Artist Talks Gallery Openings and Events

VisArts January 2017 Exhibition Schedule

Work by Amy Hughes Braden. Courtesy of VisArts.

Work by Amy Hughes Braden. Courtesy of VisArts.

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Opening Receptions and Artist Talks: Friday, January 27 from 7pm to 9pm

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Max DeMulder, Teatime, 2016, pen and ink with tea wash on paper, 18 x 24 inches. Courtesy of VisArts.

Max DeMulder, Teatime, 2016, pen and ink with tea wash on paper, 18 x 24 inches. Courtesy of VisArts.

VisAbility
Selections from the VisAbility Art Lab
January 13 – February 12, 2017
Concourse Gallery
This exhibit embodies the artists of VisAbility Art Lab and the variety of interests, techniques, and artistic viewpoints of the Art Lab’s members. Featuring the artwork of James Billian, Mara Clawson, Max DeMulder, Carlin Jones, and Lindsey Schaufelberger, the works presented make visible the thoughts and dreams of these artists, claiming their right to a place at the creative table.

About the VisAbility Art Lab: VisAbility Art Lab is both a community of young professional artists with autism and other disabilities and the inclusive arts studio that provides them professional support and workforce development as they further their careers. A dynamic partnership between VisArts and Madison House Autism Foundation, the VisAbility Art Lab provides professional materials, expertise and space to create, a platform to explore artistic interests, and a collective of like-minded artists and supporters.

Creating art can be a solitary pursuit, but for many with autism and other disabilities, large parts of life are isolating and solitary. Cultural and social inclusion is incomplete, at best, and limited in the amount of engagement and decision-making given to people with disabilities. The VisAbility Art Lab demonstrates cultural inclusion in action, giving artists the autonomy they want in their artwork and level of social interaction while increasing opportunity for collaboration and engagement with the arts community. Through art, we embrace differences as sources of strength and creativity vs. a liability.

Amelia Toelke, Dragonfruit, 2014, mirrored acrylic, 8.75 x 8.75 feet. Courtesy of VisArts.

Amelia Toelke, Dragonfruit, 2014, mirrored acrylic, 8.75 x 8.75 feet. Courtesy of VisArts.

Amelia Toelke
Facade
January 13 – February 12, 2017
Common Ground Gallery
A combination of sculpture and installation, Amelia Toelke’s work lies at the interstice of the two-dimensional and the three-dimensional, and hovers between object and image, the real and the representative. Using architectural ornament, signage, symbols, pattern, and decoration borrowed from a wide variety of sources from early Americana to emojis, Toelke addresses the rich human history of adornment and the ways these visual details communicate attitudes and sensory experiences.

About the artist:  Amelia Toelke (b. 1983) is a visual artist who grew up in rural upstate New York. Toelke holds a B.F.A. in metals and jewelry from the State University of New York at New Paltz and an M.F.A. in visual art from the University of Wisconsin-Madison. Toelke has exhibited nationally and internationally showing at venues such as the Indianopolis Art Center, Indianapolis, Indiana; the Villa Terrace Decorative Arts Museum, Milwaukee, Wisconsin; the Dorsky Gallery Curatorial Programs, New York, New York; the Urban Institute for Contemporary Art, Grand Rapids, Michigan; The Harbourfront Art Center, Toronto, Ontario; the National Ornamental Metal Museum, Memphis, Tennessee; Gallery Seescape, Chiang Mai, Thailand; and Gaffa Gallery, Sydney, Australia. www.ameliatoelke.com

Margaret Noble, We Don’t Have to Make Eye Contact, 2016, Interactive sound sculpture for two people. Courtesy of VisArts.

Margaret Noble, We Don’t Have to Make Eye Contact, 2016, Interactive sound sculpture for two people. Courtesy of VisArts.

Margaret Noble
Resonating Objects
January 18 – February 17, 2017
Gibbs Street Gallery, VisArts (1st Floor)
Margaret Noble creates interactive, multi-sensory sculptures and installations layered in sound and gesture. She designs these experiences with a diverse array of materials using archetypal and experimental forms. She inhabits these shapes with electro-acoustic sounds and tactile controls so that they come alive with intimate, participatory moments. Through visual, sonic and kinetic interplay, she investigates questions about contemporary identity and human relations. Nobel focuses on narratives and legacies left behind by families, media archives, and technology. She plays with time travel as she moves between generational influences, historical myths, and the future.

Margaret Noble, Head in the Sand, 2015, Interactive sound sculpture, 5’(H) x 18” (W) x 18”(D). Courtesy of VisArts.

Margaret Noble, Head in the Sand, 2015, Interactive sound sculpture, 5’(H) x 18” (W) x 18”(D). Courtesy of VisArts.

About the Artist: Born in Texas and raised in California, Margaret Noble’s experimental artworks have been exhibited nationally and internationally. Her interdisciplinary work resides at the intersection of sound, sculpture, installation, and performance. She holds a B.A. in Philosophy from the University of California, San Diego and an M.F.A. in Sound Art from the School of the Art Institute of Chicago.

Noble’s work is in influenced by the beat-driven dance culture of southern California which flourished during the 1980’s and later led her to perform as an electronic music DJ in the underground club community of Chicago. In 2004, she branched out from the dance floor into experimental sound art for new audiences which intersected the electronic sound scene and the visual arts community. During this transition, Margaret created sound works for collaborative projects in video, dance and object theatre. Her artistic works have now evolved into sculpture and installation influenced by interests in memory, history, narrative, and identity. Noble’s work has been featured on KPBS, PRI, Art Ltd Magazine, Wired Magazine, San Diego Union-Tribune and the San Francisco Weekly. She was awarded the International Governor’s Grant, the Hayward Prize and the Creative Catalyst Fellowship. Her artistic residencies include the MAK Museum in Vienna and the Salzburg Academy of Fine Art. She has had several solo exhibitions including the Museum of Contemporary Art San Diego, Ohrenhoch der Geräuschladen Sound Gallery in Berlin and Mute Gallery in Portugal. http://www.margaretnoble.net/

Mei Mei Chang at work in the Bresler Residency studio at VisArts. Courtesy of VisArts.

Mei Mei Chang at work in the Bresler Residency studio at VisArts. Courtesy of VisArts.

Stretch, Cut, Talk, Pull
2016 VisArts Bresler Residents
Mei Mei Chang, Amy Hughes Braden, Jay Hendrick
January 20 – February 19, 2017
Kaplan Gallery, VisArts (2nd Floor)
Panel Discussion: Sunday, February 12, 2pm
Stretch, Cut, Talk, Pull features paintings, drawings, and collaborative projects made by 2016 VisArts Bresler Resident artists Mei Mei Chang, Amy Hughes Braden, and Jay Hendrick. These artists were selected to spend four months in a studio at VisArts making new work. The 2016 VisArts Bresler Residency called for artists whose primary studio practice focuses on painting or drawing. The residency offers artists the time and space to create a new body of work, evolve an existing body of work, or develop a project in a stimulating, supportive environment. The results are three studio investigations that question what painting and drawing are, how they can be made, and how they fit into the historical context surrounding these two activities.

Drawing rests at the core of Mei Mei Chang’s practice even when her work expands into inventive mixed media installations and soundscapes. She has been exploring the confluence of inner thought and feeling with external stimuli. During her residency at VisArts she initiated a community drawing project in addition to developing new mind-map paintings and drawings. Chang asked people to bring her an object that made them feel a strong emotion (anger, joy, fear, or sadness). She asked each person to tell her about the object, recorded their story, and made a drawing in response. Some people made a drawing along with Chang. Often the participants had little or no experience drawing, but when it came to making a visual expression of their story, the drawing just emerged. “This became a new way of making a drawing,” said Chang. “It was a real honor to listen to these incredible stories from a variety of lives. The objects, our conversations, and the drawings all became “the drawing,” a way of pulling a line out from an individual’s experience and tangling it into my experience.”

Jay Hendrick has been experimenting with ways to make a painting through a process he calls “stretch and restretch.”  He decides how large a painting is going to be and then using stretcher bars that are often too small for the overall canvas, stretches a portion of the canvas, makes a painting, and then moves the stretcher bars to another spot. The final painting is an amalgamation of many paintings. Jay Hendrick also thought about how to involve the local community of painters with his studio residency. He asked painters Pat Goslee, Mei Mei Chang, Kathryn McDonnel, Matt Pinney, Becca Kallem, Amy Hughes Braden to collaborate with him on paintings. Hendrick  gave each of these artists his paintings to work on. When the paintings came back to his studio, Hendrick worked on them again. Questions of authorship and intention are central to his investigation as well as curiosity.  “I paint to learn,” says Hendrick. “The painting resembles a living thing. To paint is to understand paint in the same way that to live is to understand how to live.” The flexible, inventive ways that Hendrick approaches painting may reflect a direct relationship to his small town Texas upbringing. How to resist and challenge conditioned responses are operational challenges behind his investigation of painting. The grid acts as a stabilizing system that can be poked, prodded, and dissolved. The canvas can be folded, stretched again, draped, or thrown on the floor.  There can be one artist or two or more making one painting. “Each time, I have to deal with what came before,” Hendrick says. This holds true for both painting and life.

Amy Hughes Braden uses painting to talk about things that she has trouble talking about. She says that she is concerned with the “density of painting”; how “it is the good way to be angry” and also “worldly.” Her paintings are visual, visceral platforms for a mash up of influences including feminism, personal history, current events, and art historical imagery. Partial figures or environments, words, thick and thin paint, and loud color appear often. Braden cuts pieces out of her paintings and stacks multiple paintings so that some parts are visible and other parts are covered. The paintings can be shifted and rearranged. Pieces of other paintings are attached to new paintings. They are assemblage in nature and suggest mutable states. Because the holes expose the stretcher bars (the skeleton of the painting), the paintings take on a risky violent character. The wall or scene behind the painting seeps in, strangely warping space, and challenging traditional classical concerns with creating an illusion. Braden’s paintings exist in a tipsy position as an incomplete thought or body that fluxes between repair and ruin.

The 2017 VisArts Bresler Residency accepted three artists whose primary studio practice focuses on social practice, community arts, and/or performance. Artists Maria-Theresa Fernandez, Krista Caballero, and Katie Kehoe were selected by jury to be the 2017 VisArts Bresler Residents.

Work by Amy Hughes Braden. Courtesy of VisArts.

Work by Amy Hughes Braden. Courtesy of VisArts.

Jay Hendrick and Becca Kallem, Greco Pink Tag, 2016, acrylic on canvas on wood, 30 x 25 inches. Courtesy of VisArts.

Jay Hendrick and Becca Kallem, Greco Pink Tag, 2016, acrylic on canvas on wood, 30 x 25 inches. Courtesy of VisArts.

About the artists:
Mei Mei Chang received her Master of Fine Arts in Photography from Ohio University in 2002. As a mixed media and installation artist, Mei Mei explores various media to bridge her internal and external worlds. She is a lifelong student of the human psyche, fascinated by the mind’s ability to focus on details great and small without limits. Using her internal symbols, she creates rich visual images that are both highly personal and accessible to all.

Amy Hughes Braden is an artist based in Washington, D.C. She recently traveled to Rome with through the non-profit Transformer, as a part of DC’s Sister Cities grant program, where she lectured about her work at two universities. In 2015 she participated in Transformer’s Exercises for Emerging Artists program (E12), in collaboration with the Design Studio for Social Intervention from Boston. She created a social lab which explored what it means to be a feminist, and the resulting piece “Mrs. Alex Braden” was then exhibited at The Katzen Center. Braden shows work regularly in the DC/Baltimore area in both DIY and commercial spaces, as well as nationally. In 2014, Civilian Art Projects presented her solo exhibition, “Are You Gonna Eat That?” Braden is a current member of the art subscription service, Project Dispatch, a past member of the DCAC supported collective, Sparkplug 4, and a graduate of the Corcoran College of Art and Design.  Her work was recently exhibited at School 33 in Baltimore, in a show curated by Cynthia Connolly. Beginning in January 2017 Amy will be the Artist-in-Residence at the Cafritz Foundation Arts Center at Montgomery College. www.amyhughesbraden.com

Jay Hendrick (born Lubbock, Texas) lives and works in Fairfax, Virginia. His work has been shown in the United States, England, and Japan. He was featured in New American Painting 106. He received a Bachelor of Applied Studies and Bachelor of Fine Art from Abilene Christian University in Abilene, Texas in 2011 and 2012. Hendrick received a Masters of Fine Art from George Mason University in Fairfax, Virginia in 2015. He teaches at Northern Virginia Community College in Annandale, Virginia. In 2017 he will exhibit his work at Trestle Gallery in Brooklyn, New York and will be a resident artist at the Torpedo Factory in Alexandria, Virginia. www.jayhendrick.com

Gallery Hours:

  • Wednesday & Thursday: 12 – 4pm
  • Friday: 12 – 8pm
  • Saturday & Sunday: 12 – 4pm

VisArts at Rockville is located three blocks from the Rockville Metro station at 155 Gibbs Street, Rockville, MD. For information, please visit www.visartscenter.org or call 301-315-8200.

Editorial Team
Authored by: Editorial Team

Post provided by the East City Art Editorial Team.