore, MD 2011, 2012, 2014), Songs for Presidents Gallery ( Queens, NY, 2015), Gallery CA (Baltimore, MD; 2015), Decker Gallery (Baltimore, MD, 2015), Delicious Spectacle (Washington, DC; 2014), The Brooklyn International Performance Art Festival (Brooklyn, NY; 2013), The Fine Arts Work Center (Provincetown, MA; 2014), VisArts (Rockville, MD; 2013), and The Creative Alliance (Baltimore, MD; 2014) among others.
Corona is the Founding co-Director of Labbodies performance art laboratory. His curatorial efforts include: Borders Boundaries and Barricades, a performance art review at Gallery CA, Baltimore, MD, 2015 ; Fast Forward Future at the Baltimore Museum of Art, 2014; Over|Under Limbo at Baltimore’s Transmodern Festival, 2014; Rooms Play and Rooms Play 2, The Copycat Theatre, The Whole Gallery, and Current Space, Baltimore, MD 2010, 2011. Recent honors include: In 2015, The Fine Arts Work Center Award, The Pelham Printmaking Artist Residency, Sondheim Prize Semi-Finals. In 2014, Hoesy received an Archie D. and Bertha H. Walker Foundation award. In 2013, a Maryland State Arts Council Individual Artist Award, SemiFinalist for the Janet and Walter Sondheim Prize and a presenting member of the Maryland Art Place series “30 UNDER 30”. In 2011 Corona received a B-Grant for his efforts with The Copycat Theatre.
The Dreamer, The Writer and The Philosopher: A conversation with The Thinker
Durational performance: cellophane, plastic, holographic paper, ribbon, stickers, found materials, tape. Performed in 2014 at The Baltimore Museum of Art.
“My work opens up a dialogue about the increasingly open presence of lesbian couples in contemporary society, and the lack of their presence in the history of Western art.
I make paintings that are full of symbolic complexity and social relevance while also portraying women who are confident in their own sexuality. By way of translating my own biography into a sort of composed fiction, I create works that present the viewer with images of intimate relationships between women, acknowledging and emphasizing the female gaze.
I seek to overturn the ownership of the erotic gaze by empowering the female gaze in representative portraiture and narrative. My work portrays lesbian women who present the image of the tomboy, the femme, and the gender-neutral. I attempt to validate the presence of dynamic, complex, sensual, sexual and loving relationships between women, making them less taboo. My work aims to create a visual history of identity that is deeply personal, distinctly “other” and yet familiar.”
Visit Joan on the web at http://joancoxart.com
Biography: Joan Cox is a Baltimore native and a painter, photographer, graphic designer and writer. She earned her MFA from the Massachusetts College of Art low-residency MFA program at the Fine Arts Work Center in Provincetown, where she discovered a love for printmaking. Cox received a BFA in Painting from Towson University in Baltimore, Maryland in 1991. She has created many different bodies of work, exploring new mediums and exhibiting steadily. She began as a watercolor-based figurative painter, experimented with digital media and collage-based paintings, and then transitioned into large oil and acrylic paintings. Her consistent subject is the figure, both actual and implied. Her current concentration centers upon watercolor monotypes that present images of women in intimate relationships.
Joan Cox is currently a visiting artist at Towson University in the Printmaking department.
“My recent series, pOm•pOurri is a medley of fuzzy and colorful creatures that explore the idea of play as a conversation for human connection. Fluffy, decorative, and used for positive affirmations, the pOm•pOm is an object that brings crowds of strangers together in cheers and applause. Structurally, it is made up of hundreds of yarns held together by a single thread. Playtime objects from craft kits and gym class games are used to encourage audience participation! Finding the ties within comfort and community, the pOm•pOm is a metaphor for being part of a whole. Part wonder, part whim, all good vibes.”
(Header Image by Karyn Lao)
Visit Karyn on the web at http://www.karynlao.com
Biography: Karyn Lao is a multimedia artist whose work includes interactive performances, quirky inflatable installations and whimsical illustrations with a community based practice. Originally from New Jersey, Karyn received a BFA in Fiber at the Maryland Institute College of Art in Baltimore, Maryland. Combining her interest in soft circuitry and crafty techniques, Karyn’s work examines human connectivity through color, materiality, environments, and play. She is currently serving the 2015-2016 year as an AmeriCorps member for MICA’s Community Art Collaborative.
“My work is figurative and self-reflective. The figures, or in some cases, characters are derived from self-exploration and intuitional directives. I’ve been casting models for over 30 years and recently, I’ve been using these sculptures to present my study in gender and body exploration. I am curious about my own gender fluidity, and hope to present this by using models that explore gender identity and its complexities through masculine and feminine expression. My paintings are a more direct spiritual journey exploring relationships, memories and dreams. As I paint, I never know in what direction each painting will evolve, trusting my intuition as I make each mark. As a painting progresses, I begin to recognize a figure or a story.”
Visit Lania on the web at http://dagostinostudios.com
Resin, cardboard, faux fur, string, oil, acrylic, charcoal
Biography: Lania D’Agostino (b. 1957, Bridgeman, MI) received an A.A. from Lakeshore Community College, where she developed her interest in life casting and sculpture. In 1982 she moved to Baltimore, Maryland to continue her studies at the Maryland Institute, College of Art, receiving her BFA in 1985. After finishing her studies she took over the business- Mannequin Service Company, where she honed her life casting skills, changing the direction of her business to create custom cast figures for the museum & movie industry. The renamed D’Agostino studios has done work for Lucas Films, The Smithsonian, the Barbican Museum and the Kyoto Museum. During this time, D’Agostino began building her reputation as a painter, Creating images of “characters” that are derived from an intuitive process utilizing bright colors, balanced with a darkness which creates a soulful outcome. As an artist, D’Agostino utilizes her life cast skills in her study of masculine and feminine aspects of gender and the body. As part of this study she has cast transgender people through their transitions, showing the changes in the body through the use of hormones and surgery.
Lauren Frances Adams
“Our generation arrived after the utopia had been accomplished, after the cooling off of the nuclear explosion. Radioactive fallout has descended, and we have rediscovered ourselves in a post‐utopian world. It is our task to describe the state of mankind, of the world and of our own psyche in this post‐utopian world.” ‐‐Ilya Kabakov
At the core of my work are critical explorations of labor and class in visual culture. I draw heavily upon the historical decorative arts to find contradictions within the contexts from which they originated. In my work, objects such as wallpaper patterns, ceramics, and paintings do not simply reflect the mood of a given culture, but are also tools for critique.
Alongside painting and mixed-media installations, I use domestic materials in my research on the construction of political identity. These ubiquitous yet formative objects are of great interest to me—particularly repetitive patterns, which I utilize as both surface background noise and as a site for visualizing crisis and conflict. In these patterns, I alter and manipulate both the images they depict and the notions of authoritative taste they promote. I enact the theater of domesticity to explore the legacy of colonialism and the visual culture of our post-colonial era.
Previous works, such as the Domestic Disturbances series, pictured French toile as the vehicle for social and political commentary while visualizing the military industrial complex post-9/11. Chinoiserie (Labor Protest Histories) features vintage wallpaper with hand-painted interventions of early 20th c. textile workers striking. We the People at the EXPO Chicago art fair solo booth in 2012 was an interactive project where I invited the public to hand-paint their own protest slogans, displayed amongst a patterned variety of other slogans from both Occupy Wall Street and Tea Party political protests.
The Lost Colony Project relates to the Elizabethan age of exploration and the colonization of the New World. My aim is to alter contradictions into uneasy reconciliations. I employ visual humor as a form of resistance. Strategies of appropriation and historic archival research are at the core of my practice. I am particularly drawn to representations that explore social and political struggles. My work has been said to ‘use culture against itself,’ highlighting the exhaustion of grand narratives in the contemporary global context.
My most recent project is an ongoing series of small works on paper entitled Decorum, an incomplete but growing index of the histories of enslaved people from antiquity to the present. Decorative and textual sources trace the complex structures that surround labor and power inequalities. My sources are frequently found in museum collections, where the museum acts as both witness and author. Archival remnants of slave narratives, ornament, and my own personal inquiries constitute an open-ended process of asking how the decorative arts participate, either actively or silently, in promoting or reflecting dominant ideologies of social hierarchy, political authority, and cultural fantasy.”
Visit Lauren on the web at http://www.lfadams.com
Biography: Lauren Frances Adams lives and works in Baltimore, Maryland. She has had recent solo exhibitions at Back Lane West, Cornwall, UK; Contemporary Art Museum St. Louis (Front Room and EXPO Chicago); and Conner Contemporary, Washington, D.C. Her work has been featured in group exhibitions including: Nymans House and Gardens, Sussex, UK; Southeastern Center for Contemporary Art, North Carolina; CUE Foundation, New York; Mattress Factory and the Andy Warhol Museum of Art, Pittsburgh, PA; among many others. She is a Joan Mitchell Foundation MFA Grant recipient (2007), a Sondheim Prize Finalist (2014), and attended the Skowhegan School of Painting and Sculpture (2009).
(Umbrella decorated with the Dutch Ridderzaal contemporary throne pattern. Appearing also are Tournai blue and gold plate shards from Den Haag, Netherlands, late 1700’s and the Woodblock print, Dutch Man Taking a Walk With His Javanese Slave, 1780’s, Nagasaki, Japan, now in the British Museum)
Gouache and acrylic on paper
2014; 21.5 x 15.5”
McKinley Wallace III
“We can never truly define ourselves, but we try to make peace with that knowledge by using our face to project a temporary character. It is in our nature to identify others for self-assessment. While looking at each nameless individual, I ask myself, “Do I relate to what I am seeing, or do I feel excluded?” Our primal need to identify has been corrupted by prejudices. Is there value beyond the signifiers? Has being judged by others made us violent and vulnerable creatures? Inheritance led us to obscurity, pessimistic recesses of the Earth with deafening winds, putrid soil, and blistering fire. My mission, like that of an archaeologist, is to uncover the damaged pieces of us that remain, and to address humanity’s aggression.”
Visit McKinley on the web: http://www.mckinleywallaceiii.com
Biography: McKinley Wallace III was born in West Palm Beach, Florida. He is an emerging artist who earned his BFA from Maryland Institute College of Art. He is currently an Urban Arts Leadership Program (UALP) Fellow with the Greater Baltimore Cultural Alliance (GBCA) and an adjunct professor at Community College of Baltimore County.
“My work investigates post-apocalyptic conditions through a vivid imagining of destructive geological events. Like an epic blockbuster movie, my large-scale installations and landscapes on paper refer to the sublime and unthinkable beauty of an Earth post-humanity. I use the image of this future without humans to describe the present crises our ecology and of the Anthropocene era.”
Visit Phaan on the web at http://phaan.com
Biography: Phaan Howng is an American born Taiwanese artist. She received her BFA in Painting from Boston University in 2004, and her MFA from MICA’s Mount Royal School of Interdisciplinary Art in 2015. She has been an Artist in Residence at Vermont Studio Center. Howng has exhibited her work in Washington DC, Philadelphia, Boston, and Baltimore, and was a 2015 Trawick Prize Semi-Finalist.
“Ambiguous narratives become the basis for conveying my playful, yet dark and overtly imperfect imagery, turning commonplace rituals upside down. I utilize humor within subversive situations as a means of creating uncensored realities that question societal normalcies. I aim to redefine the notion of what a figure is within my paintings, sculptures, and prints. The characters within my works are reminiscent of vintage, stylized cartoons, and are often overly sexualized in their depiction. The domestic environments I create become direct, impulsive responses my surroundings, thoughts, and experiences.”
Visit Shelby on the web at: http://shelbyrosabal.com
Biography: Shelby Rosabal is an artist living and working in Baltimore, MD. She received her BFA from the Maryland Institute College of Art in 2014. Her work addresses themes of humor and desire rooted in domestic landscapes, and plays with the ridiculousness of figures and objects through paintings, sculptures, and prints. Typically, her compositions offer loose narratives that frequently delve into issues of the human experience. Her work has been exhibited nationally, most recently in Baltimore, MD, York, PA, and Oakland, CA.
“I am a multimedia artist primarily working with installation and video. As I am drawn to mystical elements and methodical systems, my work seeks to explore how pattern and ornamentation evoke a sense of the sacred. I am fascinated by the ways in which we vacillate between our inner and outer territory—moving between our subconscious mind, and what appears to be reality. I am interested in the ways that endless manifestations of the same stories and visions play out again and again, made new through a different interpretation of a fable, or a through the variation of a pattern on a wall. Art that makes this meaningful, and yet retains a sense of humor will always be interesting to me.”
Visit Zoe on the web at http://www.zoefriedman.org
Biography: Zoe was born in New York City, went to Eckerd College in Florida, lived in Malaysia for a year on a Fulbright, did a brief stint in San Francisco, then found herself in Baltimore, Maryland. She graduated from the Mount Royal School of Art at MICA in 2012. She currently makes art, teaches at Towson University, and is a very professional dog walker.
Zoe experiences strong fits of wanderlust. When she is able, she finds ways to travel the world. Most recently she explored seven different countries in six months on a Henry Walters Traveling Fellowship. Much of her art practice is fueled by this same desire to make obscure visions take on physical form. She also loves Baltimore and is proud to call it home.
*The works presented in these artist profiles are not necessarily the pieces that have been donated for the Lotta Art event. To view the generous donations of each of the artists who are participating in the Lotta please visit the following link: http://www.school33.org/index.cfm?page=events§ion=3&subsection=artwork
Great art for a great cause! Please join us for the 23rd annual Lotta Art Benefit at School 33 Art Center Saturday, November 7, 2015 from 6pm to 10pm at 1427 Light Street.
Lotta Art features a lottery-style drawing where patrons are guaranteed to leave with an original artwork valued at or above the cost of their ticket. This year’s Lotta Art will celebrate School 33 Art Center’s Co(lab)oration projects, three permanent installations created by collaborating groups of Baltimore artists, funded by a grant from the Robert Rauschenberg Foundation. In honor of Robert Rauschenberg, best known for his “Combines” of the 50s and early 60s, Lotta Art goes mid-century modern by hosting a 1960s-inspired cocktail party with classic cocktails, period-perfect attire, and music. Rouge Fine Catering is the official caterer and champion sponsor of the event, drawing inspiration from the time period with modern twists on retro hors d’oeuvres like oyster shooters, shrimp cocktail and bacon deviled eggs. Lotta Art is pleased to welcome Mark Joyner, comedian and host of Comedy Night at The Sidebar as this year’s emcee. Free valet parking will be provided.
Tickets for Lotta Art 2015 can be purchased at the following link: https://www.eventbrite.com/e/lotta-art-2015-tickets-18533408925.
For 36 years, School 33 Art Center has been the bridge between contemporary artists and the viewing public. Through our exhibitions, studios for artists, classes for adults and children, as well as special events and workshops, we work to insure a vibrant future for contemporary art and artists in Baltimore. Our three beautiful gallery spaces, multi-use classrooms, permanent, on-site collaborative installations, and an eco-friendly outdoor garden fed by a rainwater collection system are examples of School 33 Art Center’s commitment to maintaining and expanding the potential of our historic building. Our goal is to remain an engaging and relevant center for the arts by showcasing and sustaining emerging and established contemporary artists, and training budding artists from Baltimore and beyond, well into the future.
Visit us on the web at www.school33.org