Art & Art History Program

Doris Ulmann Galleries Exhibition Schedule 2014 – 2015

August 24 – September 26, 2014

The Helmet Project

Gary Chapman

Upper Traylor Gallery

Artist Talk:

September 25, 12:00 p.m.

Exhibition Information:

At 8am on September 11, 2001, it was easy to perceive our lives as serene;

we were safe.

Even while Bernie Madoff’s crimes were being exposed, most saw our economy,

our country, as prosperous;

we led the world.

And while the scientific community embraces a vision of quantum mechanics and string theory, shattering our basic understanding of the observable universe,

we are left behind only capable of viewing Newton’s world; we are blind.

We are a visually biased society, living in a time in which

we can no longer believe in what we see.

The Helmet Project

THP – AC2, Gary Chapman, 2011, oil on canvas, 30” x 22”

August 31 – October 5, 2014

The Arts of Mexico

Rogers Gallery

Organized to help kick off the Center for International Education’s Focus on Latin America, this exhibit features objects from the Berea College Art Collection that were made in Mexico.

Grinding Sugar Cane, Alberto Beltran, c. 1947, Lithograph on paper, Gift of Tinsley Crowder, 180.L.88

September 7 – October 19, 2014

One Thousand Prayers

Yoshiko Shimano

Lower Traylor Gallery

I am moved when human beings continue to live with pride and hope even under difficult circumstances like wars, natural disasters, poverty, or discrimination in its many different aspects towards minority groups. Other circumstances beyond the control of our individual abilities or wisdom include loss of health and the death of loved ones. The beauty that can come from vanity, uncertainty, fragility, sadness, and the weakness of being a human touches me. Simultaneously, I find the energy, creativity, witness, humor, and love, human beings can bring to these circumstances encouraging. My work and collaboration projects have been trying to connect with these moments to express the beauty of being human.

“One Thousand Prayers” is body of work I have been creating for the last fifteen years. They are my prayers for things I don’t have control over but I have responsibilities toward as oe living in this world. There is a common belief in Japan concerning the numbers one hundred and one thousand. For example, if you make one thousand paper cranes, your wish will come true. Obviously, the fulfillment of prayers or wishes does not happen for real often, but we as human beings would like to believe in something, especially when those prayers and wishes involve things beyond the control of our individual abilities or wisdom. Even though we live in the twenty-first century and I see human variety, uncertainty, and fragility, but I also see beauty there. During the process of repeating an action on hundred times, or one thousand times, our worries erase a little, and the time spent completing these tasks can meditate us. This meditative time is real, unchangeable, and universal.

In spite of the problems I hear of and experience in daily life, I would still like to believe in and express the beauty of being a human being through my work. It is important that my work hold universal beauty, which can connect to all human beings. I hope that beauty reminds each of us to connect to our own individual spirituality in this universe.

I am originally from Japan where the medium of printmaking and works on paper has a long tradition and is a highly respected art form. I often feel that printmaking and works on paper are less valued in the U.S. I observe that many prints are made for painters and sculptors, for whom printmaking is an important, but ancillary medium. One of my missions is to share the prints, which only a printmaker can create. I want to transform the paper so it no longer speaks as “paper”, but has a density of physical presence that is one with its imagery. By using many different printmaking marks, I wish to unify existing mediums and layers into a seamless language. I would like my work to invite its audience to enter a seemingly infinite and paradoxically intimate space they become installations or environmental works, which interact with the architecture and create their own atmosphere. I like the possibility of the work “breathing” in its specific environment. The fusion of artwork and space allows for a concentration of attention, much like prayer.

The Other End of Water, Yoshiko Shimano, 2013, Wood monoprint, Silkscreen, and Linoleum cut, 81” x 95-1/2”

October 5 – November 9, 2014

Classical and Popular School Japanese Paintings from the Walter and Dörte Simmons Collection

Curated by Sandy Kita

Upper Traylor Gallery

Exhibition Information:

This selection of ink paintings from a noted private collection includes fine works by recognized figures from the 18th-19th centuries. The Simmons used their insightful and educated eyes to acquire pieces that reflect traditional themes and subjects in a beautiful manner. Exhibition curator Sandy Kita carefully chose from the Simmons’ collection to assemble an exhibition that offers a lovely overview of their holdings and the particular art historical periods.

Tamamizu (Zui) hôkô (life dates unknown) Chinese Beauty (detail), 1838 or 1898 Signed: Tamamizu (Zui) hôkô, sealed: Zuihô Color on silk 37 x 86 inches Collection of Walter and Dörte Simmons

October 12 – November 16, 2014

Religious Arts of the Abrahamic Traditions

Curated by Eileen McKiernan Gonzalez

Rogers Gallery

Exhibition Information:

In conjunction with the exhibition of the Saint John’s Bible in the Hutchins Library, this exhibition explores the arts of the Abrahamic faiths in the College Art Collection. This exhibition incorporates liturgical and devotional objects from Judaism, Christianity, and Islam as an exploration of the development of these forms over time.

November 2 – December 12, 2014


Emily McIlroy

Lower Traylor Gallery


November 2, 2:00 – 4:00 p.m.

Artist Talk:

November 3, 12:00 p.m.

Exhibition Information:

Since the death of my twin brother in May 2007, I have endured suspension between a world I cannot yet enter, and a world to which I no longer feel I belong. Once-fixed horizons became unmoored, passages between points in time collapsed, and concealed specters suddenly emerged. My current research and studio practice centers on exploring these spatial and temporal dimensions of grief. Creating large-scale works on paper, I invoke forces and life forms of the natural world as metaphors for personal and universal experiences of loss, as well as on-going processes of healing. Emerging froma repetitive cycle of rendering and erasure, the creation of my pieces parallels an endless pursuit of reconciling past with present, duration with collapse, disjunction with continuity.

As author and spiritual teacher Joan Halifax observes, “The experience of grief often moves into the wilds, where the forces of the elements, as well as the presence of creatures, plants, land and water forms, the sky, and spirits conspire to break open the husk that has protected us from a deeper truth.” Looking to my own observations of these wilds, preeminently the ocean, I have aimed to pictorialize the physical and psychological features of this strange and unstable territory—that of the bereaved. Untethered to the physics of everyday life, my works seek to suggest entry into a world that is as haunting and sinister as it is suffused with hope for healing— an alien, wayward realm in which all is lost, and anything is possible.

“Sky Burial” (detail), Emily McIlroy, Charcoal, pastel and oil on paper, 84″ x 156″

November 16 – December 12, 2014


Anna Youngyeun

Upper Traylor Gallery

Exhibition Information:

My studio practice includes interactive soft sculpture, performance, and works on paper. I create sensory experiences that allude to sensations such as weightiness, pressure, and simple gestures like hugging and hiding. I emphasize tactility to conceptually address a displaced sense of self and a universal search for belonging. Tactility is paramount in my work because it is both intimate yet compromising.

The work provides opportunities to find humor in hardship and empathy in embarrassment and prompts dialogue concerning social and bodily awkwardness. By interacting with my tactile sculptures, viewers make themselves vulnerable in a public space. Such vulnerability prompts introspection and reveals ways in which people engage with their own bodies, other bodies, and physical and psychological spaces.

“There, there. (installation detail). Muslin, batting, fiberfill, hand stitched on wooden armature. 2014. Photo by Aaron Paden.”

November 16 – December 12, 2014

Fall 2014 Graduating Seniors Exhibit

Tradenick Gallery

Opening Reception:

November 16, 3:00 – 5:00 p.m.

The seniors discuss their pieces and answer questions.

Exhibition Information:

This exhibition showcases the work of our graduating Art majors.

November 23 – December 12, 2014

Cross Culture Exchange

Curated by the students in ARH 263 with Dr. Meghan C. Doherty

Rogers Gallery

Exhibition Information:

Curated by the students in ARH 263: Introduction to Museum Work along with Meghan C. Doherty, this exhibition explores exchanges of ideas among cultures through the objects they produced.

January 11 – February 15, 2015

Overburden: Stripping Away the Mountains and Its People

Shawn Skabelund

Upper Traylor Gallery

Artist Talk:

January 8, 12:00 p.m.

Exhibition Information:

My work explores what Wendell Berry calls “the unsettling of America,” namely, the effects, the marks, and the changes that humans make on the land and cultures of a given area. My installations demonstrate my desire to create art that gives viewers time and space to think about the art initiates questions which remind viewers of their importance, their responsibilities, and their place, on earth and in the order of things- the local cultures they share with other creatures. To prepare for each piece, I research the history of thee place to learn how the interaction between the wild and the human has determined the direction and cultural makeup of the local community. This research, or what I call “collaborating with a place” helps me understand what I want to say in my work and what I want to share with my audience.

The Price of Entrance (installation view), Grand Canyon Park Headquarters, Shawn Skabelund, 2012

January 18 – February 27, 2015

The Blue Collar

Kelly and Kyle Phelps

Lower Traylor Gallery


February 26, 3:00 p.m.


February 26, 5:00-7:00 p.m.

Exhibition Information:

Kelly and Kyle Phelps are both Associate Professors at private Catholic universities in Ohio. Kelly Phelps is an Associate Professor /Chair at Xavier University (Cincinnati) where he oversees the sculpture department. Kyle is an Associate Professor at University Dayton (Dayton) where he is the head of the ceramic department.

Both Kelly and Kyle continue to work collaboratively to create their artwork and share a studio in Centerville (OH). The twins share numerous grants, regional, national exhibitions, and commissions, as well numerous public and private collections. The twins also share many major reviews in the world acclaimed Ceramics Monthly, Sculpture Magazine, and American Craft Magazine.

Much of the twins’ work is about the blue collar working-class, race relations and the everyday struggles of the common man and woman. The twins grew up in a blue-collar/factory environment in Indiana where they were inspired by family members and friends who worked in various manufacturing plants, steel mills, and foundries. These everyday people became working class heroes that have inspired nearly two decades of working class art.

For a number of years the twins have produced work that incorporates both the hand-crafted (clay/resin cast) juxtaposed with found objects/site specific objects from abandoned factories, steel mills, warehouses, and railway lines. Kyle and Kelly have combined gears, corrugated metal, and scrap-machined parts along with modeled ceramic/resin cast figures to create a visual narrative composition about the blue-collar experience. It is important for the twins to continue to combine hand-crafted art form together with these found objects to give our work an authentic sense of place and time. Much of Kyle and Kelly’s work not only allows the viewer to visualize our created compositions, but also allows the viewer to evoke their other senses as well. Some of the found objects that we have incorporated into the work are soot-covered or soaked in cutting machine oils that emit a distinctive odor commonly found in automotive factories.

The twins figurative narratives combined with authentic found objects are in a since historical artifacts about the fall of American industry and the beginning uncertainty of the American working class.

John Henry Series 3, Kelly and Kyle Phelps, 2014, Ceramic

January 25 – March 15, 2015

Gifts of Insights: Highlights from the Hanson Collection of West African Art

Rogers Gallery

Curator’s Talk:

February 6, 12:00 p.m.

February 22 – April 6, 2015

Overcoming Discouragement: Frank Long’s WPA-Era Works

Frank Long

Upper Traylor Gallery

March 9 – April 6, 2015

Satiable / Insatiable

Nicole McCormick Santiago

Lower Traylor Gallery

Exhibition Information:

All experience involves both space and time, as does most representation, in one way or another. For me, at least, reality always comes down to stories. In painting descriptive, outward realities, I am also describing people and places as human situations that carry implied narratives, which stretch out beyond the moment shown. Mostly, the situations I depict are quiet and domestic, which usually makes for still compositions and stories that are more internal than external.

I want to defy the stillness of the painting, to portray a layered narrative where the residues of the past and suggestions of the future swirl around the present, creating a kind of “thick time”. To accomplish this, I use the scattered signs of daily existence to communicate accidental yet honest storylines that provide indirect insight into the cadence of daily life.

The Sweet Life, 12 x 12, Oil on Canvas

March 22 – April 30, 2015

To Wonder & Wander

Tammie Rubin

Rogers Gallery

Exhibition Information:

I am a person in love with a thing called fiction. A story that is invented to entertain or deceive. This passion for invented stories, for mythology, informs my work. For a narrative to be convincing, a narrative that engages and enthralls there must be layers, there must be detail or I won’t believe. My current work is an attempt to create mythic ornate contraptions that allow for communications beyond this world. The word “contraptions” connotes images of amateur inventors creating strange and odd mechanisms, often ridiculous and fantastical. I began with the simplistic formal beauty of the conical. The form used for non-electric telephones called speaking tubes or voicepipes, early devices based around two cones and a pipe through which speech can be transmitted and received. Voicepipes were used for communication in large office buildings, affluent houses, expensive cars,early airplanes, and most notably in ships, specifically warships. My sculptural contraptions also reference other conical forms: funnels, megaphones, dunce caps, caution cones, and satellite dishes. Each of these objects has a myriad of connotations, both practical and symbolic. For example, the dunce cap usually thought to denote idiocy was originally worn by Dunsmen, the followers of philosopher John Duns Scotus. The Dunsmen believed that the conical dunce cap would funnel learning down to the wearer. Some believe an inverted funnel is a symbol of madness. I am not interested in the actual mechanics of early inventions, but the simplicity of ideas of connection, the wonderment of magical thinking, and the charm of constructed forms. Through process I try to satisfy my curiosity for sumptuous fluid surfaces, and ideas of accumulation and myth. Utilizing the amorphous properties of clay, while exploring its inherent materiality I create fanciful objects that feel both familiar and alien.

April 12 – May 3, 2015

Spring 2015 Graduating Seniors Exhibit

Upper and Lower Traylor Galleries

Opening Reception:

April 12, 3:00 – 5:00 p.m.

Exhibition Information:

This exhibition showcases the work of our graduating Art majors.

Gallery Hours

Monday, Wednesday, Friday 8:00 a.m.–5:00 p.m.
Tuesday & Thursday 8:00 a.m. – 8:00 p.m.
Saturday–Sunday 1:00 p.m.–5:00 p.m.

Closed on

  • October 15, November 26-30, December 13, 2014-January 5, February 24, February 28-March 8, April 3-5

For additional information please contact the Art and Art History Program at 859-985-3530.

Previous Gallery Schedules

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