artwalk at oakton - Oakton Community College

Transcription

A R T WA L K AT OA K TO N
1
ince the founding of Oakton Community College in 1969, the interaction between art and its audience
has held an integral value. The College’s first president, Dr. William A. Koehnline, an educator, artist, and
art collector, subscribed to the philosophy that “art is a creative response to life,” and envisioned the
campus as an environment to enrich and stimulate students, staff, faculty, and the community. The seeds
sown by Dr. Koehnline have continued to blossom under the leadership of his successors, Thomas TenHoeve
(1984-1995) and Margaret Lee.
The first exhibitions at Oakton were installed in the Learning Resource Center at the Des Plaines Campus
in 1984. The art gallery was named after Dr. Koehnline, as a tribute to his advocacy for the arts. In 1994, the
gallery moved to a newly built space near the College’s main entrance. Renamed in 2005, the Koehnline
Museum of Art hosts temporary exhibitions, while its permanent collection is on display in public areas
throughout the Des Plaines campus and Ray Hartstein Campus in Skokie. As the size of the collection grows,
a rotation plan will be developed.
The non-traditional display of paintings and works on paper in the main corridors of campus buildings
raises issues of safety and conservation. These concerns are addressed by implementing security measures,
monitoring environmental conditions, and filtering light sources. However, the benefit of presenting works of
art in public spaces is vividly effective. This immediate encounter between art and viewers provides a source
of inspiration, a foundation for developing sensitivity to aesthetics, and tolerance and respect of artistic
expression. The exhibitions and permanent collection also serve students enrolling in courses such as art
history, museum studies, and the humanities.
Oakton’s art collection focuses on modern and contemporary art. The policy of collecting also encourages
the acquisition of works created by Illinois and Chicago artists, which currently comprise about 60 percent
of the collection. In the 1980s, the College was a subscriber to the Plucked Chicken Press publications. The
S
1978
1984
1994
1981
2
reputation of Will Petersen as a master printer encouraged many prominent artists to bring their lithographs
to the Plucked Chicken Press for printing. Therefore, prints acquired through this program represent a prime
collection of Illinois and Chicago artists. In 1999, seven large-scale sculptures were moved to Oakton from Pier
Walk, the annual show of outdoor sculpture at Chicago’s Navy Pier, initiating a long-term loan program that
dramatically expanded the sculpture park at the Des Plaines campus.
Over the years, state-funded programs like Percent-for-Art and the Illinois Arts Council have assisted in bringing significant sculptures and paintings to the campus. Many other works were funded by Oakton’s Educational
Foundation and the Board of Student Affairs. The generosity of private donors and artists remains a great
source of growth to Oakton’s art collection, which nearly doubled in size in the first five years of the 21st century.
This catalog and guidebook of the art collection at the Des Plaines campus of Oakton Community
College includes the Koehnline Museum of Art; the Rolana Tankus Fox Gallery of Prints; the Oakton
Sculpture Park; and the paintings, sculptures, and graphics exhibited throughout the building’s main corridors.
We look forward to the publication of a companion catalog and guidebook for works on display at the Ray
Hartstein Campus in Skokie. I would like to thank Granvil and Marcia Specks, MGS Foundation, and the
Board of Student Affairs, for their gracious consideration in the publication of ArtWalk at Oakton.
Nathan Harpaz, Manager and Curator, Koehnline Museum of Art
1978: Artist Cynthia Weiss and students painting a mural at the first campus in Morton Grove.
1981: William A. Koehnline’s mixed media Child’s Drawing in Three Dimensions, on display near the Early Childhood Education Center.
1984: The William A. Koehnline Gallery at the College’s Learning Resources Center.
1994: The William A. Koehnline Gallery’s new building.
1999: Sculpture from Pier Walk arrives at the Des Plaines campus.
2001: Students are inspired by Richard Hunt’s exhibition, Wings.
2005: Terrence Karpowicz installing his sculpture, A New Beginning.
1999
2005
2001
3
The order of the artwork in this catalog is by location. Use the map on the inside back cover for orientation.
1 KO E H N L I N E M U S E U M O F A R T
2 RICHARD HUNT
(American, b. 1935)
Richard Hunt was raised in the Woodlawn neighborhood on the south side of
Chicago. He entered the School of the Art Institute of Chicago (SAIC) in 1953, and in his
senior year studied with the Chilean-born surrealist painter, Roberto Matta (1911-2002),
during the artist’s three-week visit to the school. Hunt first gained national recognition
when the Museum of Modern Art in New York purchased one of his sculptures.
Hunt’s work reflects his belief that artists are free to interpret nature, and his expressionistic sculptures never fully depart from natural sources. Along with the linear forms
of Matta, Hunt’s other early influences include the welded metal sculptures of David
Smith (1906-1965), Julio Gonzalez
(1876-1942), and his colleague Joseph
Goto (1920-1994).
2A. Serpentine
Regarded as a leading American
Winged
sculptor with international status,
1981, Bronze, 19 in. H
Hunt has demonstrated deep affecGift of Dr. Marvin G. and
Helene Jumes, 1981.2
tion for his native city through significant contributions as a teacher at
SAIC and the University of Illinois at Chicago in the 1960s; as
a role model to generations of apprentices trained at his Lill
Street studio; and the creation of more than 30 public works
on exhibit throughout the area.
Hunt’s work can be found in numerous museum collec2B. Page of Forms
1969, Lithograph, 22 in. x 30 3/4 in., Gift of the Oakton
tions in the United States and abroad. He has executed comEducational Foundation and Board of Student Affairs, 1999.12
missions for the city of New York, the Martin Luther King Jr.
Memorial in Memphis, and Howard University in Washington,
D.C. In 2001, the Hunt exhibition, Wings, was presented at Koehnline Gallery.
The bronze Serpentine Winged includes representative elements of the artist’s work: mythology and hybrid
composition (a complex assembly using several forms). Inspiration for Serpentine Winged came from the ancient
Minoan Snake Goddess, who held two snakes in her hands. The snake or serpentine in Hunt’s bronze appears
on the bottom, crawling from the ground over the figure’s dress. Pre-historical fertility figurines (“Venuses”)
provided inspiration for the upper torso. The head of the figure is a reclining cat, influenced by Bastet, the
ancient Egyptian goddess of fertility and love. The hands of Serpentine Winged have become wings, like the
victory goddess Nike. The wings symbolize freedom, another element commonly found in Hunt’s work.
Serpentine Winged was published by Lakeside Studio in Michigan.
4
T E R R E N C E K A R P OW I C Z 3
(American, b. 1948)
Terrence Karpowicz received his MFA from the University of Illinois at UrbanaChampaign in 1975, and his sculptures are included in many public and private collections. He also has participated in a variety of solo and group exhibitions, including the
Chicago and Vicinity Show at the Art Institute of Chicago (1974), 33rd Illinois Invitational
at the Illinois State Museum in Springfield (1981), Pier Walk at Navy Pier, Chicago (19992001), and Sculpture in Chicago Now at Koehnline Gallery (2001). His many commendations include a Fulbright-Hayes Grant to the United Kingdom (1975), grants from the
Illinois Art Council (1980-1990), and National Endowment for the Arts Fellowship (1980,
1982). In addition to sculpting, his various art projects have included repairing and preserving wind and water mills in England (1975-1976), sitting on the board of directors of
Chicago’s NAME Gallery (1979-1983), and serving as executive director of 3D-Chicago
(1995-2000), which organizes the annual Pier Walk exhibition at Chicago’s Navy Pier.
Karpowicz is particularly drawn to tension at the point of contact, or “joint,”
between disparate materials. By joining irregular, organic materials (such as wood
limbs and granite shards) to machine-tooled geometric shapes of metal, he creates
A New Beginning
actual or implied kinetic relationships among the elements of the sculpture.
2003, Granite and steel
A New Beginning is composed of granite from Milbank, South Dakota, with
113 in. H x 46 in.W x 40 in. D
hollow
steel rings welded to the ends. A large square of gray granite is used as a
On loan from the artist
2005.2
footprint to stabilize the top stone. A shattered globe sits atop the granite column,
and appears to be regenerating from within, like a phoenix rising from the ashes.
The column of granite, weathered and worn by time, is balanced gracefully on a pedestal of increasingly larger
steel rings that recall growth patterns in nature. As in other works by the artist, A New Beginning also may be
perceived as a human body embracing hope with outstretched hands. The sculpture previously was on display
in Lincoln Park, Chicago (2003) and the Polk Museum of Art, Lakeland, Florida (2004).
B E N WO I T E N A 4
(American, b. 1942)
Ben Woitena was born in San Antonio, Texas, and since
1971 has lived in Houston. He received his BFA degree from
the University of Texas at Austin in 1964 and his MFA from
the University of Southern California at Los Angeles in 1970.
Woitena taught fine art at the University of Southern
California, Los Angeles; Lubner Dimondstein School of Fine
Art, Los Angeles; Idyllwild School of Music and the Arts,
Idyllwild, California and Glassell School of Art at the
Museum of Fine Arts, Houston.
Woitena has long been professionally committed to the
arts
in Texas. In 1986, he was appointed artistic supervisor for
Around Midnight
the replication of the Goddess of Liberty figure for the State
2000, Steel and bronze, 18 ft. H x 283/4 ft. W x 15 ft. D
On loan from the artist, 2000.23
of Texas Capitol at Austin. For more than a decade he served
as commissioner of the Houston Municipal Art Commission.
In 1988, Woitena was commissioned for the Jack Kerouac Commemorative at Lowell, Massachusetts. In preparation, Woitena spent a year doing research on Kerouac. The commemorative park is structured in the form of a
mandala, designed to amplify the relationship between quoted texts and the visual images that inspired them.
Since 2000, Woitena has participated in the annual outdoor sculpture show at Navy Pier in Chicago. Around
Midnight was shown at Pier Walk 2000 and moved to the Oakton Sculpture Park at the end of the exhibition.
Consisting of two rival elements—a monumental X shape in black industrial steel and organic green bronze
trunks—Around Midnight also reveals a relationship between text and meditative space. The inspiration for this
sculpture was a statement by author Henry Miller: “You must create the very world you wish to inhabit—down
to the last detail. Time spent in railing against society, laws, this and that, is wasted.”
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5 JOHN KEARNEY
(American, b. 1924)
Born in Omaha, Nebraska, John Kearney was trained at the Cranbrook
Academy of Art in Bloomfield Hills, Michigan. Kearney has been a teacher and
mentor to hundreds of young artists who found instruction and studio and exhibition space at his Contemporary Art Workshop in Chicago. The workshop was
founded in 1949 by Kearney, Leon Golub (1922-2004), Cosmo Campoli (1922-1996),
and Ray Fink (1922-1998).
Kearney is well known for using car bumpers to create sculptures. Early efforts
were experimental, but he soon developed a tighter, more condensed style, and
began welding sections of new chrome bumpers into life-size representations of
animals. Camels, frogs, bison, and the artist’s favorite subject, goats, all have found
their way into private gardens and public locations throughout the U.S. In 1976,
Kearney made 26 goats from car bumpers for a show in Wichita, Kansas. He also
has devoted exhibitions to a specific theme, such as endangered species and
domestic animals. Among his best-known bumper constructions in the Chicago
area is Elephant at Lincoln Park Zoo.
White Tail Deer resulted from a sculpture competition by the Oakton Spirit
Committee. Deer are common in the woods surrounding Oakton, but Kearney
did not create this replica from car bumpers. White Tail Deer is actually a bronze
casting with “bumper-style” elements.
White Tail Deer
1994, Bronze, 57 in. H
Gift from the Board of Student
Affairs, 1994.2
6 M I K E B AU R
(American, b. 1951)
Mike Baur was born in Kansas City, Kansas, and did farm work from
a young age. In college he made polyester resin sculptures—all of which
were destroyed when a tornado struck campus during his senior year.
He then started working in concrete and learned how to reinforce his
sculptures with steel. Baur earned his BFA in 1973 from Arkansas State
University in Jonesboro, and his MFA from the University of Illinois at
Muel
Urbana-Champaign in 1976. He has lived in the Chicago area since 1976. 1988, Limestone and steel
Baur’s commissioned sculptures are in the collection of the College 12 in. H x 27 in. W x 15 in. D, Gift of the Broido
of DuPage, Glen Ellyn, Illinois; Northpoint Marina Collection, Winthrop Family Collection, 2004.11
Harbor, Illinois; Autopistas del Mediterraneo, Barcelona, Spain; Harper
College, Palatine, Illinois; Sears/Unibank, Chicago; State of Illinois Building, Chicago; and Illinois Mathematics and
Science Academy Collection, Aurora, Illinois. His sculptures also have been included in the Pier Walk sculpture
show at Navy Pier, Chicago, and Northshore Sculpture Park in Skokie. Following his 2003 solo exhibition at
Sonia Zaks Gallery in Chicago, Alan Artner, art critic for the Chicago Tribune, wrote, “Baur makes magic from
steel and concrete.”
The process of creating such magic is revealed in Victor Cassidy’s essay in Sculpture magazine (July/August
2001): “Mike Baur sees forms, fixes them in his memory, and builds them into concrete, steel, and stone
sculptures. The forms he starts with might be bridge structures he observes while driving, the shapes of
concrete barriers on a highway under construction, or a piece of scrap steel.”
In the sculpture Muel, the rustic limestone is stressed—almost squeezed—by the industrial steel machine-like
element, evoking an ecological struggle between nature and man-made objects. “My work is about form, material,
and relationship between forms,” says Baur. “People may see shapes in my sculptures that suggest something in
real life, but these resemblances are accidental. My intentions are always formal.”
6
B A R RY T I N S L E Y 7
(American, b. 1942)
Barry Tinsley was born in Virginia and attended both the College of William and Mary and the University
of Iowa. He was a teacher until 1978 when he moved to Chicago to pursue his art full time. Today, Tinsley’s
sculptures are part of many public and corporate art collections, including the Koffler Foundation Collection
and the Smithsonian Institution in Washington, D.C. His work also has been included in the Illinois Arts Council
Traveling Exhibition.
In 1981, Windgap, commissioned by
the Deer Path Art League, was placed
in front of the Lake Forest (Illinois)
Recreation Center. The following year,
Breakwater was erected in a park in
Glencoe, Illinois. Jetty, located near
the intersection of Devon and Clark
Streets in Chicago’s Rogers Park
neighborhood, was installed as the
city’s first Percent-for-Art Program
sculpture. This program required
Silver Oak
that a percentage of the cost of con1983, Stainless steel, 17 ft. H x 40 ft. W x 10 ft. D, Percent-for-Art Program, Illinois Capital
struction and renovation of municipal
Development Board, 1983.1
buildings be set aside for artwork. For
Jetty, Tinsley welded together Cor-Ten steel plates nearly three-quarters of an inch thick to create a variety of
forms that were then connected with bolts and small metal plates. These were set in concrete footings, creating
a four-ton sculpture measuring nearly 48-feet long, 14-feet high, and 15-feet deep.
Silver Oak was funded by the Illinois Capital Development Board through the state’s Percent-for-Art
Program. The dramatic polished stainless steel sculpture soars over the campus lake. In the sculpture, organic
forms emerge from the ground, rise toward the sky, and descend into the water, creating an interaction of the
basic elements: earth, water, and air. Tinsley designed the sculpture to reflect the colors of these basic elements,
as well as frame other aspects of the surroundings, including the picturesque peninsula beyond the lake.
STEVEN FEREN 8
(American, b. 1951)
Cleveland native Steven Feren received his MFA from Rutgers University in
1981 and began teaching in the art department at the University of WisconsinMadison in 1982. Feren’s primary medium is glass, and his work is shown throughout the country, in museums, art centers, universities, schools, and government
settings. Transferred to Oakton from Pier Walk 1999 at Chicago’s Navy Pier,
Kristallnacht is the artist’s tribute to the human potential to confront oppression
with heroism. In November 1938, Herschel Grynszpan, a 17-year-old Jew studying
in Paris, learned that his family and more than 15,000 other Polish Jews had been
forcibly transported from Germany to the Polish border. The act so angered
Grynszpan that he shot and killed a member of the German Embassy staff in Paris.
Hitler and his propaganda minister, Joseph Goebbels, used this incident to
incite Germans in bloody vengeance against the Jews. On the night of November
9, 1938, and into the next day, German police and firefighters stood idly by as
Nazi storm troopers, members of the SS, and Hitler Youth retaliated throughout
Kristallnacht
Germany, Austria, and other Nazi-controlled areas. Nearly 100 Jews were killed
1999, Steel, concrete and glass
and hundreds more injured. More than 7,500 businesses were destroyed and
8 ft. H x 8 ft. W x 2 ft. 4 in., D,
267 synagogues burned. This evening of terror is forever known as Kristallnacht,
1999.24
“The Night of Broken Glass.”
Kristallnacht presents a figure positioned off-balance on a shining black pedestal, symbolizing sacrifice on an
altar. The figure is covered with small, colored fragments of glass engraved with the names of Holocaust victims.
On the pedestal is a book made of clear glass, inscribed with the Hebrew word for “Remember.”
7
9 J E R RY P E A R T
(American, b. 1948)
Jerry Peart, a native of Winslow, Arizona, came to Chicago in 1972, the
year he received his MFA from Southern Illinois University at Carbondale.
Attracted by a thriving community of sculptors that included John Henry,
Richard Hunt, and Steven J. Urry, Peart decided to stay in Chicago when
Urry asked for his help on a project. In 1978, Peart helped found Construct
Gallery, which promoted large-scale public sculpture through exhibitions
until it closed in 1983.
Peart works on a monumental scale, frequently outdoors and often in
an urban setting. His large welded and painted sculptures are site specific.
The subjects are often figurative and suggest, through the juxtaposition of
materials and form, both the industrial and the organic. Peart places his
sculptures directly on the ground to eliminate any barrier between the
observer and the artwork. People climb, play, or simply rest upon many of
his public pieces nationwide.
Hoop La La
Peart unites geometric and organic forms to create energy and move1982, Welded aluminum
ment. Asymmetrical shapes weave complex compositions that shift with
86 in. H x 62 in. W x 84 in. D
Funded by the Illinois Arts Council
each vantage point. Light bouncing off smooth surfaces enhances the
1982.1
dynamism of a work. Works may be monochromatic, but Peart frequently
combines colors to establish a mood and animate a subject.
Hoop La La was commissioned by Oakton Community College students. Peart, who taught an art class at
Oakton in the 1970s, dedicated this sculpture to a crucial stage of young adults: being in and out of school.
Alpha and Omega: Small Sculptures and Models by Jerry Peart was the title of a Koehnline Gallery exhibition
in 2003.
10 JA M E S M c N E I L L M E S P L E
(American, b. 1948)
James McNeill Mesple studied in Chicago at the School of the Art
Institute and Northeastern Illinois University, as well as the University of
Missouri, Columbia. He developed an interest in classical mythology during
summers spent with his Osage grandfather, who shared with the young boy
Native American tales of nature and animals. The “battle of the cosmos,” a
struggle between good and evil, is a theme that inspires many of Mesple’s
paintings. His work reflects man’s quest to obtain spiritual enlightenment and
creative freedom, and captures the spirit of Prometheus who, throughout
history, has symbolized unyielding strength that resists oppression.
Inspired by the artistry of the Middle Ages, Mesple mixes his own
pigments to create colors. “Before oil paints, artists mixed crushed stone
powder with egg yolk for an elegant finish,” he explains. Called marouflage,
this process was used to cover the caskets of mummies in ancient Egypt.
Blue Moonlight
Blue Moonlight depicts the visages of a man and a woman contained
2004, Egg tempera and oil on canvas
48 in. x 36 in., On loan from the artist
within two trees, a chestnut and an oak. Although facing each other, their
2005.1
eyes never really meet, like the characters in Effie Mihopoulos’ poem, Blue
Moonlight. The blue moonlight in the painting reveals blue actors on a stage,
inspired from this line of the poem: “A blue parrot, a blue parade made up of an actor, a dancer, a musician,
and a traveler, moving forward through life.” As their lives evolve (represented by the ripening fig), the parade
continues, observed from above by a bird perched on the oak tree’s uppermost branches.
8
AU G S T I N P O R T I L LO 11
(Mexican, b. 1960)
Born in Mexico City, Agustin Portillo is recognized
throughout the Mexican art community not only for the
quality of his work, but also for his passionate commitment to the rights, dignity, and empowerment of the
artists and culture of his native country. In 1996, he
staged a five-day hunger strike in front of the Palace of
Fine Art in Mexico City. Portillo demanded respect and
fair treatment for his fellow artists and their work and
the victims of governmental abuses, and denounced
the corrupt actions of the leaders of Mexico’s art
programs and institutions. His most recent pacific act, in
A. America - A.32
B. America - R.57
2001, caused him to abandon his country by agreement
2003, Oil on canvas
2003, Oil on canvas
with the office of the Mexican president.
60 in. x 48 in., Gift of Granvil 60 in. x 48 in., Gift of Granvil
and Marcia Specks,
and Marcia Specks,
Since then, Portillo has spent most of his time in
MGS Foundation, 2003.11
MGS Foundation, 2003.10
Chicago, where he became inspired by the diversity
of the city to realize a series of paintings entitled
America. Formally inspired by Mexican muralists and expressionism, Portillo looks at a variety of Americans in
festive situations, which serve to conceal their collective fears and struggles for survival. Portillo’s paintings are in
public collections throughout Mexico and the U.S., including Truman College, Chicago; Mexican Fine Arts Center
Museum, Chicago; The David and Alfred Smart Museum of Art, The University of Chicago; CU Art Museum, The
University of Colorado, Boulder; The Susquehanna Art Museum, Harrisburg, Pennsylvania; The Mexican Museum,
San Francisco; and the San Antonio Museum of Art, San Antonio, Texas.
CY N T H I A W E I S S a n d M I R I A M S O C O LO F F 12
(American, b. 1953, American, b. 1949)
Cynthia Weiss and Miriam Socoloff are both artists
and teachers who have received grants to study mosaic
techniques in Italy. They previously collaborated on several
mosaic projects in the Chicago area, including the North
Shore Congregation in Glencoe and the Mayer Kaplan
Jewish Community Center in Skokie.
Weiss received her MFA in painting from the University
Swing Suite
of Illinois at Chicago. As a member of the Chicago Public
2002, Venetian glass mosaic, 6 ft. x 14 ft.
Gift of Sylvia and Irving Footlik, 2002.2
Art Group, she directed large-scale public art projects that
invited community participation. In 1978, Weiss and Oakton
students painted a mural inside one of the buildings on Oakton’s original campus in Morton Grove (see page 2).
Weiss works as an arts education consultant with the Chicago Arts Partnerships in Education in the Chicago
Public Schools, helping teachers integrate the arts into their teaching. Her public mosaic work in Chicago
includes the fountain in front of Navy Pier; the Chicago Children’s Museum; Rudy Lozano Branch of the
Chicago Public Library and various public schools.
Miriam Socoloff received her BFA from Northern Illinois University and MA in human administration from
Spertus College in Chicago. She also completed post-graduate courses at the School of the Art Institute of
Chicago. Socoloff has taught art over four decades, mostly at inner city high schools. She also has served as
curriculum coordinator for Chicago Public Schools/Gallery 37 Advanced Arts Education Program, and for
more than a dozen years was the lead artist in the Urban Gateways at Gallery 37 bench and furniture paintings
program. Scoloff received the Golden Apple Award for Excellence in Teaching in 1998.
Swing Suite was commissioned to highlight the entrance to Oakton’s renovated Performing Arts Center. The
artists first laid small Venetian glass pieces on a large board in their studio. At this stage they were assisted by Juan
Angel Chavez, Chris Silva, Julia Sowels, and Ginny Sykes. Once the arrangement was completed, a clear tape was
affixed to the surface, then cut in sections that were installed directly on the exterior wall. Swing Suite was inspired
by Henri Matisse (1869-1954), the 20th century painter who used a brilliant color scale to create images of theater,
dance, and music. The flying leaf and circular lines were composed to reflect the spirit and soul of the arts at Oakton.
9
13 B O B BY J O E S C R I B N E R
(American, b. 1957)
Bobby Joe Scribner earned a BFA from the University of Arizona in
1989, and received his MFA from Northern Illinois University in 1993.
Since 1994, he has taught at the American Academy of Art in Chicago,
where he developed a figurative sculpture program. Scribner also is an
activist who volunteers his skills and time to the community. His projects
include a sculpture workshop with behaviorally disordered grade school
children in Palatine, Illinois; Art Workshop, Children’s Visit to Home
Elderly in Tucson, Arizona; and the Nine Points Alliance, cultural
exchange with Oaxaca, Mexico.
Scribner has participated in numerous national sculpture exhibitions,
including the annual Pier Walk at Navy Pier, Chicago. His works are on
display at Hemmens Auditorium, Elgin, Illinois; Powerstation Community
Art Center, Hammond, Indiana; Nogales High School, Nogales, Arizona;
and in private collections.
Is Endless, Is Not was first exhibited at Pier Walk 1999, and later at the
Northshore Sculpture Park in Skokie, Illinois. The work belongs to a series
of large steel sculptures based on abstractions of the human figure that
Scribner constructed over the course of a decade.
Is Endless, Is Not
1999, Steel, 15 ft. H x 6ft. W x 5 ft. D
14 R AY K AT Z
(American, b. 1938)
Ray Katz produced his first sculpture in 1965,
and within two years began exhibiting his work.
He received his MFA from Detroit’s Wayne State
University in 1968, and since then has taught drawing, sculpture, and design at Oakland Community
College in Auburn Hills, Michigan. Katz has won
several awards for his works, which are part of
many public and private collections. He has used
many media, but his passion is metal, because it
serves as a metaphor for his formal and philosophical
concerns and as a reflection of his life experiences.
Katz is committed to large-scale work, so his sculpture is most often installed outdoors. Transcendent
is an abstract tribute to the evolutionary and universal processes inherent in life’s journey. Shapes of
Transcendent
square, circle, grid and rails create a bonded formula 1999, Painted steel, 161/2 ft. H x 141/2 ft. W x 181/2 ft. D
that exists by the unique structural combination.
“Transcendent incorporates ideas of movement
from one plane or state of existence to another,”
says Katz. “Ideas such as passage, gateways, metamorphosis, and manifestation allude to an evolutionary process
we all share. Through the creative process, a hierarchy of construction elements become symbols for these
concepts by celebrating each as an event in the form of a sculpture.”
10
G E O R G E C R A M E R 15
(American, 1938-2004)
George Cramer received his BS in design in 1968
from the University of Michigan at Ann Arbor, and his
MFA two years later from the University of WisconsinMadison, where he continued to teach art for many
years until his retirement. His paintings, sculptures, and
prints have been displayed nationally in many exhibitions and are included in major public collections.
Cramer is one of the pioneers of computer art, having
discovered the new medium in 1978. “In my traditional
paintings,” he says, “I used to spend days and days layerIndians Dreams
ing by hand in order to get the images from different
1990, Lithograph after digital, 283/4 in. x 413/4 in.
cultures to interact with each other. But now, suddenly,
Gift of the artist, 2000.8
I can take a profile of a face with a camera and merge it
electronically with a digitized image from 2000 BC.”
For many years Cramer headed the art and 3-D imaging department at the University of Wisconsin. As an
educator and leader in the school of visual arts, particularly art and computer technology, Cramer has witnessed
over several decades the emergence of a new aesthetic. “I use computer technology because that technology
allows me to bring forward the ancient genetic codes into today’s climate of power and change,” he says. “I am
making art because I have to. I have seen ‘too much now’ to not care if beauty and kindness are left behind by
our developing technical culture.”
Cramer has traced his heritage back to Buckingham Palace guards, to the creamers of Alsace-Lorraine, and
to the Native American tribe of the Iroquois. Indians Dreams finds the artist gazing into his own roots, and
Native American mysticism in particular. The composition consists of authentic artifacts like fabrics and tipi
forms, but the fragmentation of elements creates a genetic code. The symbolic dominant color red telegraphs
the tragic fate of the artist’s ancestors.
J E A N E M c G R A I L 16
(American, b. 1947)
Jeane McGrail earned her MFA from the
Cranbrook Academy of Art in Bloomfield
Hills, Michigan, in 1972, and in 1986 received
her teaching certificate from the School of the
Art Institute of Chicago. Her solo exhibitions
in Chicago took place at Jung Institute (1992)
and Truman College (1991). She has participated
in many group exhibitions including Space
900 Gallery, Chicago; National Museum for
Women in the Arts, Washington D.C.; and the
Evanston Art Center, Evanston, Illinois. Her
B. Mystic 22
A. Mystic 2
works are in the collection of The National
1998-99, Digital print, 13 in. x 10 in.
1998-99, Digital print
Museum of Women in the Arts, Washington
2001.11
13 in. x 10 in., 2001.10
D.C.; Museum of Contemporary Photography
at Columbia College, Chicago; The University
of Chicago; Printmaking Workshop, New York; and the University of Milwaukee.
Mystic 2 and Mystic 22 were displayed in the 1999 Koehnline Gallery exhibition, Red. Both prints are part of
the artist’s “Anishinaabeg Mokaun” series, which is centered in awareness of the artist’s Ojibwe heritage and
combines the technique of the work with the philosophy of healing.
“The maple transforms to savage flame-tones igniting with earthly nostalgias,” says McGrail. “This rite
unleashes the Mnemosyne [mother of the Muses], mirroring a leaf’s lifetime—dapple gray rains, spring’s sepia
mud, twisted crimson buds, quilled, furred, and legged cries, tint of cobalt skies. The maple envelopes posthumous fame, caressing and celebrating retrospective moments while etching its disintegrating morality.”
11
17 J O H N L . S E Y F R I E D
(American, b. 1930)
In the late 1960s, the Photographic Art and Science Foundation
of Des Plaines, Illinois, commissioned John Seyfried to design a
sculpture commemorating the pioneers of photography. Seyfried
recalls the dilemmas that confronted him in the designing stage:
“Who were these men? What challenges did they face? What tools
did they use to create so many far-reaching advances? How might
these elements be captured in a three-dimensional structure?”
To find solutions to these questions, the artist analyzed photography
as a synthesis of art and science. He learned the basics of how to
properly combine light sensitive paper and film, a silver bromide
emulsion, the light-shaping lens, and an illuminating source of light.
Each element is included in the sculpture. Microscopic fibers became
the model for the basic structure of the work. The tetrahedron
design of the silver bromide crystal inspired the arrangement of the
structure’s many lenses. The names inscribed on various lenses recPhotography Hall of Fame
ognize the accomplishments of photography’s pioneers: Joseph
1968, Mixed media, 13 ft. H x 10 ft. W x 7 ft. D
Niepce (1765-1833), Louis Daguerre (1787-1851), Matthew Brady (1823On loan from the International Photography Hall
of Fame, 2001.17
1896), George Eastman (1854-1932), and Alfred Stieglitz (1864-1946).
Light, color, images, and shadows play across multiple lenses, reflecting the rapidly progressing state of the profession and the imagination photography strives to capture.
The sculpture was installed outside the Des Plaines office of the Photographic Art and Science Foundation
on October 25, 1968. In 2001, the sculpture was transferred to the Oakton Sculpture Park with the sponsorship
of Frederick and Jayne Quellmalz. Frederick Quellmalz was secretary of the Photographic Art and Science
Foundation when the sculpture was erected in 1968, and served later as chairman of the International
Photography Hall of Fame.
18 M A R T I N B A E R
(American, 1894-1961)
Martin Baer was born in Chicago and attended the School
of the Art Institute of Chicago from 1910 to 1914. Following
graduation, he and his artist brother, George, opened Holbein
Studios, later known as the Anarchist Studios. The studio closed
in 1921, and Baer went to Munich, Germany, to study at the
Academy under Moritz Heymann. Between 1924 and 1940, Baer
was based in Paris while taking extended trips to Algeria, Spain,
England, Belgium, and Holland. In 1937, he sketched a series of
café portraits of Pablo Picasso (1881-1973). He settled in Carmel,
California, in 1941, became a director of the Carmel Art
Association, and developed a strong friendship with photograB. Nude Woman
A. Nude Man
pher Edward Weston (1886-1958). In 1947, Baer moved to San
c. 1910-14, Charcoal drawing
c.
1910-14,
Charcoal
drawing
Francisco and opened three studios between 1947 and 1961, the
231/2 in. x 15 in., Gift of Mr.
24 in. x 161/2 in., Gift of Mr.
year he died.
Herbert and Mrs. Edna von
Herbert and Mrs. Edna von
Baer’s exhibition record includes Galleries Durand-Ruel
Plachecki, 2000.27
Plachecki, 2000.26
(Paris, 1926) and the Art Institute of Chicago (1926), and his
works are in many public collections including the Museum of Modern Art, New York; Oakland Museum of
California; and San Diego Museum of Art. A retrospective entitled A Memorial Exhibition of Paintings by Martin
Baer was held in 1963 at the California Palace of the Legion of Honor in San Francisco.
These charcoal nudes were sketched while Baer was a student at SAIC, and they are academic in nature.
Following his European study in the early 1920s, Baer’s style became more expressive. He was inspired by Paul
Cezanne (1839-1906), El Greco (1541-1614), Lucas Cranach (1472-1553), and Oskar Kokoschka (1886-1980). His early
paintings also reveal an interest in primitivism, inspired by a journey to North Africa.
12
JA M E S A . K R AU S S 19
(American, b. 1945)
Green Door
1996, Watercolor and acrylic on paper
8 in. x 8 in., 2004.15
James A. Krauss, professor and chair of art at Oakton Community
College, was born in Philadelphia and received his BFA from Tyler
School of Art, Temple University, Philadelphia. He earned his MFA
from the University of Wisconsin-Madison, with a major in painting
and minors in sculpture and printmaking.
Krauss was an abstract painter for 30 years, working on very large
canvases (see ArtWalk No. 91). In 1995, his focus became extremely
small works on paper. Color and expression remain his primary
interests, but the use of paper and intimate size has enabled Krauss to
infuse his work with more subtle nuances and poetic moods. In 2003,
Krauss was involved in a commission for Holy Spirit Community
Church in Naperville, Illinois. Krauss created two large-scale paintings
in acrylic paint and gold leaf on canvas. Krauss depicted the motifs of
Ascension and Trinity using his abstract vocabulary. His work also has
been included in numerous group shows and in two one-man shows
at Jan Cicero Gallery, Chicago.
R O B E R T S TA N L E Y 20
(American, b. 1942)
Robert Stanley received his BA from the University of Dayton, Ohio,
and his master’s degree from the Pratt Institute, Brooklyn. Stanley was
a professor of art at Oakton Community College for many years, until
his retirement in 2002. He participated nationally in many exhibitions
including a 2002 solo exhibition, Bracketed, at Koehnline Gallery. His
works are in many private and public collections including Lubeznik Art
Center, Michigan City, Indiana; Museum of Modern Art, Chamalières,
France; Rehabilitation Institute of Chicago; Unity Foundation of
LaPorte County, Indiana; and World Print Council, San Francisco.
Stanley’s art is inspired by his surroundings, especially their hidden,
ordering motifs. His unique works in acrylics and computer prints
reflect influences such as Wassily Kandinsky (1866-1944), Joseph
Cornell (1903-1972), Richard Diebenkorn (1922-1993), Sally Mann (b. 1951),
and Bill Viola (b. 1951), as well as biologist Edward O. Wilson (b. 1929)
and physicist Werner Heisenberg (1901-1976). The spaces and dissonances among the figures, dream images, landscapes, studio, and
sub-atomic worlds in these works suggest order and enigma.
Sin a ma was made while Stanley was working with Michael
Sin a ma
Rothenstein
(1908-1993), a British artist interested in inking real objects
1974, Relief print and engraving
for relief prints. The large rectangle at the top and the seats at the
351/2 in. x 221/2 in., 2004.14
bottom are found objects, whose character inspired the idea of two
people sitting in a cinema. The large rectangle was a piece of burnt wood, perhaps suggesting the hellish
reference. The engraving beneath the large rectangle—the “movie” being shown—is more idealistic, suggesting
tensions and conflicts of existence.
13
21 B I L L M O L L
(American, b. 1933)
Bill Moll received his BS from the
University of Illinois, Urbana-Champaign,
in 1956, and MFA from the School of the
Art Institute of Chicago in 1971. Since
1989 Moll has taught design, drawing, and
painting at Oakton Community College.
Moll has participated in many exhibitions
in the Midwest and was honored in
1971 and 1973 at the annual exhibition,
Thomas’ Foreplay
Chicago and Vicinity, at the Art Institute
2001, Oil and acrylic on canvas, 211/2 in. x 46 in., On loan from the artist, 2004.13
of Chicago. Moll has exhibited at the
annual faculty shows at Oakton
Community College and also had a 2005 solo exhibition at Kohenline Gallery.
In Thomas’ Foreplay, Moll applied pop and expressionistic images on a discarded canvas, which was painted
during a time when minimalist abstraction was in vogue. Moll explores contradictions through line and thought
as the focal point of his creative drive and process. His inspirations include artists such as Erich Heckel (18831970) and James Ensor (1860-1949), as well as Walt Disney (1901-1966) and Clarence Charles Beck (1910-1989).
Combining expressionism with pop culture, irrationality, and myth, Moll’s paintings evoke tensions from
worlds both real and fantastic. Moll also was inspired by his teacher and later colleague, Seymour Rosofsky
(ArtWalk No. 33). Starting in 1978, Moll joined Rosofsky every Friday in his Chicago apartment, and they painted
together. This friendship inspired the 2004 exhibition at Koehnline Gallery, Seymour Rosofsky: Fresh Glance,
which featured Moll’s collection of Rosofsky paintings and prints.
22 J U DY R O B I N S
(American, b. 1942)
With her studio located in the heart of the River North gallery district,
native Chicagoan Judy Robins has been active in the city’s art community
since the early 1980s. An accomplished painter and figure artist, Robins
specializes in stone carvings, from small, table-sized pieces to giant outdoor
sculptures. Robins studied with master stone carvers at Sem Ghelardini’s
Studio in Pietrasanta, Italy. Sem’s was one of the finest Italian marble carving
studios in Italy, and the first to take on modern art. Artists from all over the
world studied at Sem’s, including Henry Moore (1898-1986), Cesar Baldaccini
(1921-1998), and Isamu Noguchi (1904-1988).
In the early 1700s, explorers learned that “Che-ca-guo” was a Chippewa
word that meant “wild onion,” or “wild garlic.” The Kickapoo and the extinct
Mascoutins tribe pronounced it “Chikagou,” meaning powerful, great, mighty,
or strong. These names were given to the trading center now known as
Chicago, where onion, wild garlic, and skunk grass grew abundantly, and where
the strong stench was widely known among visiting Native American tribes.
The roots of Che-ca-guo/Wild Onion connect to the artist’s relatives
Che-ca-guo/Wild Onion
and ancestors. Her maternal great-grandmother was Native American. In
1999, Indiana limestone
the early 1920s, her paternal grandfather ran the dance hall at White
10 ft. H x 4 ft. W x 3 ft. D
Amusement Park on the city’s South Side, and her mother’s grandmother
owned three apartment buildings near Graceland Cemetery, Robins’ childhood playground. The sculpture is made of Indiana limestone, the same durable material used in the construction of many famous landmark buildings in Chicago. Che-ca-guo/Wild Onion was on display at Pier Walk 1999,
the annual sculpture show at Chicago’s Navy Pier.
14
R A N DA L L J E WA R T 23
(American, b. 1969)
Randall Jewart graduated from Boston University School
for the Arts in 1992, and six years later was named director of
Washington, D.C.’s “It’s Sculpture!” project, which places outdoor sculpture in temporary downtown locations. From 2000
to 2003 he served as a director of the International Sculpture
Center in New Jersey. Jewart lives and works in Austin, Texas.
Upsidedown Man began life as a caryatid (a pillar that has
human form) titled Standing Man. In this early form the figure
stood firmly, with head bowed forward under the weight of an
inner burden. It was a very moody piece. Then one morning,
Jewart read the following passage in Friedrich Nietschze’s
Zarathustra:
“All good things approach their goal crookedly. Like cats,
they
arch their backs, they purr inwardly over their approachUpsidedown Man
ing happiness: all good things laugh. A man’s stride betrays
1999, Limestone, 9 ft. H x 12 ft. W x 10 ft. D
whether he has found his own way: behold me walking! But
whoever approaches his goal dances. And verily, I have not
become a statue: I do not stand there, stiff, stupid, stony, a column; I love to run swiftly. And though there are
swamps and thick melancholy on earth, whoever has light feet runs even over mud and dances as on swept ice.
Lift up your hearts, my brothers, high, higher! And do not forget your legs either. Lift up your legs, too, you good
dancers; and better yet, stand on your heads!”
That morning the stiff, stony Standing Man became the humorous, lively Upsidedown Man, a light-hearted
monument to the need to invert our minds, our souls, and even our bodies, to be able to laugh at our efforts
and intents.
E R I C L I N D S E Y 24
(American, b. 1958)
Eric Lindsey was born in Belleville, Illinois, and in 1978 earned an associate’s degree in fine art from Belleville Area College. One year later, Lindsey
studied at the Art Institute in Kansas City, and in 1981 received a BFA from
Southern Illinois University, Carbondale.
Lindsey was attracted to stone sculpture from the beginning of his
career. His work in stone carving and industrial stone allowed him to master
the unique technique of the medium. Lindsey decided to work with stone
(occasionally incorporating pieces of cast metal) because of its long tradition in art, dating back to pre-history, as well as the risks involved in a
medium where errors are irreversible. He also was drawn to the lengthy
methodical process that begins in the quarry and continues through many
studies and, occasionally, models, and ends with the elimination of material
from a raw block of stone.
Chicago River Landscape
Lindsey has participated in many exhibitions including Chicago and
1993, Barry gray granite
Vicinity
Show, Lill Street Gallery, Chicago (1983); Pier Walk Sculpture
72 in. H x 73 in. W x 36 in. D
Exhibition, Navy Pier, Chicago (1996 – 2000); and City of Chicago Art in the
Park, Wicker Park, Chicago (2002). His sculptures are in public collections
such as South West Illinois Colleges, Belleville, Illinois, and Village of Oak Park, Illinois.
Lindsey opened his first Chicago studio in 1981, and continues to work in a former west side foundry. At the
time Chicago River Landscape was created, Lindsey’s studio was on the bank of the Chicago River. He lived
several blocks away, and commuted by bicycle. The composition for Chicago River Landscape was inspired
by a lifting bridge, resembling a road that turns up and disappears. The work also pays homage to American
sculptor David Smith (1906-1965), specifically his linear metal sculpture, Hudson River Landscape (1951).
15
25 F I S H E R S TO L Z
(American, b. 1961)
Fisher Stolz, associate professor
of art and sculpture at Bradley
University in Peoria, Illinois,
received his MFA from the
University of Georgia. While an
undergraduate, Stolz traveled to
Tuscany, Italy, where he began to
create sculpture using stone, steel,
New Era
and bronze, often in combination
2000, Steel, granite and aluminum, 10 ft. H x 20 ft. W x 35 ft. D
with one another. His work has
been exhibited in outdoor venues
such as Grounds for Sculpture in
New Jersey; Northshore Sculpture Park, Skokie, Illinois; and Navy Pier, Chicago. Outdoor campus exhibitions
include Western Michigan University; The University of North Carolina-Asheville; the University of Alabama;
and the University of Texas-Tyler.
Exhibited at Pier Walk 2000 at Navy Pier, Chicago, New Era is one of a series of sculptures in which Stolz has
incorporated a large sphere as a focal point. Placed in context by structural steel beams and arcing elements,
the sphere becomes a metaphor for the individual, sometimes in danger, at other times protected.
26 J I M M c C O R M I C K
(American, b. 1936)
Jim McCormick was born in Chicago and in the 1960s attended
the University of Tulsa in Oklahoma, graduating with a bachelor’s
degree in art and a master’s degree in painting and printmaking. He
joined the faculty of the University of Nevada and taught a variety of
art courses, including printmaking, until his retirement in 1992.
McCormick has illustrated several books and co-authored
Brushwork Diary, published by the University of Nevada Press. He
is currently directing the activities of the Nevada Art Research
Project at the Nevada Historical Society, documenting the lives of
Nevada artists since the mid-19th century.
Prints and drawings by McCormick have been featured in many
solo exhibitions, including Philbrook Art Center, Tulsa, Oklahoma;
Transight
Davidson College, Davidson, North Carolina; University of Maine,
Lithograph, 19 in. x 18 in.
Orono; and the Sierra Nevada Museum of Art. McCormick’s works 1989,
Gift of Cynthia Archer, 2000.14
also have been part of group exhibitions at the Pratt Graphics
Center, New York; San Francisco Museum of Art; Purdue
University, West Lafayette, Indiana; and the Dallas Museum of Fine Arts. He has held one-man shows at
Stremmel Gallery and the Sierra Arts Foundation, both in Reno, Nevada. In 1971, McCormick met Will Petersen
and Cynthia Archer, founders of the Plucked Chicken Press, at Lakeside Studio in Michigan. He created a series
of four small black and white lithographs featuring Petersen and Archer working at the stone prints studio. A
decade later, McCormick came to the Plucked Chicken Press in Evanston, Illinois, to produce two lithographs
with futuristic and technological motifs, Tansight and Six Zones. Six Zones is part of the permanent Plucked
Chicken Press exhibition at the Ray Hartstein Campus.
16
B A R B A R A T R U P P 27
(American, b. 1950)
Barbara Trupp was born in Nebraska and spent her childhood in
Montana. She studied at the Banff Centre School of Fine Arts in Alberta,
Canada; the University of Puget Sound; and the University of Michigan.
Theban Archeaopteryx Lithographica was printed at the Plucked Chicken
Press in Evanston, Illinois.
“The stone is the shape of the Rosetta Stone, unlocking language, [a]
key to the past,” says Tripp. “Wouldn’t it be wonderful if you came across
a stone, chipped at it, and revealed layer upon layer of visual history,
images from sophisticated Egypt back to Paleozoic trilobites?
“Lithography stones, quarried from the Jura Mountains of Bavaria,
reach us from the Jurassic period of the Mesozoic, bearing fossils of the
first birds. The bird fossil looked like it was doing an Egyptian dance, and
that reminded me of the wall paintings of the House of Eternity in Thebes.
‘Paint the walls brightly, cheerfully, so that our souls will take the form of
birds and fly,’ said Sennefer, the mayor of Thebes, in the tomb of his
Theban Archeaopteryx
wife Meryet.
Lithographica
“Fossils and archeological evidence provide proof that others existed
1
1
1985, Lithograph, 36 /2 in. x 24 /2 in.
Gift of the Oakton Educational Foundation
before us, and allow us to see their thoughts. The past is with us. Like
1986.10
Archaeopteryx, Sennefer and Meryet still fly through eternity, though
frozen in stone. Above them is the protective eye of Horus. Trilobites
represent a breathtaking explosion of Cambrian life forms. Between Archaeopteryx and Egypt, I wanted mammals. Petroglyphs. Human marks. Because my right hand is the trained hand, I drew with my left, childlike. And
I drew with a stick, dipped in asphaltum, and a ratty old brush. After all, the Egyptians didn’t use Grumbacher
brushes, did they?”
A B B OT T PAT T I S O N 28
(American, 1916-1999)
Abbott Pattison was born in Chicago and made
the city his home for most of his career. A 1937 graduate of Yale University School of Fine Arts, he was an
instructor at the School of the Art Institute of
Chicago from 1946 to 1952. Pattison also lived and
worked in China, Japan, France, and Italy. Bayscape
Winter was Pattison’s first color lithograph, published
by the Plucked Chicken Press in Evanston, Illinois.
This work also is in the collections of the Portland
(Maine) Museum of Art; Illinois State Museum,
Springfield; and the Mary and Leigh Block Museum
of Art at Northwestern University, Evanston.
An award-winning sculptor, Pattison often worked
Bayscape Winter
on life-sized marble and stone statues, but most of his
1985, Lithograph, 21 1/2 in. x 261/2 in.
works are single castings in bronze. His work has
Gift of the Oakton Educational Foundation, 1986.5
been exhibited throughout the world and is included
in the permanent collections of The Art Institute of
Chicago; Whitney Museum of American Art, New York; Corcoran Gallery, Washington, D.C.; and the Israel State
Museum. Pattison has an estimated 20 sculptures on view in the Chicago area, including the Martin Luther King
Jr. Memorial, I Have a Dream, at Chicago State University, and Chicago Totem on Randolph Street. Pattison
chose a totem to represent his native city because, “like Chicago, it is soaring, living, writhing with an animal
force and energy.”
17
29 J O H N H I M M E L FA R B
(American, b. 1946)
Chicago native John Himmelfarb grew up in a
household of artists, surrounded by their art and
the countryside that inspired them. Himmelfarb
completed his undergraduate studies in liberal
arts with a major in architectural sciences at
Harvard College, Cambridge, Massachusetts. In
1970, he opened the Chicago studio where he
continues to work.
Himmelfarb has exhibited his work in numerous shows, nationally and internationally. More
than 40 institutions include his work in their collections, including The Art Institute of Chicago;
Brooklyn Museum of Art; Musee d’Art Moderne;
Physical
Centre Georges Pompidou, Paris; The Baltimore 1983, Lithograph, 22 in. x 301/8 in.
Museum of Art; Illinois State Museum,
Gift of Dr. William A. and Rev. Phyllis Koehnline, 1985.58
Springfield; Fogg Art Museum at Harvard
University; and National Museum of American
Art in Washington, D.C. Himmelfarb’s exhibition Inland Romance was on display at Koehnline Gallery in 2001.
Himmelfarb’s work reflects a curious amalgam of postwar expressionism and surrealism. He is influenced by
the abstractionism of Jackson Pollock (1912-1956), with an emphasis on overall gesture and mark making, as well
as the art brut (naive) expressionism of Jean Dubuffet (ArtWalk No. 79). Himmelfarb has been affected by 20th
century art history, yet has managed to move beyond these influences to develop his own powerful and personal
voice. Physical, printed at Plucked Chicken Press under master printer Will Petersen, was Himmelfarb’s emotional
response to taking his son to the doctor for a check up. The childlike style and use of primary colors is typical of
the artist’s work in the 1980s.
30 W I L L P E T E R S E N
(American, 1928-1994)
Will Petersen was born in Chicago and enjoyed his first artistic experience as a cartoonist for the school newspaper at Steinmetz High
School. His prints and paintings are included in more than 140 museum
and corporate collections around the world. The classical statues and
Japanese motifs of Matter of Aesthetics summarize the philosophy of
the artist as a poet, a painter, and a master printmaker.
Petersen began printmaking in 1949 at Michigan State University.
During military service in Japan, from 1953 to 1954, he became interested in calligraphy and Noh, the classical Japanese performance that
combines drama, music, and poetry. Returning to the United States,
he joined the Beat Generation and seriously explored Zen Buddhism.
(The character Rol Sturlason, in Jack Kerouac’s The Dharma Bums,
is based on Petersen.) Returning to Kyoto, Japan, Petersen pursued
painting, printmaking, and writing from 1957 to 1965. In 1978, Petersen
and Cynthia Archer founded the Plucked Chicken Press, a print shop
specializing in lithography, in West Virginia. The operation later moved
Matter of Aesthetics
to Chicago and then to suburban Evanston.
1982, Lithograph, 36 in. x 261/2 in.
Gift of Dr. William A. and Rev. Phyllis Koehnline
Plucked Chicken Press did some contract printing for individual
1985.52
artists and galleries, but most of its work consisted of subscription
publications. Many of the lithographs in the permanent collection at
Oakton, including those on display in the Rolana Tankus Fox Gallery, were published by Plucked Chicken Press.
In tribute to Petersen, a permanent exhibition of Plucked Chicken Press publications is on display at Oakton’s
Ray Hartstein Campus.
18
JA M E S M c N E I L L M E S P L E 31
(American, b. 1948)
See ArtWalk No. 10
Primavera is a surrealistic scene of mythological figures and
medieval artifacts. In it, the classical temple meets the skyline of
Chicago. Mesple’s works also have been exhibited in Chicago at
Artemisia Gallery, Wood Street Gallery, the James R. Thompson
Center and Navy Pier. He also participated in the 2004 Koehnline
Gallery exhibition, Words and Pictures: Paintings by James
Mesple, Poetry by Effie Mihopoulos.
Primavera
1991, Lithograph, 353/4 in. x 24 in.
1992.2
C U R T F R A N K E N S T E I N 32
(American, b. 1922)
Curt Frankenstein was born in Hanover,
Germany, to a Jewish father and a Lutheran
mother. During the infamous Kristallnacht raids
of 1938, his father was taken to the
Sachsenhausen concentration camp. Luckily, he
was released several months later on the condition that he would immediately leave the country. He boarded a freighter packed with other
refugees bound for the international seaport of
Shanghai. In 1939, just months before Hitler
invaded Poland, the 17-year-old Frankenstein
decided to join his father in Shanghai. After the
Birth of the Organization Men
war, he moved to Chicago to study on scholarc. 1985, Colored etching, 141/2 in. x 213/4 in., 1985.76
ship at the American Academy of Art and later
at the School of the Art Institute of Chicago.
Frankenstein admired Jackson Pollock (1912-1956), and the abstract Expressionists, but preferred to tell
stories through recognizable pictures in a surrealistic manner. Birth of the Organization Men reflects the artist’s
point of view that above all, the contemporary organization wants conformity from its members. Therefore, it
breeds the ideal organization men; they look alike, dress alike, and think alike, distinguished only by their
Social Security numbers.
19
33 S E Y M O U R R O S O F S K Y
(American, 1924-1981)
Seymour Rosofsky was born to Jewish immigrants on Chicago’s
west side. Following military service he received his BFA in 1949
and MFA in 1951 from the School of the Art Institute of Chicago.
Rosofsky’s early work was associated with the group “Monster
Roster,” and reflected expressive, gestural renderings of distorted
figures. This trend was inspired by the non-Western art that he
and his classmates studied at the Field Museum, as well as by
German expressionism and personal wartime experience.
Rosofsky’s grotesque images also were influenced by early 1950s
The Love Fountain
exhibitions by Edvard Munch (1863-1944) at The Art Institute of
Chicago, and Jean Dubuffet (ArtWalk No. 79) at the Arts Club.
Gift of Sara Leonard, 2004.16
Rosofsky’s faceless men began surfacing circa 1956, sometimes
in hospitals or in wheelchairs, both vulnerable and uncomfortable situations. His interest in structural issues
intensified during a 1958 stay in Rome on a Fulbright Fellowship. Lines and grids began to appear in his compositions in a dramatic fashion under the influence of his friend, artist June Leaf (ArtWalk No. 34). In 1962, Rosofsky
and his family arrived in Paris after the artist received a Guggenheim Foundation grant. He was introduced by
Chicago artist Irving Petlin (b. 1934) to the Surrealist-oriented Galerie du Dragon, which fed his inclination toward
the absurd. He then started to develop a personal vocabulary of fantastic, sometimes frightening, figures.
Rosofsky taught at Chicago Loop College (now Harold Washington College) from 1964 until his death in 1981.
His work was shown in the Chicago and Vicinity shows at The Art Institute from 1950 to 1981, and he was included
in Franz Schulze’s book, Fantastic Images (1972). In 1984, the Krannert Art Museum at the University of Illinois at
Urbana-Champaign organized a retrospective of Rosofsky’s work, which also is included in the collections of the
Museum of Modern Art, New York; Museum of American Art, Washington, D.C.; Los Angeles County Museum
of Art; and the Museum of Contemporary Art, Chicago. The exhibition, Seymour Rosofsky: Fresh Glance, was
on display at Koehnline Gallery in 2004 (see ArtWalk No. 21).
Commissioned by The Art Institute for members of its print and drawing club, The Love Fountain depicts a
legless girl sitting on the ground, watching her companion skip rope in a strange room that also is a garden. The
“sweetness” of the flowers is altogether perverse. The violence of life, a common theme of Rosofsky’s, is reflected
in this sardonically bitter scene.
34 J U N E L E A F
(American, b. 1929)
June Leaf was born and raised on Chicago’s west side. In 1947, she
traveled to Paris where she was introduced to primitive art at the
Musée de I’Homme. Returning home two years later, Leaf befriended
Leon Golub (1922-2004) and other artists associated with the School
of the Art Institute of Chicago, and in 1951 showed her work in the
Exhibition Momentum. Leaf became acquainted with artist Seymour
Rosofsky (ArtWalk No. 33) in 1952 during a short stint as a model in San
Francisco, and became influenced by his work. She taught at the
Institute of Design, earning her MA in art education in 1954. She later
The Ballroom
taught at the SAIC.
1968, Lithograph, 17 in. x 20 in.
Leaf’s early paintings and drawings have a very linear quality and
Gift of Sara Leonard, 2004.17
somber palette. She combined these figures with abstract space, or
architectural references. The figures in later paintings and drawings from the 1950s include matronly women
wearing wide-brim hats, and numerous portraits and self-portraits.
Leaf’s work was featured in Franz Schulze’s Fantastic Images (1972), and her inclusion in this influential volume
connected Leaf to the first generation of Chicago Imagists. In 1960, Leaf settled in New York, where she translated
the personal imagery she developed in Chicago to scenes depicting New York urban life, as evidenced in the
lithograph, The Ballroom. Her work is in the collections of the Modern Art Museum in New York; The Art
Institute of Chicago; and the Museum of Contemporary Art, Chicago.
20
W I L L P E T E R S E N 35
(American, 1928-1994)
Temple Dance
After serving as an education specialist with the U.S. Army in
Japan (1953-1954), Will Petersen returned to the United States and
became involved with poets of the Beat Generation. He was greatly
influenced by their attraction to Zen Buddhism, which heightened
his interest in Japanese culture. He returned to Japan in 1957, living
in Kyoto and in the outlying village of Yase, at the foot of Mt. Hiei,
where he single-handedly built his own bark-roofed studio. He taught
English at three universities and later at the Matsushita Electric
Industrial Company.
Japanese costumes and calligraphy became characteristic elements
of Petersen’s work during his time in Japan (see ArtWalk No. 30). His
color lithographs, executed on stone and hand printed, were exhibited at the National Museum of Modern Art, Kyoto, where he became
the first printmaker to receive the prestigious Suda Award. His prints
also were selected by the Mainichi Daily News for a “Best of the
Year” exhibition.
1990.8
C L A E S O L D E N B U R G 36
(American, b. 1929)
Born in Sweden, Claes Oldenburg grew up in
Chicago and studied at Yale University and the
School of the Art Institute of Chicago. He moved
to New York in the late 1950s and became
involved with dramatic art presentations called
“happenings.” The props that he made for these
presentations were based on common objects
and led to his early hand-sewn, soft canvas
sculptures. Oldenburg’s fascination with scale
and the changes that take place when objects
are enlarged to monumental proportions served
as inspiration for the public works he created in
London Monument
the 1960s. The 25-foot lipstick at Yale University
1966, Signed offset lithograph, 231/2 in. x 343/4 in.
and 45-foot clothespin in Philadelphia are
prime examples.
In 1977, Oldenburg called upon his memories of Chicago when he was chosen to design a monument for
the plaza of the Social Security Administration Building. On an earlier visit to the city, noting the flat terrain,
he commented that “the real art here is architecture, or anything that really stands up.” When he returned to
inspect the site for the sculpture, he observed tall chimneys and the massive neoclassical columns of the nearby
Union Pacific (formerly Northwestern) Railroad Station. The resulting work, a giant baseball bat entitled
Batcolumn, combines the artist’s humorous and irreverent attitude toward popular objects with meticulous
construction and attention to detail, scale and proportion. Similarly, London Monument is based on a proposed
drum set-shaped monument in London’s Battersea Park.
21
37 S A LVA D O R DA L I
(Spanish, 1904-1989)
Salvador Dali was born in Figueras, Spain, and studied at Madrid’s
San Fernando Academy of Art where he was greatly influenced by
17th century Dutch masters, as well as by contemporary painter Joan
Miro (ArtWalk No. 81) and Giorgio de Chirico (1888-1978). During a
1928 visit to Paris, Miro introduced Dali to members of the Surrealist
Group, and Dali returned to Paris the following year to live and work.
His first one-man show was held at the Galerie Goemans in 1930,
earning him recognition as a leader of the Surrealist Movement. His
first New York show was presented at the Julien Levy Gallery in 1932.
The Museum of Modern Art presented a large retrospective of his
work nearly a decade later.
Flowers, like the roses in Apparition, frequently appear in Dali’s
paintings and seem to symbolize the mystery of female sexuality. At
the same time, as an organic form, flowers are constantly in flux and
represent change and growth. The pink floral shape could be an
apparition revealing Dali’s erotic obsessions. The nightingale, a
romantic bird to most artists, took on sinister interpretations for
some surrealists. To the right of the bouquet, a small woman in a
flowing gown casts a long shadow, suggesting the low light of sunrise
or sunset. This quiet, ethereal quality reinforces the mysterious,
illusory aspects of the image.
Apparition: The Magic Butterfly and
the Flower
Gift of the National Association for the Exchange
of Industrial Resources, 1980.1
38 K AY H O P P O C K
(American, 1921-2002)
Kay Hoppock was a painter of large-scale, luminous
watercolors. Born the youngest of five children in
Birmingham, Alabama, Hoppock was an expressive child
who used art to channel her energy. After high school,
she left Birmingham to study art and fashion design in
New York at Parson’s School of Design and the legendary
Art Students League. Hoppock started sketching and
painting portraits after World War II, but emerged as a
watercolor artist after moving to Wilmette, Illinois. She
was featured in the July 1986 issue of American Artist
magazine, and her honors include a Museum Award from
Watercolor USA and a first prize in watercolor from the
Watercolor Society of Alabama.
Still Life with Pears and Mums
In 1988, Hoppock was invited to show at a retrospec- 1990, Lithograph, 181/2 in. x 23 in.
tive celebrating the 75th anniversary of New York’s
famous Armory Show. Her works are included in corporate, private, and museum collection nationwide, including the Illinois State Museum, Springfield; the Chicago
Botanic Garden; The Portland (Oregon) Art Museum; and the United States Air Force Museum, Washington
D.C. In Hoppock’s work, artifacts become art, and crystal, flowers, and ceramics vibrate with a life of their own.
Still Life with Pears and Mums demonstrates her mastery of color, composition, and technique. It also includes
her signature motifs of flowers and glass.
22
W I L L I A M N E L S O N 39
(American, b. 1942)
See ArtWalk No. 97
William Nelson is a lifelong Chicagoan who began
studying at the School of the Art Institute of Chicago
at the age of 12, and later received a full scholarship to
the school. He was the first artist commissioned by
the United States Olympic Committee to produce a
series of paintings depicting the Winter Games in
Innsbruck, Austria, and Summer Games in Montreal,
Canada, held in 1965. He also was the first artist to
have a private showing in the U.S. Senate Caucus
Room,
and he was commissioned by Virginia Senator
Streetcar
John Warner to create the painting, A Bicentennial
c. 1970s, Lithograph, 18 in. x 25 in., Gift of Mr. Gerald A. Horwitz
1985.36
History of the United States.
In 1980, Nelson studied in southern France and
Italy, where he developed a more vivid and colorful style. Proceeds from the sale of his 1984 poster depicting
the Chicago Theater helped defray the costs of saving that building. A major exhibition of his work was held in
Monte Carlo, Monaco, in 1989. Nelson is represented in numerous collections, including the National Museum of
Natural History and the White House in Washington, D.C.; Illinois State Museum, Springfield; Chicago Historical
Society; and the Chicago Public Library.
A N TO N I TA P I E S 40
(Spanish, b. 1923)
Born in Barcelona, Spain, Antoni Tapies is an internationally known
painter, lithographer, and sculptor whose work evokes both intellectual
and tactile responses. Primarily self-taught, Tapies spent three years in
law school before devoting himself to painting. In 1944, he studied
briefly at Valls Academy in Barcelona. He lives in a ninth century
farmhouse in the Catalan countryside.
Originally influenced by Joan Miro (ArtWalk No. 81) and Paul Klee
(1879-1940), Tapies turned to abstract art in the early 1950s. With thick,
highly textured impasto (Italian for dough), incorporating such material
as clay and marble dust, he began creating works devoted to themes
he considered important—language, patriotism, mysticism, and the
human body. In the 1970s, Tapies began incorporating objects such as
buckets and pieces of furniture into his art.
Tapies’ first one-man exhibition was in 1950 at Galerias Laietanes
in Barcelona. In 1993 he was chosen to represent Spain at Venice
Biennale, where he received an award for painting. Tapies had
Untitled (#189)
participated in three previous Biennales; in 1958 he was given his
1
1968, Lithograph, 29 /2 in. x 22 in.
own exhibition room, and was awarded the UNESCO Prize and the
1985.91
David E. Bright Prize. His work is part of public collections worldwide,
including the Fundacio Antoni Tapies, Barcelona; Museum of Modern
Art and Solomon R. Guggenheim Museum, New York; Stedelijk Museum of Modern Art, Amsterdam; and Tate
Gallery, London.
Untitled (#189) is a black and red lithograph, reflecting Tapies’ style of the late 1960s. Works created during
this phase of his career exhibited a graffiti-like quality. Tapies also uses his own initials in the piece, with the “T”
in the center being symbolic of a cross.
23
41 D I A N E T H O D O S
(American, b. 1962)
Diane Thodos is an art critic,
painter, and print artist who lives in
Evanston, Illinois. She received her
BFA from Pittsburgh’s CarnegieMellon University in 1985, and her
MFA from the School of Visual Arts,
New York, in 1989. Thodos’ works are
included in public collections such as
The Milwaukee Museum of Art; The
Smart Museum at the University of
Chicago; and The Hellenic Museum,
Chicago.
Thodos first encountered printmaking in 1984, when she enrolled
B. The Edge
A. Storm
at Stanley William Hayter’s Studio 17
2002, Etching, 17 in. x 13 in.
Gift of Granvil and Marcia Specks MGS
Gift of Granvil and Marcia Specks MGS
in Paris. Hayter directed his new
Foundation, 2003.26
Foundation, 2003.27
student to create an experimental
exercise plate that forever changed
her perception of abstraction and the concept of spontaneous intuitive energy. “I recognized the importance
of the Surrealist ideas of automatism and experimentation, which were imbedded in the point of this exercise,”
says Thodos. “I was surprised to find a very similar exercise in automatism was practiced by Jackson Pollock
(1912-1956) at Hayter’s studio in New York during the 1940s. The abstract expressionists, especially Pollock,
absorbed many of Hayter’s ideas, which had a germinal effect on the development of the movement.”
The Edge was created shortly after the destruction of New York’s World Trade Center in 2001. It is an
abstract representation of the turbulence and violence that emerged from the tragedy of September 11.
The Storm continues this mood to reflect the destructive energy of the subsequent war in Iraq.
42 DA N I E L C H R I S T M A S
(American, b. 1951)
Daniel Christmas was born in Harrisburg, Pennsylvania, and studied painting, photography, and communication arts at York Academy
of Art and Design in nearby York. In 1988, Christmas established the
Design Alliance Inc., in Chicago, and created award-winning advertising campaigns for clients such as Chicago Board of Trade, IBM, and
Mitsubishi. He oversaw two redesigns of The Independent Film and
Video Magazine in the 1990s, and provides ongoing art direction for
this monthly publication.
Christmas is best known for his large photographic murals and
dark, sensual, abstract paintings that invite contemplation and discovery. Since 1987 he has exhibited in one-person and groups shows
in Chicago, including Endangered Species at Klein Art Works (1988)
and Sextablos at the Hyde Park Art Center (1999). In Adagio, printed
at Full Court Press, abstract elements—black balloon-shaped human
embryos floating in space—create a gracefully slow tempo.
Adagio
1991, Lithograph, 251/4 in. x 341/2 in.
24
DAV I D D R I E S B AC H 43
(American, b. 1922)
David Driesbach was born in Wausau, Wisconsin,
and studied with Mauricio Lasansky at the
University of Iowa and with Stanley William Hayter
in Paris (see ArtWalk No. 41). His lithographs,
etchings, and drawings have been described as
“anguished complex writings,” “satirical whimsy,”
and “frozen fantasies.” A former professor of art at
Northern Illinois University in DeKalb, Driesbach
has had more than 150 solo exhibitions since 1946,
including one in 1980 at The Art Institute of
Chicago. His lithograph, Opening Night, is included
in the Plucked Chicken Press Collection at
Oakton’s Ray Hartstein Campus.
Of Magician’s Sabbath he writes: “Lighted
candles, wine glasses and bottles, top hats and
Magician’s Sabbath
spectacles—I have this baggage that trails along
with me as the years come and go. Horses, dogs,
and birds, rose windows in church spires—a waning
moon. These things accompany a story and take
on mysterious importance in my work. I find myself fascinated with costuming and with architectural elements
such as columns and arches. My actors are without voices behind thermal pane. They maintain eye contact with
us. Their facial expressions telegraph how we ought to react to their world and situation.”
H A R O L D G R E G O R 44
(American, b. 1929)
Born in Detroit, Harold Gregor received a
master’s degree from Michigan State University in
1953 and his Ph.D. from Ohio State University in
1960. He is a distinguished professor emeritus at
Illinois State University in Normal. Gregor has
received many awards, including a fellowship in
1993 from the National Endowment for the Arts.
That year he also was awarded the Illinois
Academy of Fine Arts Lifetime Achievement
Award. His work has been exhibited internationally
and is part of public and private collections in the
United States and Europe.
Heartland VI
In the early 1970s, Gregor gained national
prominence within the photorealism movement
for creating meticulously detailed paintings of
farm structures and the sweeping horizon of the
rural Midwest. He also became known for his unusual “flatscape” paintings that combine an aerial perspective
with unique color choices. In 1990, Gregor was commissioned to paint two large murals for the Illinois State
Library in Springfield. In 1997, he was asked to paint a 38-foot-long panorama for Chicago’s McCormick Place
Convention Center.
In 1999, Gregor’s Colorscape XIII was included in the exhibition, Contemporary American Realist Drawings, at
The Art Institute of Chicago. Heartland VI was printed at the Plucked Chicken Press in Evanston, Illinois. It presents Gregor’s unusual perspective, which enables the artist to visually eliminate the flatness of the Illinois prairie.
Another of Gregor’s works, Illinois Landscape #80, a large oil and acrylic painting, is included in the permanent
collection at Oakton’s Ray Hartstein Campus.
25
45 W I N I F R E D G O D F R E Y
(American, b. 1944)
Winifred Godfrey obtained her MFA degree from the
University of Wisconsin-Madison in 1970. She continued her studies in printmaking and painting at Mary Crest College in
Davenport, Iowa, the School of the Art Institute of Chicago, and
the University of California at Los Angeles. In her dramatic floral
canvases, Godfrey magnifies organic forms, and takes the subject
beyond its ordinary existence.
“What interests me primarily in painting floral forms is the
delicate and temporary quality of the blossom,” she says.
“Although the canvases are painted realistically, the flower is the
starting point for an abstract study of the luminosity and transparency of the individual petal. I try to accomplish this through the
magnification of the plant form itself in a tight design, and make a
spatial relationship of this form with the rectangle of the canvas.”
Godfrey’s works are represented in many collections, including
the Illinois State Museum, Springfield; the Mary and Leigh Block
Hollyhocks
Museum of Art at Northwestern University, Evanston, Illinois; the
University of Wisconsin-Madison Memorial Union; and Northern
Illinois University, DeKalb. Several of Godfrey’s lithographs and oil
paintings are on display at both Oakton campuses, including Field
of Orange Tulips (see ArtWalk No. 85). Hollyhocks is part of her first floral suite published by the Plucked
Chicken Press. Godfrey’s traveling exhibition, Mayan Procession, was shown at Koehnline Gallery in 1999 before
moving to the Latino Art Forum at the David Rockefeller Center, Harvard University, Cambridge, Massachusetts.
46 J O E L S M I T H
(American, b. 1929)
Joel Smith was born in Draper, Utah, and received his MFA
from the University of California at Berkeley in 1957. He was
member of the art faculty at Western Illinois University, Macomb,
from 1971 until his retirement in 1994.
Smith began his career as an abstractionist with strong ties to
the art of the late 1950s and early 1960s. He uses watercolors to
paint natural subjects and oils for large, abstract canvases. “To me,
painting is a concentrated battle in which I’m trying to resolve a
series of creative problems,” he told American Artist magazine in
1992. Chasm Pressure was Smith’s first lithograph. It was printed at
the Plucked Chicken Press in Evanston, Illinois.
Smith has exhibited his paintings and graphics at one-man and
group shows in the United States and abroad, including the 16th
Sao Paulo International Biennale in Brazil. Two exhibitions have
been mounted at Western Illinois University, Nature’s Forces:
Watercolors by Joel Smith (1994), and Abstract Forces: Oil Painting
by Joel Smith (1997). His work is included in significant collections,
including of the Museum of Modern Art, New York; National
Gallery of Canada, Ontario; National Museum of Modern Art,
Tokyo; and Tate Gallery, London.
26
Chasm Pressure
Gift of the Oakton Educational Foundation and Board
of Student Affairs, 1999.27
M A R T Y L ( S U Z A N N E S C H W E I G ) 47
(American, b. 1918)
Born in St. Louis, Martyl began painting at the age of
12. She received a degree in liberal arts from Washington
University in St. Louis, and has studied drawing with the
renowned cartoonist and painter, Boardman Robinson,
at the Fine Arts Center in Colorado Springs, Colorado.
Today she resides in the Chicago area. Her lithograph,
Island, is included in the Plucked Chicken Press collection at Oakton’s Ray Hartstein Campus.
False Doors was published by the Plucked Chicken
Press in 1987, two years after Martyl returned from an
archeological dig at the Precinct of Mut at Luxor, Egypt.
There she viewed royal tombs and became fascinated
with the honeycombed corridors designed to deceive
grave robbers. The Egyptian expedition resulted in a
body of work that was shown in 1986 at the Brooklyn
Museum of Art and later at the Oriental Institute of the
False Doors
University of Chicago. Martyl also has had solo exhibi1987, Lithograph, 221/4 in. x 22 in., Gift of the Oakton Educational
tions at The Art Institute of Chicago; Brooklyn Museum
Foundation and Board of Student Affairs, 1999.14
of Art; and Illinois State Museum, Springfield, among
other venues. Her work is included in major collections
at the Whitney Museum of American Art, New York; Hirshhorn Museum and the National Museum of American
Art, Washington, D.C.; and Chicago’s DuSable Museum of African-American History.
A R T K L E I N M A N 48
(American, b. 1949)
Art Kleinman was born in South Carolina
and moved to Chicago after earning a BFA in
1971 at the University of Kansas in Lawrence.
From 1991 to 1994, Kleinman taught painting at
the Evanston Art Center, Evanston, Illinois; in
1993 he was a visiting artist at the School of the
Art Institute of Chicago. Since 1980, Kleinman
has had solo exhibitions in Chicago and St.
Louis, including a 2000 show at the Chicago
Cultural Center. He has participated in many
group shows, including Figure Eight at the
Rockford
(Illinois) Art Museum; Drawing in
Litho I
Chicago
Now
at Columbia College, Chicago,
1980, Lithograph, 25 in. x 38 in., Gift of Dr. William A. and Rev. Phyllis Koehnline
1985.24
and Koehnline Gallery; Chicago Artists in the
European Tradition at the Museum of
Contemporary Art, Chicago; and New Horizons in Art at the Chicago Cultural Center.
Litho I is a five-color lithograph printed at the Plucked Chicken Press and published by Barbara Balkin
Gallery in Chicago. This print is part of a body of work completed by Kleinman over a decade, from the late
1970s through the late 1980s. The underlying structure of these pieces is based on a numerical system relative to
the musical scale: seven major elements and two minor intervals, i.e., seven squares and two bars, one-seventh
the size of the square. These elements were moved around on a grid to create an infinite number of shapes.
Shown as a line drawing followed by a color sketch, Litho I provides a demonstration of the artistic process.
27
49 TO M N A K A S H I M A
(American, b. 1941)
Born in Seattle, Tom Nakashima’s unique heritage may be the most
important influence on his work. Nakashima’s mother was Canadian of
German and Irish descent; his father was a second-generation
Japanese-American. Over the years, Nakashima harvested ideas from
both Asian and Western history, blending these cultures in his work.
Nakashima received his MFA from the University of Notre Dame in
1968. In the late 1970s he met Will Petersen in West Virginia. They
shared interests in Japanese culture and Buddhism, and Nakashima
began writing and illustrating for Petersen’s Plucked Chicken magazine,
published in 1978. After Nakashima moved to Washington, D.C., in the
early 1980s, he became increasingly aware of the impact of U.S. policies on the world. Issues of power began to surface in a series entitled
Standing on Ground Zero, printed by the Plucked Chicken Press. This
series revealed Nakashima’s symbolism: the salmon represents death
and rebirth in the Japanese culture and the target signals the threat of
nuclear disaster. The target motif here contains Nakashima’s home
Standing on Ground Zero
address in Washington, D.C., just a few blocks from the Capitol.
1983, Lithograph, 407/8 in. x 305/8 in.,
Highly regarded in the Mid-Atlantic region as an artist, speaker, and Gift of Dr. William A. and Rev. Phyllis Koehnline
1985.25
art professor at The Catholic University of America in Washington,
D.C., Nakashima’s work is part of many public collections, including the
Corcoran Gallery of Art and the National Museum of American Art in Washington, D.C. He has exhibited in
numerous shows, including The Decade Show in 1990 at the Museum of Harlem in New York.
50 P H I L I P L I V I N G S TO N
(American, b. 1941)
Philip Livingston earned his MFA degree in 1965
from the University of Wisconsin-Madison, and is a
professor emeritus at the University of Tennessee
in Knoxville. He participated in the 1983 exhibition,
Fabrications, organized by Richard Hunt (Art Walk
No. 2) at the Chicago Cultural Center. In the early
1960s he was part of the city’s New Horizons in
Sculpture shows, as well as the 67th Annual
Exhibition of Artists of Chicago and Vicinity at The
Art Institute of Chicago. Livingston has sculptures
in public collections including Walker Art Center in Wall Between
1998, Painted wood relief, 391/2 in. H x 77 in. W x 71/2 in. D
Minneapolis; the University of Tennessee, Knoxville; Gift of Lynne Adams and the Illinois Arts Council, 2001.5
and Knoxville Museum of Art. Since 1987, he has
exhibited at Sonia Zaks Gallery in Chicago, which
in 2001 held the exhibit, Open Book. In 2002, Livingston exhibited Open Book/Intimate Pages at Koehnline Gallery.
Wall Between is the first in the Open Book series, which finds the artist returning to wood as a medium, after
a decade of working with aluminum (ArtWalk No. 87). This series started unintentionally, following the artist’s
experimentation with two symmetric elements that visually resulted in an open book design. Wall Between
showcases Livingston’s visual vocabulary—the architectural space, tiled floor, and illusion of perspective. In the
back is a photo of the artist’s father. Livingston used personal material in his Open Book series to express relationship between space and time with real figures, as in a novel.
“The spontaneous gestures on his sculptures recall the mark left when a book closes on a dribble of jam
from the morning’s breakfast,” Stephanie Bowman writes in the catalog to the exhibition, Open Book/Intimate
Pages. “The mark is familiar and recognizable because it occurs often; however, Livingston’s immovable, fixed
wooden book forms contradict this experience of sense memory. We ‘know’ his pieces don’t open and close,
but it is tempting to think that somehow they must have at one time.”
28
F E R N VA L F E R 51
(American, b. 1949)
K.V.
1999, Oil on paper, 113/4 in. x 9 in.
Fern Valfer received her MFA degree from the School of the Art
Institute of Chicago in 1980. She teaches at the School of the Art
Institute and Columbia College, and her work has been exhibited
extensively in the Chicago area. Valfer received a fellowship from
the Ragdale Foundation in Lake Forest, and was recognized by the
National Endowment for the Arts for archival projects at the
National Museum of American Art and National Museum of
Women in the Arts in Washington, D.C.
K.V. is part of a series entitled Fragments of Refuge, created
after the artist visited the 1993 Anne Frank exhibition at the
Chicago Cultural Center. One of the photographs in that exhibit
showed a burning house of worship located in the hometown of
Valfer’s father, near Frankfurt, Germany. K.V., the initials of Valfer’s
deceased father, appear in most of the paintings in the series. Also
around this time, Valfer was asked to speak to high school students
about her family’s escape from Germany during World War II. The
speech was difficult and painful, but it made Valfer aware of the relevance of self-exploration. Fragments of Refuge deals with themes of
perseverance, struggle, renewal, and the urgent need for inner survival. Another painting from the Fragments of Refuge series is
Synthesis (see ArtWalk No. 84).
LO R R I G U N N 52
(American, b. 1942)
Lorri Gunn received her BFA in 1964 from
Indiana’s Valparaiso University and began working
as an artist in the early 1970s. For several years she
was a leader with the Artemisia Gallery, a women’s
cooperative in Chicago. Gunn lives in Chicago and is
part of a very creative family; husband Karl Wirsum
(ArtWalk No. 89) and son Zachery Wirsum also are
professional artists. Gunn’s paintings are charged with
color and energy. Ambiguous figures move among
shifting hues, in a whimsical manner associated with
the Chicago Imagists. Limber Limbs in Limbo and a
Trunk, printed at the Full Court Press, was her first
lithograph.
Limber Limbs in Limbo and a Trunk
29
53 R U Y E L L H O
(American, b. 1936)
Ruyell Ho was born in Shanghai, China, in 1936, and arrived in the
United States in 1955 to study mathematics at the University of
California at Berkeley. After earning his bachelor’s degree in 1959, Ho
studied painting at the School of the Art Institute of Chicago, earning a BFA in 1965. He has been included in several exhibitions in the
Chicago area, including New Horizons in Art (1975, 1984, 1986);
75th Artists of Chicago & Vicinity Exhibition at The Art Institute of
Chicago (1974); and 36th Annual Illinois Invitational at the Illinois
State Museum in Springfield (1984). Daydreams & Sleepless Nights,
created at the Plucked Chicken Press with Will Petersen, was Ho’s
second color lithograph. The work is straightforward; lithographic
crayon drawn directly on the grained, stone-like surface of the
aluminum printing plates.
“Painting, to me, is a state of being,” says Ho. “I paint not what I
see or think, but what I am. My ambition as an artist goes beyond
Daydreams & Sleepless Nights
mere paintings. My major concern is the search for an original,
personal, and self-contained aesthetic system. I hold a strict modGift of Dr. William A. and Rev. Phyllis Koehnline
ernist attitude toward my paintings, in that they are art objects in
1986.9
themselves, and only art objects. The images are always well defined,
simplified, and devoid of romantic or expressionist mannerism. I value originality and visual power.
I want my paintings to have an intense physical presence.”
54 W I L L I A M K E AT I N G
(American, b. 1932)
William Keating is a native of Chicago. The son of an artist and
grandson of an engineer, his work was influenced by both. Keating’s
sculptures have been included in many Chicago exhibitions, including the Museum of Science and Industry, University Club, and The
Art Institute of Chicago. He was featured in a 1976 documentary
produced by Chicago public television station WTTW Channel 11.
Keating’s work also is part of many public, corporate, and private
collections in Illinois, including the Elmhurst Art Museum; Palatine
Public Library; Highland Park Public Library; Loyola Academy,
Wilmette; and the Amoco Corporation.
Keating’s first career was in advertising, in the metal industry. In
1973, he became a full-time sculptor specializing in hand-formed,
welded, metal constructions that present an abstract view of his
sense of balance with nature.
“I love nature,” says Keating. “It, finally, is my inspiration. A whip of
cloud, a bird in flight, the movement of surf, sometimes gentle, often
powerful—the form I see in these things speaks to me and demands
my interpretation. I love the clean look that can be achieved with
polished metal, and the exciting spontaneity of direct metal construction. I see metal as part of nature, coming raw from the earth,
then refined by man. I strive to bring it back to nature by treating it
as earth, to be managed much as a potter forms his clay.”
30
Search for Attainment
1980, Welded aluminum
108 in. H x 42 in. W x 36 in. D
Funded by the Illinois Arts Council and the Oakton
Educational Foundation, 1980.2
F R E D J O N E S 55
(American, b. 1940)
Fred Jones was born in a small
Welsh village and attended
Cardiff College of Art and the
University of South Wales. In 1965,
he received a master’s degree in
education from the University of
Pittsburgh and in 1971, a MFA
from the University of WisconsinMadison. He also studied at
Stanley William Hayter’s Studio 17
in Paris and at the Print
Sunburst Storm
Workshop in London. Jones has
1999, Acrylic on paper, 38 in. x 60 in., Gift of the Oakton Educational Foundation, 1999.10
shown widely, including exhibitions at the National Museum of
Wales (1961); Illinois State Museum, Springfield (1970, 1980); Madison Art Center, Madison, Wisconsin (1971);
and Krannert Museum, University of Illinois, Urbana-Champaign (1980). His works also are part of international
collections, including the British Museum and Victoria and Albert Museum, London; Welsh National Museum,
Cardiff; and Illinois State Museum. Jones was included in the exhibition Illinois Landscapes at Koehnline Gallery
in 2001. Another painting by Jones, Darksky Storm, is on display at Oakton’s Ray Hartstein Campus.
A resident of Macomb, Illinois, since 1968, Jones has long portrayed the various moods of the western Illinois
landscape. In Sunburst Storm, Jones shows how he turns the Illinois prairie into an emotional storm inspired by
English Romanticism.
“Now I work only from memory, imagination, and the experience of perceiving the day-by-day fluctuations of
climate and flora,” says Jones. “The subject matter around our prairie farmhouse is amazingly rich. The colors of
changing seasons, the shapes of the land forms, the integral structures of the vegetation and the movement of
water and air currents represent a constantly changing panoramic tapestry.”
C O R E Y P O S T I G L I O N E 56
(American, b. 1942)
Artist and teacher Corey Postiglione received a bachelor’s degree
in art from the University of Illinois at Chicago, and a master’s degree
in art history, theory, and criticism from the School of the Art
Institute of Chicago. His works are included in gallery and public
exhibitions throughout the Chicago area. Study for Polis II was
included in Passages, a 1998 exhibition at Koehnline Gallery. Another
painting from this exhibition is The Marriage of Reason and Logic
(see ArtWalk No. 92).
In 1990, Postiglione joined the faculty at Chicago’s Columbia
College as professor of art history and critical theory. The following
year he began developing a series of works on paper based on
images of a labyrinth, an ancient symbol that suggests a rite of
passage. The maze also functions as a metaphor for life. It is this
sense of mapping one’s movement through life that affects the
content of Postiglione’s work.
Study for Polis II
1997, Acrylic on paper, 26 in. x 20 in.
31
57 J O H N H I M M E L FA R B
(American, b. 1946)
See ArtWalk No. 29
Since 1993, John Himmelfarb has been working on Inland Romance, a series sequence of paintings that
reflect the artist’s romantic attachment to Chicago. Like Carl Sandburg’s poems about “the city of broad shoulders,” Himmelfarb’s artistic vocabulary relates to the “down to earth” elements of the urban environment. The
majority of these elements are inspired from industrial forms, such as venting systems from factory roofs,
chimneys, elevated structures, cranes, scrap yards, and railroad equipment. Others relate to the rapid rhythm
of the city through aerial views that capture the ever-changing patterns of rivers, roads, bridges, and paths.
In the introduction to
Chicago Stories: Tales of the
City, author Stuart Dybek
characterizes the Chicago
writer as a product of this
unique urban environment,
with a tendency to romanticize the city. “Chicago is an
outlook from the perspective
of the country’s third coast,
a sweet water inland sea surInland Romance: Second Season
rounded by prairie, a locus at
2001, Acrylic on canvas, 11 ft., 4 in. x 29 ft., 10 in., On loan from the artist, 2002.3
the center of America where
there’s not much patience with
fads or pretension,” writes Dybek. “Finally, at the core of the Chicago tradition there is an insistence on sentiment.
Not on sentimentality, but on basic emotion, the complex mix of passion and empathy we term the human heart.”
Himmelfarb’s concept for Inland Romance mirrors Dybek’s perception. “The romantic attachment to the region,”
says Himmelfarb, “is the reason why I am here, and my paintings reflect where I am creating as well as who I am.
The two are connected.”
Himmelfarb displayed three monumental paintings, including Second Season, at Koehnline Gallery during the 2001
exhibition, Inland Romance. The power of Chicago echoed in Himmelfarb’s large-scale canvases, and the communicative element was channeled by the artist, who worked on one of the canvases during the course of exhibition.
58 K E I T H K R U E G E R
(American, b. 1960)
Born in Chicago, Keith Krueger started his higher education at
Oakton Community College in 1979, and later studied architecture at
the University of Oklahoma. Since the early 1990s, Krueger has exhibited
primarily in the Washington, D.C., area where he lives. Working primarily
with discarded materials and scavenged objects, Krueger’s constructions
evoke a strong sense of history.
Krueger’s assemblages are cheerful works comprised of old metal
signs, wooden architectural ornaments, oversized letters, and nautical
fragments, among other elements. There is something childlike about
the artist’s use of primary colors and simple shapes, which allude to
happier times. Upon closer inspection, however, the colors are found to
Dotti
have faded a bit, the paint dirty and chipped. Raw wood is weathered
2000, Mixed media relief
gray, and recognizable objects have been broken and reconfigured.
521/2 in. H x 47 in. W x 41/2 in. D
Separated from their original purpose and placed within a new and
more fluid context, the objects take on new meaning. The resultant
mood is complex and full of longing for the past, acknowledging the imperfections that can only be seen in hindsight.
In Dotti an old Wonder Bread sign, complete with red, yellow, and blue balloons, is included in the composition,
including the words “Builds Strong” from the bread’s advertising slogan, “Helps Build Strong Bodies 12 Ways.”
Dotti was included in Krueger’s 2003 Koehnline Gallery exhibition, Assemblages.
32
L E O P O L I T I 59
(American, 1908-1996)
Mexican Images of Olvera
Street
Gouaches and books, Gift of
Granvil and Marcia Specks, 2003.142003.23, On loan from Glenn and
Amy Greenwood, 2004.18 - 2004.24
Leo Politi was born in Fresno, California, and at age six moved with his family
to Italy where he studied art. Returning to California in the 1930s, Politi worked in
Los Angeles on Olvera Street, and captured the images of Mexican immigrants
who settled in this section of the city. He wrote and illustrated his first children’s
book, Little Pancho, the story of a young Mexican boy, in 1938. Over his career he
wrote and illustrated more than 25 children’s books, and illustrated books for other
authors. Oakton’s collection includes 17 gouache drawings done between 1935
and 1945, and illustrated books reflecting the artist’s impressions of Olvera Street.
Politi has received many awards including the 1950 Caldecott Medal for his
book, Song of the Swallow. Three decades later, the Fresno Public Library was
renamed in his honor, and in 1991, Leo Politi Elementary School was dedicated
in Los Angeles.
T E R R E N C E K A R P OW I C Z 60
(American, b. 1948)
See ArtWalk No. 3
Leaving the Nest demonstrates Terrence Karpowicz’s skills in working with the
medium of wood. In the 1970s he specialized in woodwork, repairing and preserving
wind and water mills in England. The abstract composition, Leaving the Nest, depicts
a child transforming to adult through the process of learning, which never happens at
a fast, straight pace. Leaving the Nest was included in the 2001 Koehnline Gallery
exhibition, Sculpture in Chicago Now.
Leaving the Nest
1997, Maple, 62 in. H x 23 in. W x 6 in. D, On loan from the artist, 2001.12
PAT R I C K M I C E L I 61
(American, b. 1952)
Patrick Miceli is an urban artist
who uses research as a fundamental
part of his creative process. The
Chicago native collects, documents,
and preserves objects in the same
manner as a scientist, then displays
Belmont El Station
the artifacts. Whether working in
1987, Oil on canvas, 4’ x 16’, Gift of the Oakton Educational Foundation, 1987.2
photography, painting, or installation art, Miceli’s work reveals an
almost obsessive need to document detailed fragments of artifacts from the urban environment. In the 1990s,
found objects, such as “premium” toys given away by fast-food restaurants, became part of his installations. A major
exhibition, For All Ages, at Koehnline Gallery in 1999, featured 20,000 such giveaway toys.
Miceli earned his MFA degree from the School of the Art Institute of Chicago in 1997. He teaches art at several
schools, including Columbia College in Chicago and Oakton Community College. His work has been exhibited
at Artemisia Gallery, ARC Gallery, Evanston Art Center, the James R. Thompson Center and the Chicago
Cultural Center.
The hyper-realistic Belmont El Station is an example of Miceli’s paintings from the 1980s. The colorful composition features dozens of figures standing on a train platform. The people seem alienated from life, and dissolve
into the rusty metal sheets and missing bricks of the wall behind them.
33
62 S A L LY S C H O C H
(American, b. 1934)
Sally Schoch is well known throughout the Chicago area for her weaving. She earned her MFA degree from
the School of the Art Institute of Chicago, and her work has been exhibited at many shows and commissioned
by corporations and governmental institutions. The Oakton Community College Educational Foundation commissioned Opus 535 in 1992.
“Every community reflects
a unique environment or
sense of place, especially in its
architectural elements,” says
Schoch. “Opus 535 is an
assemblage of some of the
important elements from each
of the communities that
Oakton Community College
serves, captured in a visual
Opus 535
impression using the medium
1992, Fiber/weaving, 4 ft. x 12 ft., Gift of the Oakton Educational Foundation, 1992.1
of fiber. Architecture and
weaving are directly related,
sharing the concepts of horizontal and vertical. By translating from the rigidity of hard materials in architecture
to the softness of the fiber/weaving materials and process, a redefining and underlining of the human qualities
of the community are emphasized. This narrative assemblage brings together a sense of history and community
as each viewer recognizes an element with which he or she can identify. Hopefully, the detail, color, or texture of
this bas relief and tapestry wall hanging will spark some recognition of a place in your own community.”
63 G E O R G E B U R K
(American, b. 1938)
Painter and sculptor George Burk was born in Goshen, Indiana, and
received his MFA degree from Indiana University in 1963. Since 1984, he
has taught art at the University of Southern Maine in Portland. Burk has
participated in numerous solo and group exhibitions, including the
Portland (Maine) Museum of Art; Evansville (Indiana) Museum of Arts
and Science; and the Museum of Fine Arts, Boston. His work is included
in more than 50 public collections, including the Library of Congress,
Washington, D.C., and the Museum of Fine Arts, Boston.
Burk’s bronzes were published by Lakeside Studio in Michigan. This
studio began publishing prints and sculptures in 1969. Another bronze
published in 1981 at Lakeside Studio is Richard Hunt’s Serpentine Winged
(see ArtWalk No. 2). Burk’s untitled bronzes—one with brown patina, the
other green—are semi-abstract compositions in which artifacts are
bound together almost like historical archives.
A. Untitled
1981, Bronze, 15 in. H x 16 in. W x 11 in. D
Gift of Dr. Frederick P. and Rebecca A. Nause
1982.4
B. Untitled
1981, Bronze, 91/2 in. H x 181/2 W x 8 in. D
Gift of Dr. Frederick P. and Rebecca A. Nause
1982.5
34
YO N G J O J I 64
(American, b. 1969)
Yong Jo Ji enrolled in the School of the Art Institute of Chicago
in 1997 and later completed his MFA degree at the University of
Wisconsin-Madison. He has participated in exhibitions locally in
Chicago and Wisconsin and internationally in South Korea, Japan,
Thailand, and Europe. Jo Ji’s work reveals a struggle between his
Korean heritage and current Western environment. He strives to
resolve this conflict by taking formal elements, captured from modern American art, and transferring them onto a symbolic vocabulary inspired by Zen and Sumi art.
The process of Jo Ji’s painting is similar to that of abstract
expressionism. He does no preliminary designs or sketches. This
creative process, called automatism, is enhanced by the artist’s use
of wax mixed into the paint, creating a medium that dries immediately. Jo Ji’s dominant artistic symbols strongly relate to Joseph
Campbell’s assertion that “our way of thinking in the West sees
God as the final source or cause of the energies and wonder of the
Untitled
2000, Oil and encaustic, 34 in. x 28 in.
universe. But in most Oriental thinking, and in primal thinking, also,
the gods are rather manifestations and purveyors of an energy that
is finally impersonal.”
Untitled reveals the basic elements of Jo Ji’s work—abstract, Korean calligraphy and layers of transparent
paint and wax that create charged energy. The palm of the hand is a multicultural motif representing protection,
communication, and the spiritual entity of God.
M O R I T Z K E L L E R M A N 65
(American, b. 1958)
Moritz Kellerman was born in Nicaragua and received his bachelor’s degree in art history from the University of Washington in
1981. Continuing his education in painting and drawing at Corpus
Christi State University, Kellerman participated in a painting workshop conducted by George Bayliss. He later went on to receive his
MFA in painting and drawing at the School of the Art Institute of
Chicago in 1988. Since 1981, Kellerman has exhibited at a wide
range of college campuses, museums, and galleries, in both solo
and group shows. He teaches studio art and art history at several
institutions, including Oakton Community College.
Kellerman’s work explores dilemmas through a meditative and
contemplative process. He applies translucent layers of paint to
reveal not only his inner self, but also his response to the world.
“I have labored intimately with a new body of work that deals with
the different stages of one’s soul,” says the artist, “that which is
entirely intangible and unknown.”
Reverence
2000, Oil on linen, 44 in. x 30 in.
35
66 J O H N P I T M A N W E B E R
(American, b. 1942)
John Pitman Weber was the son of a
southern Baptist father, a white civil
rights activist who fought segregation,
and a Russian Jewish mother with roots
in labor issues and social justice. This
background shaped Weber’s philosophical approach to his artistic work. Today,
he is highly regarded internationally as a
muralist, painter, and printmaker.
Weber studied history and literature
at Harvard College, Cambridge,
Massachusetts, graduating in 1964. He
Elements
then accepted a Fulbright fellowship to
1968, Oil on canvas (8 panels), 48 in. x 36 in. (each panel), On loan from the artist, 1991.6
study the history of the French
Revolution at the Sorbonne in Paris. At
the same time, he also enrolled at the National Graduate School of Fine Art in Paris and studied printmaking at
Stanley William Hayter’s Studio 17. Upon his return from Paris in 1966, Weber set up residence in Chicago and
enrolled at the School of the Art Institute. He earned his MFA degree in 1968.
In the early 1970s, Weber was a co-founder and executive of the Chicago Mural Group (today known as the
Chicago Public Art Group), a coalition of artists that works with community groups to replace blank urban walls
with visual commentaries on cultural and social issues. He is the co-author of Toward a People’s Art, a book that
recounts the events of the contemporary mural movement in America. Weber’s exhibition, Glancing Back, was
featured at Koehnline Gallery in 2000.
Elements was painted in 1968, a very turbulent year. As the Vietnam War intensified, so did antiwar agitation.
Student riots and violent demonstrations occurred at the Democratic National Convention in Chicago. Martin
Luther King Jr., and Robert Kennedy were both assassinated. Elements features intersecting curved pipes, guns,
bullets, flags, bound hands, and work gloves, all symbols from Weber’s formal vocabulary.
67 JA M E S D. B U T L E R
(American, b. 1945)
James Butler was born in Fort Dodge, Iowa, and
earned a bachelor’s degree from the University of
Nebraska, Omaha, in 1967. In 1976, he received his
MFA from the University of Nebraska at Lincoln.
Butler taught art at Southern Illinois University at
Edwardsville and Illinois State University at Normal,
where he co-founded the Normal Editions
Workshop. Butler has exhibited nationally in museums and art galleries, including participation in the
1999 exhibition, Contemporary American Realist
Drawing, at the Art Institute of Chicago. His works
are included in the collections of The Art Institute
of Chicago, Chicago; The Metropolitan Museum of
Curving Meadow Lane
1991, Lithograph, 22 in. x 29 3/4 in., Gift of Gene and Terry Carr, 2001.20
Art, New York; and the Smithsonian Institution,
Washington, D.C.
Butler favors sweeping, expansive views in his landscape paintings and drawings, views such as he enjoyed as
a child atop an Iowa hillside. He uses landscape as a metaphor for the contemporary collective imagination of
the nation, drawing the viewers’ attention to the state of our relationship with the environment. He has long
explored the changing effects of light, weather, and the seasons on the landscape. Particularly interesting to him
is the order man imposes on the land, visible in the geometric patterns of farmland and urban settings.
(Excerpted from the exhibition catalog, Views Along the Mississippi River: James D. Butler.)
36
W I N I F R E D G O D F R E Y 68
(American, b. 1944)
See ArtWalk No. 45
“I like the feeling of being so lost in the flower itself. When I’m photographing, I get
very excited, especially with irises and things that are very transparent. When I’m
painting, I try to get the same feeling I had when I was taking the picture. “
—Winifred Godfrey
Tulip
Chicago Tribune, July 24, 1988
2000, Oil on canvas, 24 in. x 30 in., 2001.8
G E O R G E AT K I N S O N 69
(American, b. 1949)
Born in Springfield, Illinois, George Atkinson
received his BFA from the San Francisco Art
Institute in 1976. He has participated in shows
nationwide, including the 1999 exhibition,
Contemporary American Realist Drawing, at
The Art Institute of Chicago.
“My involvement with the imagery of the
Late Mid-May Morning at the Dairy Science Research Farm,
rural
Midwest began in 1982,” says Atkinson.
South of Hazelwood
“Based upon an early fascination with area
1998, Pastel, 20 in. x 50 in., Supported in part by a grant from the Illinois Arts
Council, 2001.4
magnitude and meteorology, work from that
period suppressed any specificity that
detracted from my perception of the grand scale and nature of this arena. Thus, the work became not only a
representation of the perceptual world but also an unintentional and awkward intercession for the regional
mythology of roadside romanticism—the bountiful cornucopia of the heartland, the Puritan work ethic, Manifest
Destiny and others. Over the years, with considerably more time spent in the midst of working farms, I slowly
began to appreciate the agrarian reality upon which much of this mythology is founded.”
Late Mid-May Morning at the Dairy Science Research Farm, South of Hazelwood is part of the artist’s almost
obsessive documentation of the disappearing family farm. It is important for Atkinson to capture every detail,
and the long title emphasizes the real location and time of the scene. Another pastel painting by Atkinson,
After Evening Milking in August at Ron’s Dairy Operation, is on display at Oakton’s Ray Hartstein Campus.
P E T E R W. M I C H E L 70
(American, b. 1937)
Community Totem
2000, Painted wood and steel,
19 ft. 5 in. H x 8 ft. W x 8 ft. D
Peter Michel was born in Schenectady, New York. He received his BFA from
Oberlin College in Ohio, and a degree in architecture from the Massachusetts
Institute of Technology in Cambridge. He pursued further studies in sculpture at
the Museum of Fine Arts School and Rice University in Houston, Texas. He has
shown in galleries and museums in New York and throughout the United States.
Michel has worked as an architect in Boston, Houston, and New York. In 1986, he
moved to upstate New York and began doing computer drawings for Pei Cobb Freed
and other New York City architectural firms. Since the early 1990s, much of his work
has been cut from plywood or metal using a computer-controlled water jet cutter.
“My work is a celebration and exploration of self, relationship, and community,”
says Michel. “It explores in symbols the ways in which we are related, connected,
and the same (as in our humanity), and the ways in which we are special and
unique. It explores the richness of the mind, the ongoing conversations that shape
our responses and our being.”
Community Totem, originally displayed at Pier Walk 2000 on Chicago’s Navy
Pier, celebrates the possibility of relationship and community where love, support,
playfulness, and individual self-expression can flourish.
37
71 B E N B OW B U L LO C K
(American, b. 1929)
After graduating from Wesleyan University in Middletown, Connecticut,
Benbow Bullock learned gas welding at the University of California at San
Francisco and metal inert gas welding at the San Francisco Art Institute. Working
in steel, silicon bronze, aluminum, and stainless steel, Bullock quickly developed
an affinity for the simple elegance of hard edge geometric construction.
Tournesol Sauvage!, completed in 1998, was the first of Bullock’s highly
burnished silicon bronze and stainless steel endless columns. It was installed in a
sculpture park overlooking the historic Susquehanna River in Pittston, Pennsylvania.
Bullock followed this with two more silicon bronze columns, Heroic Encounter,
in the permanent collection of The Chicago Athenaeum Sculpture Park, and
Darwin’s Bulldog, which was installed on Naxos in the Cyclades, for the 2004
Summer Olympics in Greece. In 2001, Bullock’s burnished stainless steel Homage
to Brancusi (Constantin Brancusi, 1876-1957) was placed at the entrance of the
new Chianti Park in Tuscany, Italy. Red Baron was installed in the Oakton
Sculpture Park in 2004.
“Conceptually it is an endless column, an endless auger that can project itself
out into infinity, if allowed to,” says Bullock. “Conversely, it could project itself into
the earth, coming out on the other side of the world, and progress to infinity in
that direction. My auger is of a finite length and it folds back on itself at its top,
and comes spiraling down on the other side of the auger. This cycling action is
continuous, a perpetual motion symbol of eternity.”
Red Baron
2004, Powder coated steel
30 ft. H x 9 in. O.D.
72 D I D I E R N O L E T
(American, b. 1953)
Born in Paris in 1953, Didier
Nolet studied with Pierre
Carron (b. 1932) at the École
des Beaux Arts. Carron was
interested in the poetic realism
of Balthus (1908-2001), and that
influence is evidenced in
Entre Terre et Ciel
Nolet’s work. After moving to
1993, Oil on canvas, 5 ft. x 9 ft., Gift of the Educational Foundation and Board of Student Affairs
Chicago in 1979, Nolet contin1993.1
ued to paint precise, realistic
pictures of figures and interiors.
A major turning point occurred in 1981 when Nolet began painting dreamy landscapes—aerial views of an
imaginary French countryside dotted by farmhouses or sprinkled with villages nestled in verdant hills and
valleys. The subject of Nolet’s landscapes is memory—the memory of a certain kind of light that we know from
the photographs of Eugene Atget (1856-1927). It is generally an early morning light that softens and acts as
transforming agent. Long shadows creep across these paintings that remind the artist of his childhood and
remain a link to his homeland. With their ball-shaped trees and lazy winding rivers, the paintings recall Grant
Wood’s Midwestern landscapes.
“Ever since the young Frenchman first showed at The Art Institute’s Chicago and Vicinity exhibition in 1980,
he has brought a poetry and civility to the local scene,” the Chicago Tribune lauded in 1987. “Nolet’s art, sweet
and easy as it sometimes can seem, is nonetheless the real thing. And never is there any pretense, dandyism
or slumming.”
In 1990, Nolet showed his work in the Chicago Show at the Chicago Cultural Center and The Art Show at the
Armory in New York City. After living for a time in Phoenix, Arizona, Nolet returned to Chicago and exhibited
Full Circle at Koehnline Gallery in 2002.
38
S A N D R A P E R LOW 73
(American, b. 1940)
Twightlight Zone
2002, Oil on linen, 48 in. x 36 in.
Sandra Perlow grew up on the south side of Chicago. As a child she
was interested in drawing, and persuaded her mother to send her to
classes at the School of the Art Institute of Chicago.
Perlow received her BA and MFA at SAIC. She also received a
master’s degree in printmaking at the Illinois Institute of Design. For
more than 20 years Perlow has been an instructor at Columbia
College, Chicago. She has exhibited nationally including solo shows in
Chicago at the University Club (1999); Chicago Cultural Center (1988,
1998); Artemisia Gallery (1977); and the Contemporary Art Workshop
(1985). Twightlight Zone was included in Perlow’s 2002 exhibition,
Swing, at Koehnline Gallery.
“In a world often defined by deceptive facades, Sandra Perlow’s
idiosyncratic paintings distract the viewer from blind acceptance of
the status quo by summoning the corporeal reality of dormant memories,” writes art critic John Brunetti in the exhibition catalog. “Her richly
layered compositions of odd, vibrant, mutating shapes emerge from
and disappear into vapor, establishing circuitous, unfamiliar paths from
which to observe the world.”
M A R K PA L M E R I 74
(American, b. 1960)
Mark Palmeri received his BFA (1986) and MFA
(1989) from the School of the Art Institute of Chicago.
A member of the art faculty at Oakton Community
College, he has shown at many Chicago area venues,
including Artemisia Gallery, Chicago Cultural Center,
ARC Gallery, School of the Art Institute of Chicago
Gallery, and Koehnline Gallery.
“I think living in the world today is very challenging
for young people,” says Palmeri. “Think back to 100
years ago. Photography existed, but people were not
inundated with images. Today you walk down the street,
Water’s Reflections
1977, Acrylic on canvas, 58 in. x 83 in., Gift of the artist, 2003.9
or you are driving in your car, and there are huge buses
painted with signs. There is advertising everywhere. You
have to move to a more rural area to let your eyes and mind relax, so you can invest some time in visual space.”
On Water’s Reflections the artist commented, “It is about the creation of life itself. When I was doing this
piece I was thinking about how the planet sort of recycles itself. Before the earth, before the dry rock, there is
water—the elemental building block. I was looking at macrocosmic and microcosmic issues and thinking about
life on other planets, especially Mars. Under the oceans of Mars there are chemically structured life forms
living in water at 700 degrees Fahrenheit, at pressures and depths we can’t begin to consider.”
39
75 R I C H A R D H U N T
(American, b. 1935)
See ArtWalk No. 2
In 1969, Richard Hunt was the first artist to collaborate with master print artist Will Petersen in the production of lithographs at Lakeside Studio in Michigan. At the Plucked Chicken Press in Chicago and later in
Evanston, Petersen printed these three large format lithographs for Hunt.
Not Fixed is in the collection of the Portland (Oregon) Museum of Art and the Illinois State Museum,
Springfield. Ascending/Descending was included in the Illinois State Museum traveling exhibition, Contemporary
Lithography in Chicago.
A. Untitled
1974, Lithograph
14 in. x 111/4 in.
Lakeside Studio
Gift of the Educational
Foundation and Board
of Student Affairs
1999.15ß
B. Over Wisdom Bridge
C. Not Fixed
D. Ascending/Descending
Plucked Chicken Press
Gift of Dr. William A. and Rev. Phyllis
Koehnline, 1986.7
Koehnline, 1986.15
Koehnline, 1984.2
76 G E O R G E R O UAU LT
(French, 1871-1958)
Georges Rouault was born in Paris in 1871. His introduction to art
began in 1885 with apprenticeships to a stained glass maker and
restorer while attending the Ecole des Arts Decoratifs. He attended
the Ecole des Beaux Arts, and later studied painting with Gustave
Moreau (1826-1898). At one point, Henri Matisse (1869-1954) and
Albert Marquet (1875-1947) were among his fellow students.
Rouault’s early paintings were influenced by Rembrandt and
Moreau. In 1904, however, the writings of Catholic novelist Leon
Dragon
Bloy precipitated a religious crisis for Rouault, and his favorite subEtching, 81/2 in. x 117/8 in., Gift of the Oakton
jects became prostitutes, clowns, and judges, along with the themes 1928,
of sin and redemption, especially the suffering of Jesus. In 1905,
Rouault exhibited at the Salon d’ Automne with the Fauves, artists
characterized by their use of radiant color to create emotional impact. Five years later he held his first solo
exhibition at the Galerie Druet in Paris.
Rouault’s graphics are mostly expressionistic etchings in black and white. Dragon is part of the series,
Les Reincarnations du Pere Ubu. The text was written by Ambroise Vollard, the formost Parisian art dealer of
the 20th century, and Rouault contributed 22 etchings and 104 wood engravings.
“In his Dragon [Rouault] created one of the most original and penetrating fantasies in modern graphic art—
an hallucinatory monster, but real as a noon sweat of fear.” (Excerpted from the catalog of the 1947 exhibition,
George Rouault: Paintings and Prints, The Museum of Modern Art, New York.)
40
J O H N N Y F R I E D L A E N D E R 77
(French, 1912-1992)
Lobster
1948, Etching, 127/8 in. x 91/4 in., Gift of the Oakton
Born in Pless, Germany, Johnny Friedlaender left for Paris following World War I. He attended the Beaux-Arts Academy of Breslau,
studying with Otto Muller (1874-1930) and Carlo Mense (1886-1965).
He settled in Paris in 1937 and made the acquaintance of Gaston
Diehl (1912-1999), art critic and editor of The Moderns, a treasury of
paintings throughout the world. A decade later, working with text
from Diehl, he made a dozen etchings for Reves Cosmiques,
including Lobster.
Friedlaender spent most of World War II in the United States.
In addition to being a fine abstract painter, he was considered an
important teacher whose etching techniques inspired and influenced
many artists and printmakers. His first exhibition was in 1949 at La
Hune, Paris. In 1956, he had a show at the Cincinnati Art Museum. In
the late 1950s he exhibited at the Cincinnati Art Museum, Berlin’s
Staatliches Museum, and represented France at the Venice Biennal.
In 1960, the Museum Braunschweig in Germany organized the first
retrospective of Friedlaender’s work. Two more retrospectives
honored the artist, one in Paris in 1978 and another in Bonn in 1992.
His final show was at the Galerie La Hune-Brenner in Paris.
F E R N A N D L E G E R 78
(French, 1881-1955)
Fernand Leger was born in the Normandy region of France. He
studied at the school in Argentan and spent three years as an architect’s apprentice in Caen. Leger found no satisfaction in this career,
however, and decided he wanted to become a painter. His works are
displayed internationally in the finest art museums.
In 1914, during World War I, Leger was mobilized with French
troops and sent to the front line, an experience that profoundly
affected his concept of art. He became fascinated with mechanization and the working man, his comrades-in-arms, exploring a more
uniform and scientific approach. The artist maintained his characteristic geometrical simplicity and starkness, however, adding bits of
structure and architectural perspective.
Leger’s abstract paintings of the early 1920s, consisting mostly of
human and geometric shapes, began to transcend the boundaries of
cubism. During this time the artist further developed his use of color
while continuing to diffuse form with subtle shading. This technique
Femme sur fond jaune
creates
a visual paradox where stark forms are offset by soft, rounded
edges. Leger’s large-scale works of the 1930s and 1940s are among
1985.9
his most energetic and dynamic.
Femme sur fond jaune was Leger’s original composition for a centennial album, a portfolio of prints published by Fernand Mourlot (1895-1988), who suggested that Leger produce
something more colorful. Mourlot edited Femme sur fond jaune as a separate lithograph, based on the 1930 oil,
Femme Au Cordage, created by the artist at a time when compositions of women, painted sculptures, and ropes
were quite typical. The figure in this image inspired by surrealism resembles Pablo Picasso’s “inflated women.”
41
79 J E A N D U B U F F E T
(French, 1901-1985)
Jean Dubuffet stands as one of the most
enigmatic, influential, and prolific artists of the
20th century. Born in France in 1901, he left
the Academie Julian in Paris in 1918 to study
art on his own. After completing military service, traveling, and spending time in his family’s
wine business, Dubuffet returned to painting
full time in 1942. Before the decade was over
he would have his first American show at the
Pierre Matisse Gallery in New York.
Like many of his generation, Dubuffet was
deeply affected by World War II, and sought
A. Painted Sculpture
B. Ecrits et Lithographies
1968, Lithographic poster, 23 in. x 17 in. 1968, Lithographic poster
artistic authenticity not within the confines of
Gift of the Oakton Educational
24 in. x 181/2 in., Gift of the Oakton
European traditions, but from those groups
Foundation, 1985.69
marginalized by society—the insane, the
imprisoned, and to a limited degree, children.
He believed art should be a matter of “permanent revolution,” and this opinion had a profound effect on the
anti-formalist movements of post-war Europe and America. A year before his death in 1985, Dubuffet completed
the design for Monument with Standing Beast, a sculpture to be placed at the entrance of Chicago’s James R.
Thompson Center. The 10-ton white fiberglass work stands nearly three stories tall and is formed of four interrelated elements that suggest a standing animal, a tree, a portal, and an architectural component. The lithographic
posters, Ecrits et Lithographies and Painted Sculptures, present Dubuffet’s conceptions for sculpture in general.
Dubuffet was the subject of several retrospectives by major museums during his lifetime, including the Museum
of Modern Art, New York (1962); The Art Institute of Chicago (1962); Tate Gallery, London (1966); Stedelijk
Museum of Modern Art, Amsterdam, (1966); and Solomon R. Guggenheim Museum, New York (1973, 1981).
80 VA S S I LY K A N D I N S K Y
(Russian, 1866-1944)
Vassily Kandinsky was born in Moscow and from 1886 to 1892,
studied law and economics at the University of Moscow. In 1896, he
declined an offer to teach in order to study art in Munich with Anton
Azbe (1862-1905), and later at the Kunstakademie with Franz von Stuck
(1863-1928). In 1902, Kandinsky exhibited for the first time with the
Berlin Secession and produced his first woodcuts. In 1911, he published
On the Spiritual in Art and began making plans with Franz Marc (1880Two Riders against a Red Background
1916) for Almanach Der Blaue Reiter (Blue Rider Almanac) which was
1911/1938, Color woodcut, 4 1/8 in. x 61/4 in.
published in concert with the Blaue Reiter group’s inaugural exhibition
1985.99
in 1912 at Moderne Galerie.
During this period Kandinsky created the first edition of Two Riders
against a Red Background, using the horse and rider motif as a symbol of his crusade against conventional art.
This motif is featured in his many of his paintings and prints of the early 20th century. Some of them, like Two
Riders against a Red Background, were inspired by Russian folk paintings, as well as the abstract landscapes
with which Kandinsky had earlier experimented in Munich. The horseman also appears in Kandinsky’s On the
Spiritual in Art and the Blue Rider Almanac. Two Riders against a Red Background was printed twice by
Kandinsky, in 1911 and in 1938. Another edition was printed in 1968, more than 20 years after his death.
Kandinsky’s first solo show was held at Der Sturm Gallery in Berlin in 1912. A year later, one of his works was
accepted for the Armory Show in New York City. Kandinsky lived in Russia from 1914 to 1921, where he held a
position at the People’s Commissariat of Education in Moscow. He began teaching at the Bauhaus in Weimar in
1922, and moved with the Bauhaus to Dessau in 1925. When the Nazis shut down the Bauhaus in 1933, Kandinsky
settled in Neuilly-sur-Seine, near Paris. Fifty-seven of his works were confiscated in the Nazis’ infamous 1937
purge of “degenerate art.” Kandinsky died December 13, 1944, in Neuilly.
42
J OA N M I R O 81
(Spanish, 1893-1983)
Born the son of a jeweler and watchmaker in Barcelona, Spain, Joan
Miro’s earliest landscape paintings are filled with motifs from childhood
summers spent on the family farm. Images of dogs, birds, olive trees, and
a moon-like sun appear again and again in his works. In the early 1920s,
Miro went to Paris to study. There, the young poets and painters of the
Surrealist Movement encouraged him to focus on the images of his own
fantasy. He developed a very personal language that became increasingly
free, expressing his images as linear and geometric shapes with bold colors
and freely drawn lines. Later his vocabulary became almost a sign language
composed of calligraphic strokes and patches of color. The playful and
poetic images in Miro’s art have their origin in memories of Catalonia, his
beloved homeland.
According to Miro, there are only two ways for a visual artist to reach
Peintures Murales Galerie Maeght large numbers of people—with sculpture or murals in public places, and
1961, Lithographic poster, 26 in. x 19 in.
posters. His 39-foot sculpture, Miro’s Chicago, at 69 West Washington
Street, was constructed from steel-reinforced concrete with brightly colored
1985.46
ceramic tiles. His first poster, created in 1937, showed a Catalan peasant
with fist clenched in anger at the Spanish dictator, Franco, and the Fascists.
The posters were sold in Paris to fund the Spanish Resistance Movement. This poster was printed from a stencil,
but almost all future posters were lithographs. Peintures Murales Galerie Maeght was created for a 1961
exhibition of six mural paintings at the Galerie Maeght in Paris.
A L E X A N D E R CA L D E R 82
(American, 1898-1976)
Alexander Calder was born in Pennsylvania, the son and grandson of
sculptors. He earned world fame for his moving sculptures, which artist
Marcel Duchamp (1887-1968) termed “mobiles.”
Calder was trained as an engineer but he also studied art. In 1926, while
in Paris, he created a set of miniature moving circus animals made of wire
and string that enchanted the art community. He made the transition from
representational to non-objective forms after a visit to the studio of Piet
Mondrian (1872-1944) in 1930. At this time, he began making small stationary
sculptures that French artist Jean Arp (1886-1966) called “stabiles.” These
became increasingly large and in 1958 culminated in his first monumental
stabile, created for UNESCO in Paris.
Following this prolonged European residency, Calder and his wife
Louisa, lived on a farm in Roxbury, Connecticut, for the rest of his life. They
also spent time in New York and maintained a home in Sache, France.
Os et Serpen
Calder’s death in 1976 coincided with a major retrospective of his work at
the Whitney Museum of American Art in New York.
1985.29
Calder’s abstract stabile, Flamingo, located in Chicago on Dearborn
Street, between Adams Street and Jackson Boulevard, stands on a large
rectangular plaza framed by three federal buildings designed by architect Ludwig Mies van der Rohe (1886-1969).
The vitality of Calder’s 53-foot, vermilion-colored, steel sculpture provides a dramatic contrast to the solemn,
dark, steel and glass of the grid-like building facades. Another monumental Calder located in Chicago is
Universe, on display in the lobby of the Sears Tower. The segments and color composition of this moving wall
sculpture resemble the lithograph, Os et Serpent.
43
83 R O B E R T M OT H E R W E L L
(American, 1915-1991)
Robert Motherwell was born in Aberdeen, Washington.
He earned a bachelor’s degree in philosophy from Stanford
University in 1932, a master’s degree in philosophy from
Harvard University in 1937, and in 1940, another master’s in art
history and archaeology from Columbia University, New York.
After moving to Greenwich Village to paint full time,
Motherwell met abstract artist William Baziotes (1912-1963) and
was introduced to many of the city’s abstract expressionists.
He created his first collages at the studio of artist Jackson
Pollock (1912-1956). Along with Pollack and Baziotes, he was
invited to exhibit at Peggy Guggenheim’s Art of This Century
Gallery in New York. For the next 15 years he traveled
extensively, taught art, and developed his own style of
painting, drawing, and collage.
In abstract expressionism, the “act” of painting becomes
the “content” of the painting. Through gestural movements,
an artist attempts to unleash raw emotions, not paint “pretty
pictures.” Motherwell, however, was the only one of the
original abstract expressionists to enthusiastically embrace
Summertime in Italy with Blue
1965-66, Lithograph, 20 in. x 271/2 in.
printmaking. In 1961, he began to make limited edition prints,
Gift of April and Ralph Chermak, 1985.40
working with numerous workshops in the U.S. and Europe
to create more than 200 editions over the next 30 years.
During a summer spent in Italy in 1960, Motherwell began series of paintings, Summertime in Italy. In these
landscapes, the form of a triangle is the primary theme, and frequently rises from a horizontal plane in a manner
suggestive of an Apennine mountain crest. When viewed from a distance, the triangle can be interpreted as sculpture against an Italian sky. The lithograph, Summertime in Italy with Blue, demonstrates such an interpretation.
84 F E R N VA L F E R
(American, b. 1949)
See ArtWalk No. 51
In 1998, Fern Valfer’s work entered a new phase. After
years of producing darker works influenced by the ordeal of
Anne Frank, as well as her own family’s escape from Germany
during World War II, the color blue began to infiltrate the
color black and lighter, more atmospheric areas gradually
began to dominate Valfer’s compositions. While spending
time at the Ragdale Foundation’s spacious Meadow Studio,
Valfer enjoyed a productive relationship with writers and
other visual artists. Synthesis is one of the results of this
experience. After the emotional self-exploration of her
family’s painful past, Valfer reached a stage of catharsis,
which is reflected in the reduction of strokes and the use
of a heavenly blue color.
44
Synthesis
1998, Oil on canvas, 66 in. x 90 in., On loan from the artist, 1999.32
W I N I F R E D G O D F R E Y 85
(American, b. 1944)
See ArtWalk No. 45
Field of Orange Tulips is a dramatic painting of
animated and dynamic orange tulips with a small
group of violets emerging beneath them. The
study for this commissioned painting is in the
collection of the Illinois State Museum, Springfield.
Field of Orange Tulips
1985, Oil on canvas, 60 in. x 108 in., Percent-for-Art Program, Illinois
Capital Development Board, and the Violet Ross Memorial Fund, 1985.65
F R E D J O N E S 86
(American, b. 1940)
See ArtWalk No. 55
Illinois Landscape (detail)
1983, Pen and ink (5 panels), 291/2 in. x 391/2 in. (each panel)
Percent-for-Art Program, Illinois Capital Development Board, 1983.2
Illinois Landscape demonstrates the versatility and
mastery of Fred Jones. Here he captures airy features of
landscape, continuing from one panel to another. Jones
uses short lines of ink almost in an impressionistic manner,
transforming minimal forms into some degree of abstraction. He depicts the core nature of the Illinois prairie’s
flatness and monotonous rhythm. The sketchy ink lines
also create an emotional reaction. In viewing the drawing
from a distance, the fragments dissolve, and the total
image appears to resemble a Rorschach inkblot, part of
the familiar psychological test in which the subject is
asked to interpret a variety of amorphous shapes.
P H I L I P L I V I N G S TO N 87
(American, b. 1941)
See ArtWalk No. 50
Love’s Some Time
1987, Aluminum and paint, 65 in. x 65 in. x 9 in.
“Love’s Some Time is one of my relief sculptures made of
layered planes of aluminum and paint. I like working on
the wall because I can create an interaction between the
real space of the sculpture and illusionistic spatial effects.
I hope, thus, to engage the viewer physically and imaginatively. My works are spatial versions of experience. I am,
therefore, a student of meaningful spaces: streets, rooms,
piazzas, horizons. My spatial language is mostly architectural: walls, columns, windows, and doors. I am increasingly
interested in light and color. Most of my work is based on
the notion that the depiction of a space can represent a
state of mind or of spirit. My style is to present material in a
way that requires an act of imagination on the part of the
viewer. This act completes the art.”
—Philip Livingston
45
88 W I L L I A M C O N G E R
(American, b. 1937)
Born in Dixon, Illinois, William Conger first studied art at the
School of the Art Institute of Chicago and then at the University
of New Mexico in Albuquerque, where he received his BFA in
1960. He earned his MFA from the University of Chicago in 1966
and five years later joined the art faculty at De Paul University in
Chicago. In 1984 he became a visiting professor at Northwestern
University, Evanston, Illinois, and the next year he joined the faculty
as professor and chair of the department of art theory and practice.
Conger is counted among the group of Chicago artists known
as the allusive abstractionists. He was influenced by the abstract
style of his teacher, Elaine de Kooning (1920-1989), with whom he
studied at the University of New Mexico in the late 1950s. By the
late 1960s and early 1970s, Conger had developed an abstract
style featuring brightly colored, flat shapes against a lighter
ground. Later, Conger deepened the colors and further varied the
shapes, producing fractured, lively forms that sometimes resemble Levee
a stained glass window.
Although he paints in a non-representational manner, Conger
anchors his works in everyday experiences and titles that are
descriptive, evocative, and metaphoric. Many of his works are based on childhood memories. Levee was the
artist’s first published original lithograph, printed at the Plucked Chicken Press in Evanston, Illinois. The title of
the work demonstrates Conger’s urban sense of place and awareness of history and the force of nature.
89 K A R L W I R S U M
(American, b. 1939)
Karl Wirsum was born in Chicago and except for
three years spent teaching at Sacramento State
University, California, has lived in the city his entire
life. Wirsum received a BA degree from the School
of the Art Institute of Chicago in 1961 and began to
develop the cartoon-like style for which he would
later become known. He also exhibited in such
important group shows as The Sunken City Rises
(1964) and Phalanx 3 (1965), both at the Illinois
Institute of Technology. He is an instructor at the
School of the Art Institute of Chicago, and the
creator of Plug Bug, a 77-foot-high mural displayed
Dune not for Sake
on the east wall of the Commonwealth Edison
Building at 121 North Dearborn, Chicago.
A turning point in Wirsum’s career was the Hairy
Who exhibition in 1966 at the Hyde Park Art Center,
where his work appeared with James Falconer, Art Green, Gladys Nilsson, Jim Nutt, and Suellen Rocca. This
group of artists shared a similar style, attitude, and subject matter. They became a dominant force in Chicago
art during the 1960s and were later dubbed “imagists” by author Franz Schulze.
Wirsum’s painting and sculpture are characterized by an animated and often outrageous treatment of figure.
Using vibrant colors, dynamic line, and puns of all sorts, the artist adopts the logic and strategies of popular
culture to create a bizarre fantasy world of odd characters and improbable situations. The lithograph,
Dune not for Sake, was printed at the Full Court Press in Evanston, Illinois.
46
R U T H D U C K WO R T H 90
(American, b. 1919)
Born in Hamburg, Germany, Ruth Duckworth is a ceramic
sculptor of international renown. Fleeing the Nazis in 1936, she
moved to Liverpool, England, and studied painting, sculpting, and
drawing at the Liverpool School of Art. In 1964, Duckworth was
invited to teach for one year at Midway Studios at the University of
Chicago. She was commissioned by the university to create her first
large-scale mural, and continued to teach at the school until 1977.
In the early 1960s, Duckworth began working in porcelain, producing small sculptures and large murals. The murals are biomorphic
compositions of polished surfaces and rough edges, made by
incorporating overlapping slabs of clay that partially conceal other
design elements. Earth, Water, and Sky, the University of Chicago
commission, was critical to the artist’s transition from the cycles of
nature to the forces of weather that would later dominate her work.
Duckworth’s first U.S. exhibition was a one-person show in 1965 at
the Renaissance Society at the University of Chicago. Later solo
Untitled
1983, Lithograph, 22 in. x 16 in., Gift of Dr. William A.
exhibitions were held in Chicago galleries and at the Contemporary
and Rev. Phyllis Koehnline, 1991.4
Art Center, London (1986).
This untitled lithograph of sculptural forms, produced at the
Plucked Chicken Press in Chicago, was Duckworth’s first published print. It was included in the traveling
exhibition, Contemporary Chicago Lithography, produced by the Illinois State Museum, Springfield.
JA M E S A . K R AU S S 91
(American, b. 1945)
See ArtWalk No. 19
“In this large abstract painting, my main concerns dealt with
composition, in particular, the balance and dynamics of linear
movement combined with texture, surface differences, and colorized
atmospheric nuances. Elements of expressionism are evident in the
liquidity of the linear passages, and to a more subtle degree the
droplets of individual color applied both by hand and through
atomization. While referencing [the late] Dick Storinger [former
Oakton dean of the division of languages, humanities, and the arts],
the title was more directly inspired by a color combination offered
by Chevrolet in its 1957 models.”
—James A. Krauss
57’ Flamingo Heaven
1978, Acrylic on canvas, 10 ft. x 6 ft., Gift of the artist
1982.2
47
92 C O R E Y P O S T I G L I O N E
(American, b. 1942)
See ArtWalk No. 56
In the The Marriage of Reason and Logic, Corey Postiglione draws inspiration from Joseph Conrad’s Heart
of Darkness, in which the author distinguishes between the terrestrial maze as a pattern to traverse when one
feels lost in the world, and the celestial maze, a pattern of planetary movement that makes one aware of one’s
creative potential. This intensely colored triptych is a blending of the terrestrial and celestial mazes. In the
design, Postiglione merges reason and logic to resolve the maze. The Marriage of Reason and Logic was
included in the 1998 Koehnline Gallery exhibition, Passages.
The Marriage of Reason and Logic
1997, Acrylic on canvas, 60 in. x 156 in., On loan from the artist, 1999.31
93 J OYC E OW E N S
(American, b. 1947)
Joyce Owens earned a BFA from Howard
University in Washington D.C., in 1970, and her MFA in
1973 from Yale University, where she also won the
Helen Winternitz Award in painting. Owens then
became a producer for the CBS television station in
Philadelphia. Moving to Chicago, she spent eight years
at WBBM-TV, primarily as the graphic arts coordinator
for news. She left the station in 1982 to concentrate on
her young family and her painting. Since 1996 she has
taught studio painting and drawing at Chicago State
Meditation
University.
1993, Acrylic on canvas, 40 in. x 58 in., On loan from the artist, 2000.2
Owens’ work has been exhibited at Howard
University, Washington, D.C.; Yale University, New
Haven, Connecticut; University of Pennsylvania Museum, Philadelphia; and the Martin Luther King Complex,
Columbus, Ohio, among other venues. Chicago area exhibitions include the Museum of Science and Industry;
Spertus Museum of Judaica, Chicago Cultural Center, and Wood Street Gallery. Owens also was included in
the 1999 Koehnline Gallery exhibition, Expressions Toward the End of the Millennium.
Owens uses unconventional materials and found objects in figurative paintings and constructions that
explore the motivations for and responses to race, skin color, and the myths associated with racism. Meditation
reflects the artist’s interest in African-American women in society. The figure is surrounded by a dream-like landscape where the body, spirit, and environment are united. The painting’s irregular shape and three-dimensional
folds of the canvas are typical motifs for the artist, reflecting an aesthetic that embraces the unexpected.
48
D E S S A K I R K 94
(American, b. 1974)
Sculptor Dessa Kirk was born in Titusville, Florida, and raised in
Anchorage, Alaska. From her grandfather, an Alaskan gold miner,
she learned how to work with the earth using heavy machinery.
Early influences on her artistic development were Alaskan sculptor David Felker and Karen Stahlecker, a visiting artist at the Visual
Arts Center of Alaska in 1989. Kirk was 15 years old when she
helped Stahlecker prepare for a large-scale installation at the
Center. Two years later Kirk studied sculpture under the late Ken
Gray at the University of Alaska in Anchorage. In 1992 she again
worked for Stahlecker, received her GED, and completed a welding certification course at the University of Anchorage Vocational
Department.
In 1993, Kirk was accepted into the BFA program at the School
of the Art Institute of Chicago. While attending school, she
worked and studied for three years with Dan Blue, a local metal
Nightingale
1999, Steel, 12 ft. H x 12 ft. W x 7 ft. D
art fabricator. During her final year at SAIC, Kirk rented a garage
and bought an old Cadillac and a 500-piece Sears Craftsman tool
set. She took the car apart, piece by piece, and using body parts,
including the exhaust manifold and oil pump, created the sculptures Black Lily and Red Lily, which were accepted for Pier Walk 1998 at Navy Pier in Chicago. Pier Walk 1999 featured Nightingale, also part of the Cadillac
project. Like the other sculptures in this series, the giant flower represents the figure of a woman in a specific
mood. This personification, combined with Cadillac’s generally accepted “luxury” image, makes a unique statement.
J I M G A L LU C C I 95
(American, b. 1951)
Oracle
1999, Galvanized steel, 16 ft. x 12 ft. x 8 ft.
Born in Rochester, New York, Jim Gallucci received his MFA from
Syracuse University in 1976, and the following year began teaching art at
the University of North Carolina, Greensboro. He left in 1986 to work as a
designer for the North Carolina Zoological Park in Ashboro, a position he
held for six years. Gallucci operates a studio in Greensboro and was a
founder of the Tri-State Sculptors Guild. He has won many public art
commissions throughout the country.
Architectural forms always have been part of Gallucci’s work, giving him
both a literal and a symbolic foundation from which to create sculpture.
Gates have been found throughout the history of Western civilization, not
only as utilitarian elements but also as symbols in art and literature. This
symbolism arises from the paradox of the gate: it may be open or closed, a
way of passage or an obstruction, a means of confinement or release. Today
the symbol of a gate is used in the description of a computer chip at work,
storing and releasing bytes of information.
Before its installation at Oakton Community College as a symbol of
opportunity and advancement, Oracle was shown at Pier Walk 1999, on
Chicago’s Navy Pier. Another Gallucci sculpture, Symphonic Gate, is on
display at Oakton’s Ray Hartstein Campus. Other Galluci gate sculptures
include Immigrant Gate II at the Northshore Sculpture Park in Skokie, and
Whisper Gate at the Exploris Children’s Museum in Raleigh, North Carolina.
49
96 J O H N P I T M A N W E B E R
(American, b. 1942)
See ArtWalk No. 66
Formally, Untitled demonstrates the influence on Weber
by French artist Fernand Leger (ArtWalk No. 78), whose
work Weber encountered during his residency in Paris in the
mid-1960s. Leger was a late cubist who emphasized structure
and size and was enamored with machinery, the urban
experience, and human workers. The drainpipe in Untitled,
as in Elements (ArtWalk No. 66), is symbolic of human waste
and the process of its disposal.
Untitled
1970, Oil & acrylic on canvas, 78 in. x 60 in.
97 W I L L I A M N E L S O N
(American, b. 1942)
See ArtWalk No. 39
In 1972, the University of South Dakota Museum commissioned William Nelson to paint the sacred Sun Dance
Ceremony of the Oglala Sioux at Pine Ridge, South Dakota.
Tribal members felt it was important to accurately and
respectfully record this historic Native American ritual. Nelson
was one of few white men given permission to view the
ceremony. The resulting lithographic series, The Sun Dance,
is part of the collection of the Smithsonian Institution,
Washington, D.C.
The Dancer, from The Sun Dance
1974, Portfolio of 10 lithographs, 173/4 in. x 233/4 in. (each)
Gift of Mr. Gerald A. Horwitz, 1985.18.1-10
50
D O N C R O U C H 98
(American, b. 1940)
Warshirt with Ledger
c. 1980s, Lithograph, 40 in. x 301/4 in.
1985.75
Don Crouch was born in Carlsbad, New Mexico, and received a
bachelor’s degree from Texas Western College, El Paso, and his
MFA from the University of Iowa. Since 1965 he has been a professor of art at Western Illinois University, Macomb. Crouch has participated in more than 125 national and regional juried art competitions,
winning 24 purchase prizes and awards. His work is part of many
public collections, including the Illinois State Museum, Springfield;
National Museum of Wildlife Art, Jackson Hole, Wyoming; and
Cleveland Museum of Art.
Growing up near the Mexican-U.S. border, Crouch was able to
more easily incorporate new ideas with the old. He studied the work
of Carl Rungius (1869-1959), an American artist whose paintings of
big game animals have been a major source of inspiration for generations of wildlife artists. His goal, he says, “is to capture the essence
of my subjects with an implicit timelessness.”
In 2003, Crouch participated in The West is Still Wild: New Art of
the West, a biennial exhibition at the Eiteljorg Museum of American
Indians and Western Art in Indianapolis, which showcases the work
of Native Americans and other contemporary artists who create
work about the American West. The lithograph, Warshirt with Ledger,
depicting Native American ethnographic artifacts, was printed at the
Plucked Chicken Press in Chicago.
W I L L P E T E R S E N 99
(American, 1928-1994)
See ArtWalk No. 30
Will Petersen, founder of the Plucked Chicken Press,
created Cracked Stone/green T while teaching at West Virginia
University in Morgantown. Here, as in lithographs printed earlier in
Japan, Petersen emphasizes
the structure of the stone by
shadowing its outlines.
Petersen’s motif of cracked
stones is characteristic of his
A. Cloudswept Solo
stone prints from the late
1960s and early 1970s. The
center image is an abstraction
of a figure dressed in a
Japanese kimono, which in later prints evolves into the winged goddess,
Victory, or a Japanese Noh dancer.
In 1991, the Toronto Symphony invited Petersen to exhibit Cloudswept
Solo during the world premiere of The Darkly Splendid Earth: The Lonely
Traveller, by composer Murray Schafer. Petersen created the painting
while violinist Jacques Israelievitch performed in his studio. After
Cloudswept Solo, Petersen produced a series of lithographs on the motif
of the “lonely traveler” or “wanderer.” In the 1992 lithograph, Cloudswept
Solo, the wanderer becomes Petersen in self portrait, evoking a small
B. Cracked Stone/green T
figure getting lost in a giant stormy environment.
1972, Lithograph, 291/2 in. x 20 1/2 in., 2001.1
51
100 CY N T H I A A R C H E R
(American, b. 1953)
Cynthia Archer was born in West Virginia and earned her bachelor’s degree at Goucher College. Her association with the Plucked
Chicken Press began in 1977, when she earned her MFA at West
Virginia University, Morgantown. She married Will Petersen in 1979.
Both of these lithographs were printed at the Plucked Chicken Press.
Archer was honored with the John D. Rockefeller Governor’s
Merit Award in 1979. In 1980, her lithographs were part of a U.S.
State Department traveling exhibition throughout Yugoslavia. That
same year her work was included in the exhibition, 30 American
Printmakers, at Ohio State University. Editions of her Mentor’s
Ivienage were purchased by the National Gallery of Art of New
Zealand and the Portland (Maine) Museum of Art. Archer’s works
also are included in many collections, including the Illinois State
Museum, Springfield; the Museum of Art and Archeology,
University of Missouri; Southern Illinois University, Carbondale;
and the University of Colorado, Boulder.
“As a child I didn’t have a pony,” says Archer. “So, I drew horses.
Now I study dressage. The craft of lithography I relate to the discipline of riding. I love antiquity and ancient horse forms. Thus, Greek
amphora provides the ambience for steeds’ eyes, blossoms, arrows . . .
the ancient and the fragile, juxtaposed with the powerful. My
mentors are things and animals, rather than humans. My mentors
are doers. I learn by watching.”
Petersen’s poem about the lithograph, Lydian Cypher, reveals
Archer’s poetic images:
Hidden under pink ink which over green becomes grey
are names of angels, their colors, their herbs, songs . . . and,
again impossible pots, invented vessels, a thousand aeons old, yet,
in a moment’s whisper’s breeze, breakable. Fragility
contains horse’s power, admits oceans
of fish, makes room for underhoof duck’s
silly nobility, rhyming cat: a time
bordered by carousel’s ephemeral
steed, Egypt’s eternal hawk— and a lady,
sidesaddly fluttering up.
Rabbits? I saw them, too: downtown, Chicago,
in weeds, under the El, under cars, parked, and along
the river, reflecting the lit for movies massive Merchandise Mart
as she walked her
Dalmatian, under a moon, slight, considering her
mare, at night, out,
far out, in the boonies. . .
52
A. Lydian Cypher
1985, Lithograph, 40 in. x 30 in.,
1985.51
B. Icon Ewe Kant
1985.63
SELECTED BIBLIOGRAPHY
(Chicago and Illinois Art)
200 Years of Illinois Art, The Bicentennial Exhibit Series.
Chicago: Illinois Arts Council, Illinois Bicentennial Commission, 1976.
Bach, Ira J. A Guide to Chicago’s Public Sculpture.
Chicago: University of Chicago Press, 1983.
Chicago Office of Fine Arts Loop Sculpture Guide.
Chicago Office of Fine Arts, Department of Cultural Affairs, 1986.
Gude, Olivia and Jeff Huebner. Urban Art Chicago: A Guide to Community Murals, Mosaics, and Sculptures.
Chicago: Ivan R. Dee, 2000.
Harpaz, Nathan. Plucked Chicken Press: The Stone Prints of Will Petersen and His Contemporaries.
Des Plaines, IL: Oakton Community College, 2001.
Knipe, Tony and Peter Davies. Who Chicago?: An Exhibition of Contemporary Imagists.
Sunderland, England: Ceolfrith Gallery, Sunderland Arts Centre, 1980.
Krantz, Les. The Chicago Art Review: An Illustrated Survey of the City’s Museums, Galleries, and Leading Artists.
Chicago: American References, 1989.
Riedy, James L. Chicago Sculpture.
Urbana: University of Illinois Press, 1981.
Schulze, Franz. Fantastic Images: Chicago Art Since 1945.
Chicago: Follett Publishing Company, 1972.
Sundell, Ivy. The Chicago Art Scene.
Evanston, IL: Crow Woods Publishing, 1998.
Warren, Lynne. Art in Chicago: 1945–1995.
Chicago: The Museum of Contemporary Art, 1996.
Yood, James. Second Sight: Printmaking in Chicago 1935-1995.
Evanston, IL: Mary and Leigh Block Gallery, Northwestern University, 1996.
53
INDEX
Numbers represent ArtWalk No., not the page number.
Anarchist Studios 18
Archer, Cynthia 26, 30, 100
Armory Show 38, 72, 80
Arp, Jean 82
Art Institute of Chicago 3, 18, 21, 28, 29, 33, 34, 43, 44,
47, 50, 53, 54, 67, 69, 72, 79
Atkinson, George 69
Baer, George 18
Baer, Martin 18
Baldaccini, Cesar 22
Bauhaus 80
Baur, Mike 6
Baziotes, William 83
Beck, Clarence Charles 21
Berlin Secession, 80
Brady, Matthew 17
Brancusi, Constantin 71
Bullock, Benbow 71
Burk, George 63
Butler, James 67
Calder, Alexander 82
Campbell, Joseph 64
Campoli, Cosmo 5
Cezanne, Paul 18
Chicago Imagists 34, 52
Chicago Public Art Group 12, 66
Chirico, Giorgio de 37
Christmas, Daniel 42
Conard, Joseph 92
Conger, William 88
Contemporary Art Workshop 5, 73
Cornell, Joseph 20
Cramer, George 15
Cranach, Lucas 18
Crouch, Don 98
Daguerre, Louis 17
Dali, Salvador 37
Decade Show 49
Der Blaue Reiter 80
Diebenkorn, Richard 20
Disney, Walt 21
Driesbach, David 43
Dubuffet, Jean 29, 33, 79
Duchamp, Marcel 82
Duckworth, Ruth 90
Dybek, Stuart 57
Eastman, George 17
El Greco 18
Ensor, James 21
Feren, Steven 8
Fink, Ray 5
Frankenstein, Curt 32
Full Court Press 38, 42, 52, 89
Galerie Maeght 81
Gallucci, Jim 95
Giacometti, Alberto 33
Godfrey, Winifred 45, 68, 85
Golub, Leon 5, 34
Gonzales, Julio 2
Goto, Joseph 2
Gregor, Harold 44
Guggenheim, Peggy 83
Gunn, Lorri 52
Hairy Who 89
Hayter, Stanley William 41, 43, 55, 66
Heckel, Erich 21
Henry, John 9
Heymann, Moritz 18
Himmelfarb, John 29, 57
Ho, Ruyell 53
Holbein Studios 18
Hoppock, Kay 38
Hunt, Richard 2, 9, 50, 63, 75
Jewart, Randall 23
Jones, Fred 55, 86
Jo Ji, Yong 64
Kandinsky, Wassily 20, 80
Karpowicz, Terrence 3, 60
Katz, Ray 14
Kearney, John 5
Keating, William 54
54
Kellerman, Moritz 65
Kerauac, Jack 4, 30
King, Martin Luther Jr. 2, 28, 66
Kirk, Dessa 94
Klee, Paul 40
Kleinman, Art 48
Kokoschka, Oskar 18
Koonig, Elaine de 88
Krauss, James 19, 91
Kristallnacht 8, 32
Krueger, Keith 58
Lakeside Studio 26, 63, 75
Leaf, June 33, 34
Lindsey, Eric 24
Livingston, Philip 50, 87
Mann, Sally 20
Martyl (Suzanne Schweig) 47
Matta, Roberto 2
McCormick, Jim 26
McGrail, Jeane 16
Mesple, James McNeill 10, 31
Miceli, Patrick 61
Michel, Peter 70
Midway Studios 90
Mies van der Rohe, Ludwig 82
Mihopoulos, Effie 10, 31
Miro, Joan 37, 40, 81
Moll, Bill 21
Mondrian, Piet 82
Monster Roster 33
Moore, Henry 22
Motherwell, Robert 83
Munch, Edvard 33
Museum of Modern Art, NY 2, 18, 33, 34, 37, 46, 76, 79
Nakashima, Tom 49
Native American 10, 15, 16, 22, 31, 97, 98
Nelson, William 39, 97
Niepce, Joseph 17
Nietschze, Friedrich 23
Noguchi, Isamu 22
Oldenburg, Claes 36
Owens, Joyce 93
Pattison, Abbott 28
Peart, Jerry 9
Petersen, Will 26, 30, 35, 49, 53, 75, 99, 100
Petlin, Irving 33
Picasso, Pablo 18
Pier Walk 3, 4, 8, 13, 14, 22, 23, 24, 70, 94, 95
Plucked Chicken Press 26, 27, 29, 30, 38, 43, 44, 45, 46,
47, 48, 49, 53, 75, 88, 89, 98, 99, 100
Politi, Leo 59
Pollock, Jackson 29, 83
Portillo, Agustin 11
Postiglione, Corey 56, 92
Robins, Judy 22
Rosofsky, Seymour 21, 33, 34
Rothenstein, Michael 20
Rungius, Carl 98
Sandburg, Carl 57
Schoch, Sally 62
School of the Art Institute of Chicago 2, 10, 12, 16, 21, 28,
31, 32, 33, 34, 36, 39, 48, 51, 53, 56, 61, 62, 64, 65, 66, 73,
74, 88, 89, 94
Scribner, Bobby Joe 13
Sem Ghelardin Studio 22
Seyfried, John 17
Smith, David 2, 24
Smith, Joel 46
Socoloff, Miriam 12
Soutine, Chaim 18
Stanley, Robert 20
Stieglitz, Alfred 17
Stolz, Fisher 25
Studio 17, 41, 55, 66
Tapies, Antoni 40
Thodos, Diane 41
Tinsley, Barry 7
Trupp, Barbara 27
Urry, Steven 9
Valfer, Fern 51, 84
Viola, Bill 20
Weber, Pitman John 66, 96
Weiss, Cynthia 12
Weston, Edward 18
Wirsum, Karl 52, 89
Woitena, Ben 4
55
A R T WA L K M a p C o l o r C o d e
■ Koehnline Museum of Art
Temporary exhibitions of modern and contemporary art
■ Business Institute
Paintings
■ East Corridor
First Floor: Paintings by local artists and graphics by 20th century masters
Second Floor: Native American prints
■ Library
First Floor: Paintings, drawings, and prints
Second Floor: Paintings and sculptures
Lower level: Leo Politi Collection
■ Main Lobby
Indoor sculptures
■ Performing Arts Center
Paintings in the lobby and mosaic outside
■ Rolana Tankus Fox Gallery
Prints by 20th century masters and local artists
(located on the balcony above Main Lobby)
■ Sculpture Park
Large outdoor sculptures
■ Southeast Corridor
Paintings and prints by Illinois artists (located near the TenHoeve Center)
■ West Corridor
First Floor: Photography and digital art
Second Floor: Paintings and drawings

artwalk at oakton - Oakton Community College

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