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Cut & Paste: Works of Paper Highlighting Contemporary Art in Georgia. Organized by the Georgia Museum of Art, University of Georgia, and the Lyndon House Arts Center
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Cut & Paste
William Underwood Eiland
Didi Dunphy Guest Curator and Program Supervisor Lyndon House Arts Center
Our curator, Didi Dunphy, and I have special fondness for works on paper. Invariably inventive, outspoken, expressive, the works she has chosen for this exhibition join affection for this medium to a profound respect and admiration for the artists themselves, who employ it and give it new power as an art form. They are undaunted in face of the complexities and unforgiving nature of paper as it is folded, torn, shaped, colored, and compressed. Its very fragility attracts them and becomes part of their statements, the intent that becomes meaning in the viewers’ regard. They are equally fearless in the messages they bring us, images of nostalgia for a past dependent on place and time as well as outrage over current discord and fragmentation. The art in this exhibition is in effect a celebration of the versatility and vitality of a relatively old material as well as a testament to its dimensionality, as abundantly evident here, no longer relegated solely to just two planes but to multiple ones. The staff of the Georgia Museum of Art and I acknowledge the curatorial genius of Didi Dunphy in reinvigorating our respect for the medium through her informed and careful selection of artists sensitive to the potential of paper and anxious to reinvent and reinterpret it. We are, of course, equally grateful to the artists themselves, who allow us to share their insights as well as their ingenuity, their delight in paper, and their emphasis on its various nature.
I have traveled across the state of Georgia, stepping into the different working environments where artists embark on the most amazing of endeavors. From a studio in a small second bedroom to a clean white cube, the talent in Georgia-based artists astounds. The second in the Highlighting Contemporary Art in Georgia series, Cut and Paste: Works of Paper examines ways in which working artists manipulate paper to create remarkable and varied works of art. From detailed hand cutting to mark making, draping and folding, casting and silhouettes, both wall-bound and sculptural reliefs consider current possibilities of paper and highlight artists using these magical techniques, leading viewers to suspend their belief of a material nature. My hope is that all enjoy the awe and amazement of the world of works on paper as well as the wonderful talents living in the state of Georgia. I have great joy working with Dr. Eiland and the staff at the Georgia Museum of Art, all of whom uplift this series of exhibitions as well as the valuable partnership this project provides the Lyndon House Arts Center. It is with much gratitude that I thank them for joining me on this adventure of celebrating working artists in our state.
Director
Georgia Museum of Art
Steven L. Anderson
Betsy Cain
Steven L. Anderson is an exhibiting artist and co-director of Day & Night Projects—an artist-run gallery in Atlanta that he helped initiate in 2016. He has received the 2019 Denis Diderot [A-i-R] Grant for a summer residency at Chateau d’Orquevaux in Orquevaux, France, and a 2018–19 Artist Project Grant from the Atlanta Mayor’s Office of Cultural Affairs and was a 2018 Fulton County Fine Art Acquisition Program finalist. Anderson was part of the first annual TAR Project Therapeutic Artist Residency in 2016–17. He has been a studio artist at the Atlanta Contemporary (2013–16), a 2015 Hambidge Center Distinguished Fellow, and a 2014–15 WonderRoot Walthall Artist Fellow. A graduate of the University of Michigan and the School of the Art Institute of Chicago, he has exhibited in galleries and museums throughout the United States. Artist’s Statement Steven L. Anderson’s work concerns the nature of power and the power of nature. The world of trees and plants is an endless source of meaning that can be applied to our human systems by simply imagining our world from their perspectives. Works in the Tree Rings series are made by following a simple, repetitive process of growing. Paper is torn into concentric rings and reassembled, then scratched and sanded. Starting in the center, the artist draws circles with markers and pens, expanding as the rings build and bring the form into existence. They squeak, skip, and dry out, depositing ink on the paper’s surface or bleeding below. Where do our own activities, lifespans, and histories fit into the recordings made by sawed-off trees? These drawings are at once a violent death, a time machine, a hypnotist’s tool, an energy vortex.
Betsy Cain is a painter who has maintained an active independent studio practice in Savannah, Georgia for thirty-eight years. She was born in Tuscaloosa, Alabama, and grew up in Fairfield, Alabama, the steel mill city near Birmingham. She received both her bachelor’s and master’s degrees of fine arts from the University of Alabama. After receiving her degrees, she worked in both Alabama and Georgia’s artist-in-schools programs, working with students from all grade levels and abilities. Cain’s work includes paintings, works on paper, and cut-outs, influenced by the salt marshes, tidal creeks, and barrier islands surrounding her home. Her work has been shown in museums, galleries, artists’ installations, and curated invitational exhibitions at venues including the Roswell Museum and Art Center, New Mexico; the High Museum of Art and the Museum of Contemporary Art of Georgia, Atlanta; Laney Contemporary Gallery, Savannah; Florida Mining Gallery, Jacksonville; and Robert Steele Gallery in New York City. Artist’s Statement Working on paper has been a continuing method of discovery in my artistic practice for over 50 years. The “shred” drawings have their own evolution, initiated in part by a mistake. Mistakes open pathways. In this instance, the “mistake path” led to disrupting the paper with a razor blade. In the beginning, the shreds were meant to evoke the floating salt marsh grasses on the surface of tidal waters, a seasonal offering when the grasses die back and become sustenance for many organisms. Subsequently, I did a series celebrating the explosive beauty of the indigenous long leaf pine or “fire tree,” using the carving of shreds to suggest pine needles. Currently, the shreds cover suggested figures and forest landscapes with cuts and slices; a scarring of sorts, but a deliberate scarring, like tattoos. The scarring is the drawing.
Shredhead #4
302 Years
Jerushia Graham
Matt Haffner
Matt Haffner is an Atlanta-based photographer as well as a mixed-media and installation artist. He has been awarded several prestigious grants, fellowships, and residencies, including a National Endowment for the Arts project grant, a Working Artist Fellowship at the Museum of Contemporary Art of Georgia, a Forward Arts Foundation award, two residencies at the Hambidge Center for the Arts, and a Creative Practice Research Grant from Kennesaw State University. He has had solo exhibitions of his work in Atlanta, New York, Philadelphia, and Memphis and has been included in other exhibitions regionally, nationally, and internationally. His work is in a wide variety of collections, including museums, universities, corporations, and private collections. Haffner is a professor of photography and video at Kennesaw State University. His works are represented by Whitespace Gallery in Atlanta. Artist’s Statement The thing about living near the tracks is you realize they are always a divide. This work is about the memories of my home, of my family, of stories that were told to me by my dad, and coming to terms with how these things have shaped me as an artist. It is also about evoking a sense of place that is specific yet difficult to summarize. The layers and transparency that are evident in this work are about memory, loss, nostalgia, and a love for the inner city in all its complexities. These cut-paper works are an exercise in simplicity and nuance. Like most of my work, they use humble materials and simple processes and elevate them though innovation and meticulous care.
Jerushia Graham is currently the museum coordinator for the Robert C. Williams Museum of Papermaking. The Atlanta-based artist exhibits both nationally and internationally. She earned a master of fine arts degree in book arts/printmaking from the University of the Arts in Philadelphia and bachelor of fine arts degrees in fabric design and printmaking from the University of Georgia. Graham was previously the education director for Atlanta Printmakers Studio. She has developed arts programming for the Hudgens Center for Art & Learning, Spelman College Museum of Fine Art, the African American Museum of Philadelphia, and many community arts centers. She has produced curatorial projects for the Zora Neale Hurston Museum in Eatonville, Florida, and the Hudgens Center. Graham is interested in nurturing socially minded introspection through her art and building welcoming collaborative arts experiences through her workshops and curatorial projects. Artist’s Statement The From Where I Stand series started as a response to the increasing hostility directed toward Black and Brown bodies in society and toward the natural world. I consciously did not want to create tragic or violent images, instead choosing to create figures that look without and within, only to shake their heads at the absurdity of humanity. We are each of us the problem and the solution.
Rolling Thunder
From Where I Stand
Tire Pile
Imi Hwangbo
Hannah Israel
Imi Hwangbo received a bachelor’s degree from Dartmouth College and a master of fine arts degree from Stanford University. She has received international artist fellowships at the American Academy in Rome and the Camargo Foundation in France. She was an artist in residence at Yaddo, the MacDowell Colony, and the Bemis Center for Contemporary Art. Hwangbo’s work has been exhibited in solo shows at the Volta Art Fair, the Pavel Zoubok Gallery, and the Miller Yezerski Gallery. Two-person and group shows include the Art on Paper Fair, the International Print Center New York, and the Bell Gallery of Brown University. Articles on her work have appeared in the Huffington Post, Art in America , the Boston Globe , and the Atlanta Journal-Constitution . She is represented by the Ellen Miller Gallery in Boston. Artist’s Statement My work explores notions of desire through an expanded approach to drawing. The imagery is drawn from Korean decorative arts, with reference to an iconography of desire for harmony, longevity, fertility, and good fortune. My works are constructed with paper that is meticulously colored, hand-worked, and layered so that sculptural forms emerge. Evocative of the decorative arts, my works are alluring to the eye and highly crafted over the entire surface. Light is used as a medium to convey the image, with patterns gaining depth through the translucent layering of light and shadow. These works incorporate a sculpted negative space within the patterns, a void defined by the edges of cut paper. The edges of the works are where the image dissolves and becomes physically immaterial. As the image dematerializes both pictorially and physically, it suggests a moment where the real and the imagined intersect.
Hannah Israel lives and works in Columbus, Georgia. She received her master of fine arts degree in sculpture from the University of Illinois in Urbana-Champaign. Israel has exhibited her work at the High Museum of Art in Atlanta, the Vargas Museum of Art in the Philippines, the Museum of Contemporary Art in Honolulu, and the Krannert Art Museum, among others. She has received the Daedalus Art Grant (NYC), a creative and performance art fellowship at the University of Illinois, an artist’s fellowship at Cornell University, and the Banff Center scholarship, among others. She has also served as curator of numerous solo and group exhibitions. In November 2018, she was awarded the 2019 Blue Heron Nature Preserve Artist in Residence in Atlanta. Israel is currently a professor of art and the gallery director at Columbus State University. Artist’s Statement Hannah Israel draws beauty out of tangible and intangible materials as a poetic gesture that reflects the fragility of the world. Without a specific reference point, she investigates line, volume, texture, shape, and form. Israel is interested in using information as a form of abstraction. The nature of her work maps our relationships by illustrating how fragile time can be and the predictable nature of our experiences based on the world around us. Imagined language is the root of her work. She is fascinated by cultures that use the same symbols and patterns to create maps of their land and their dreams. This lack of distinction between fantasy and reality opens up the way we can think about our world.
Untitled (Forms)
Lepidoptera IV
Elizabeth Lide
Teresa Bramlette Reeves
Elizabeth Lide, a native of Winston-Salem, North Carolina, has a bachelor of fine arts degree from the Lamar Dodd School of Art at the University of Georgia and a master of fine arts degree from Ernest G. Welch School of Art and Design at Georgia State University. She has been awarded a Working Artist Project Fellowship from the Museum of Contemporary Art of Georgia and artist residencies at the MacDowell Colony, Virginia Center for the Creative Arts, the Hambidge Center, Tyrone Guthrie Centre in Ireland, MASS MoCA, and Moulin à Nef in Auvillar, France. Her work has been featured in solo exhibitions at MOCA GA, La Mama in New York City, and the Atlanta Contemporary Arts Center and in ninety group exhibitions. Her drawings and artists’ books are in the collections of the Museum of Modern Art, New York, and the High Museum of Art. In December 2020, she will present a solo exhibition at Whitespace Gallery in Atlanta. Artist’s Statement Preparing to work on a solo exhibition, Putting the House in Order , I organized rooms in my home and studio, allowing me to think more clearly. Touching and seeing objects, art, and papers with fresh eyes triggered associations and memories. I chose six objects passed down from my grandparents and great-grandparents, made rubber molds, and created multiples using paper pulp and pigment or plaster, fabric, and hair. I made drawings in which I organized two-dimensional space in ways similar to my approach in the spaces where I live and work, offering some order and setting up personal challenges to solve. Once again, my inclinations and methods were both meditative and contradictory.
Teresa Bramlette Reeves was born in Athens, Georgia, and received a bachelor of fine arts degree in drawing and painting from the University of Georgia, a master of fine arts degree from Virginia Commonwealth University, and a doctoral degree in art history from the University of Georgia. She serves as senior curator at the Zuckerman Museum of Art, Kennesaw State University. She completed a Fulbright US Scholar residency in 2016–17, working with the Irish Museum of Modern Art in Dublin. A practicing artist, she has had solo shows at Whitespace Gallery, the Jersey City Museum, P.S. 1 Museum, and elsewhere. She was awarded a Pollock-Krasner Grant; fellowship residencies at the MacDowell Colony, Cité International des Arts (Paris), and the Hambidge Center; and selected for the P.S. 1 National Studio Program and the Atlanta Contemporary Art Center Studio Program. Artist’s Statement For many years, my work revolved around ideas of mutable histories and inconsistent narratives. I visualized the storage of memory fragments, the possibility of retrieval, the potential for multiple interpretations, and the personal and institutional desire to edit, rewrite, and obscure history. This series considers painting itself as an artifact; a remnant suggestive of a story; an object preserved and encased. The folded paper paintings serve as a tribute to my mother and her generation who came of age in the 1930s and 1940s. I made life-size replicas of paper doll clothes and housewares in paper. I then had photographs made of my engagement with these objects, a way of breathing momentary life into them. After this brief inhabitation, I folded each into a compact form to be re-presented as a fragment of a particular time and place.
Lady Vase
Prom Dress
Lucha Rodriguez
Samuel Stabler
Lucha Rodríguez received her master of fine arts degree in printmaking from Savannah College of Art and Design, and her bachelor of fine arts degree in graphic design from the Art Institute of Atlanta. Her work ranges from etchings, monoprints, and colorful silkscreens, to immersive multilayered installations of cut paper, each created with pink—the artist’s signature color. Born in Venezuela, Rodríguez has exhibited globally with solo and group shows throughout the United States, India, Mexico, China, and France. Her work is included in the collections of the Bascom Center for Visual Arts, the World of Coca-Cola Museum, and the High Museum of Art. Rodríguez is currently represented by Kai Lin Art Gallery in Atlanta, Georgia. Artist’s Statement The work is light and surface. Exercises on seeing and perceived reality. The vast spatial presence hidden within a single material made visible through precise cuts into a surface. Patterns and new planes become visible depending on our perspective and physical nearness towards the work of art. Some might view single solid flat colors while others see intimate detail and complexity created with light and shadows. It encourages viewers to know the work not by their first impressions but by taking a long hard look at what’s really inside. The work is not about a fixed or set image. It is a continuous sensory experience of light and surface. In the simple act of witnessing light on paper we are subjected to our human sensory limitations, but we can also learn to internally alter our perceived reality because it is intrinsically tied to contextual and cultural norms.
Samuel Stabler studied at Central Saint Martin’s College of Art and Design in London, and the University of Georgia. His work has been exhibited in New York at Garis & Hahn, Dorfman Projects, Gallery 151, National Arts Clubs, and Christie’s; in London at Degree Art Gallery, the Conningsby Gallery, and the Window Gallery; Gallery 60Six, San Francisco; Subliminal Projects Gallery, Los Angeles; Tumuboko Gallery, Kobe, Japan; the Chinese Characters Gallery, Budapest; and the Coffee Shop Gallery, Brussels.
Bursting
Untitled (pattern floral)
Artist’s Statement I have been working and reworking found images my entire career as an artist. For everyone, certain images carry a significant amount of importance. The images that stay in my memory come from personal moments, relationships, hobbies, and passions that then get used in my paintings. As a student of art history, many of my images come from the great paintings of the Old Masters, including in the form of still lifes and historical paintings. As a fan of pop culture, I also reuse images from music, sports, film, and daily life. In reusing them, I use my own language to communicate new ideas about aesthetics, and I hope this creates a unique narrative. My passion for minimalism and Bauhaus thought also emerges as I partner different grids with the images. The final result is something new and unique to every viewer.
Kalina Wińska
Checklist All works collection of the artist
Kalina Wińska grew up in Poland. She earned master of fine arts degrees from the Academy of Art and Design in Wrocław and the University of Florida. As a recipient of the Socrates-Erasmus Scholarship, she went to study in Germany at the Braunschweig University of Art. Wińska has actively exhibited her works in Florida, Georgia, Louisiana, Maryland, California, Colorado, Vermont, Virginia, Michigan, New York, and Poland. She was featured in Studio Visit Magazine twice and was awarded artist’s residencies at the Vermont Studio Center in Johnson; the Atlantic Center for the Arts in New Smyrna Beach, Florida; Crooked Tree Arts Center in Petoskey, Michigan; TAKT, in Berlin; and the Contemporary Artist Center at Woodside in Troy, New York. Currently, she is an associate professor at Valdosta State University teaching drawing and foundation-level courses. Artist’s Statement In my recent works, I explore various ways of observing and visually comprehending the weather through direct and indirect means. Issues such as our ambivalent relationship to climate change, concepts of weather modification, and the human drive to control natural phenomena resurfaced and provided more focused direction to my formal manipulations with materials and tools. These mixed-media drawings on paper or panel formally explore indexical shapes of clouds in combination with meticulously layered symbolic signs of targets or molecular formulas of greenhouse gases. The variety of color, shapes, and symbolic and expressive marks and lines are inspired by surface weather analysis data codes. I think of them as abstracted snapshots of cloudscapes visibly marked with human activity. They express my worries and anxieties about what science and data reveal: the undeniably harmful consequences of human impact on the quality of air and life on earth.
Steven L. Anderson 302 Years , 2016 Marker and pen on paper 96 x 96 inches Steven L. Anderson 199 Years, 2019 Marker, pen, colored pencil, Never Wet on on collaged paper 48 x 48 inches Steven L. Anderson 201 Years , 2019 Marker, pen, colored pencil, Never Wet on on collaged paper 48 x 48 inches Betsy Cain Shredhead #3 , 2018 Oil on Yupo paper (shredded) 60 x 20 inches Betsy Cain Shredhead #4 , 2018 Oil on Yupo paper (shredded) 60 x 20 inches Betsy Cain Into the Woods #1 , 2017 Oil on Yupo paper 24 x 18 inches Jerushia Graham From Where I Stand , 2019 Cut paper 36 x 30 inches (framed) Jerushia Graham From Where I Stand , 2019 Cut paper 36 x 30 inches (framed) Jerushia Graham From Where I Stand , 2019 Cut paper 36 x 30 inches (framed) Matt Haffner Rolling Thunder, 2015 Cut paper and acrylic on paper 22 x 30 inches Matt Haffner Tire Pile, 2015 Cut paper and acrylic on paper 22 x 30 inches
Matt Haffner Fallen God — Runners , 2015 Cardboard “sneaker size” Matt Haffner Fallen God — Dunks , 2015 Cardboard “sneaker size” Imi Hwangbo Lepidoptera IV , 2010 Archival ink on hand-cut Mylar 9 x 8 x 1 inches Imi Hwangbo Muse , date? Archival ink on hand-cut Mylar DIMS Hannah Israel Untitled ( Forms ), 2017
Elizabeth Lide Pitcher, 2018 Paper pulp, pigment 8 x 9 inches Elizabeth Lide Ice Bucket , 2018 Paper pulp, pigment 7 1/2 x 7 inches Teresa Bramlette Reeves Prom Dress , 2014–16 Watercolor on tissue paper; folded and bound Plexiglas vitrine with linen backing 20 5/8 x 18 1/2 x 9 1/2 inches Teresa Bramlette Reeves Artist wearing prom dress Photograph 2 1/2 x 3 1/2 inches Artist’s mother wearing prom dress Photograph 3 1/2 x 3 1/2 inches Teresa Bramlette Reeves Everyday Dress , 2014–16 Pencil and Prismacolor pencils on paper; folded and bound Plexiglas vitrine with linen backing 12 x 10 x 6 1/2 inches Paperdoll dress, ca. 1940 5 3/4 x 4 inches Teresa Bramlette Reeves Artist in paper dress Photograph 6 x 4 inches Teresa Bramlette Reeves Apron , 2014–16 10 x 8 x 3 inches Paperdoll apron 6 x 3 inches Teresa Bramlette Reeves Artist in paper apron Pencil and Prismacolor pencils and tape on paper; folded and bound Plexiglas vitrine with linen backing
Lucha Rodriguez Bursting , 2018 Hand-cut paper, acrylic 60 x 44 inches Samuel Stabler Untitled (pattern floral), 2018 Pen and acrylic on paper 22 x 18 1/2 inches (framed)
Atmospheric Gaze #12
Samuel Stabler Untitled, 2019 Cut paper
32 x 24 inches Samuel Stabler Untitled (pattern floral/Andre 3000), 2018 Pen and acrylic on Paper 42 x 32 inches Kalina Wińska Atmospheric Gaze #6 , 2016 Graphite, colored pencil, and gesso on Yupo paper 26 x 40 inches Kalina Wińska Atmospheric Gaze #12 , 2017 graphite, colored pencils, watercolor gesso on Yupo paper 26 x 40 inches Kalina Wińska Atmospheric Gaze #7, 2017 Graphite, colored pencils, and gesso
Graphite on paper 36 x 24 x 3 inches 24 x 18 x 3 inches 16 x 12 x 3 inches
Hannah Israel Lacuna, 2017
Powder graphite on paper 10 x 8 x 11 inches (each)
Hannah Israel Form II , 2017
Graphite on paper 24 x 16 x 3 inches Elizabeth Lide Cookie Press , 2018 Gesso, graphite, collage on handmade Vietnamese paper 24 x 32 inches Elizabeth Lide Is This the Center? , 2018 Gesso, graphite, paint, collage on handmade Vietnamese paper
Atmospheric Gaze #6
on Yupo paper 24 x 36 inches
24 x 32 inches Elizabeth Lide Lady Vase , 2018 Paper pulp, pigment 14 x 10 inches Elizabeth Lide Split Jug , 2018 Paper pulp, pigment 12 x 6 1/2 inches
Photograph 6 x 4 inches
Lyndon House Arts Center, Athens, Georgia June 1 – July 27, 2019
Robert C. Williams Museum of Papermaking, Georgia Institute of Technology, Atlanta, Georgia August 17 – November 14, 2019 Museum of Arts and Sciences, Macon, Georgia December 5, 2019 – February 14, 2020 Albany Museum of Art, Albany, Georgia February – June 2020 Telfair Museum of Art’s Jepson Center for the Arts, Savannah, Georgia July 2020 – early 2021
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