Lisa Beane: Karma
Andrea Douglas, curator
October 14, 2017- January 13, 2018
Artist talk and reception Saturday, October 14, 6-8 pm
Lisa Beane’s new exhibition Karma is comprised of 9 paintings and one artist book; all of which were completed over the course of the this year. Vibrantly colored images that recall the innocence of childhood are paired with those that point to darker, more sinister historic moments. The result is a frenetic dialogue between image and viewer. Beane’s paintings suggests the heightened anxiety that pervades the times in which we live. In the catalogue that accompanies the show, essayist Sarah Sargeant opines that Beane interrogates “fascism, national socialism, and terrorism.” She goes on to indicate that the artist’s paintings are partly inspired by the brutal and violent death of Farkhunda Malikzada in 2015. The Afghan woman was beaten to death, her body burned, and thereafter thrown into the river. Sargeant writes “Beane saw in the outcry here in the states, blatant hypocrisy and convenient amnesia. After all, it wasn’t that long ago that we were doing much the same thing.”
Lisa Beane’s Karma gives us the ability to see how far we have come and how far we have yet to go.
The catalogue is $15 and available for purchase in the Alumni Room museum shop and coffee bar.
Yolonda Jones: Private Spaces
Andrea Douglas, curator
July 15– October 6, 2017
Artist talk and reception Saturday July 15, 6-8 pm
When the IPhone was launched in 2007, it changed photography forever. In 2011, photographer Annie Liebowitz proclaimed it to be the “snapshot camera of today.” Since then it, along with other mobile devices, has become so advanced in its capabilities, it is now equally as serviceable as a DSLR camera. With this heightened capacity, a genre of photography has developed that foregrounds immediacy and intimacy over the technical.
Intimacy and immediacy are hallmarks of Yolonda Jones’ photographs. Those presented here, were taken with her IPhone 5 c and IPhone 7 in the last three years. Owing to an active schedule—she is wife, mother, author, singer, photographer, and teacher—her phone is vital to how she engages with her environment. In her photography, her device provides her the opportunity to capture fleeting moments, or quick interactions that would otherwise be lost. Jones is largely self-taught and relies on instinct, books, and advice from other artists to increase her facility. She asserts her penchant for taking pictures began as a child when she would blink her eyes with the hope of isolating single occurrences. She received her first camera when she was seven or eight and aimed her eye at family events, again trying to hold on to a particular instance.
At first consideration, Jones’ images are reminiscent of paintings by French impressionist Berthe Morisot (1841-1895). The artists share a particular coloring, emphasis on light and display of intimate, rarely seen moments that reveal the everyday. However, Jones’ images of her children and husband have a narrative quality that moves away from Morisot’s documentary tendency. The artist endeavors to portray more than simple interactions. Her hope is to create images that will be cherished, held for posterity as reminders of private interactions—even when they occur in public spaces.