John and Linda Friend Art Gallery
Art Exhibitions and Lectures 2013-2014
Please contact the gallery director, Niclas Kruger at firstname.lastname@example.org for additional information.
Expressions in Intaglio
Classic Drypoint Engravings
March 13 - April 10, 2014
Artist's reception and lecture: Wednesday March 26 at 6.30 pm.
in the John and Linda Friend Art Gallery in Grimm Hall.
Munio Makuuchi (born Howard Munio Takahashi) was a third-generation
Japanese-American born in Seattle. From 1941 to 1945 (World War II), he and
his family were confined in an internment camp for Japanese-Americans in
southern Idaho. One of ten facilities designed to contain around 120,000
Japanese-Americans living on the West Coast, the Minidoka Relocation Center
housed some 9,000 men, women and children from Alaska, Oregon, and
Washington. This forced relocation and pivotal childhood experience set the
stage for a lifetime of visual and poetic works.
After the war and release from camp, his family settled permanently in
Idaho. However, Munio went to Concordia, an all boys' Lutheran boarding
school in Oregon.
At age 20, he took his mother's maiden name (Makuuchi) as his artistic
name. In the late 1950s he enlisted in the army, where he suffered a head
injury that friends believe was responsible for some of Makuuchi's erratic
behavior as well as the often fragmentary and disjointed nature of his
texts and images. He was known for his dark, large scale etchings, poetry
and and origami creations. He produced more than 200 etchings with a
technique called drypoint, using a steel point to scratch designs onto a
zinc or copper plate to create grooves that are filled with ink. Because he
often worked and reworked his plates, dating Makuuchi's prints can be
difficult. He generally did not print editions, and he marked many of his
prints "artist's proofs" or as part of a hypothetical edition of 32 that
was never completed. Makuuchi's experience of internment was clearly
pivotal to his artistic and personal development--his art is replete with
images of movement and symbols of his Japanese-American heritage. His
premature death at 65 and his generally antiestablishment attitude have all
worked against widespread recognition of his work until recently. The Smith
College Museum of Art in Massachusetts became the owner of one of the
By: Prof. Rachel C. Hayes
February 12 - March 12, 2014
Artist's reception and lecture: Wednesday, February 19, 2014, at 6:30 p.m. in the John and Linda Friend Art Gallery in Grimm Hall.
I seek to tell vulnerable stories: wrestling with faith; struggles with
parenthood; balancing life; facing anxiety, fear and depression. I strive
to be authentic as I deal with my art and faith, offering my visual stories
not as idealistic "Christian" images, but works created by a Christian
artist yearning for the ideal within a sinful world. I seek to capture
"vulnerable" and "adrift" states, rather than "mountain-top experiences",
so as to call into question the role of the artist of faith.
My work is distinctly narrative. I am intrigued by stories: fragments,
beginnings and thoughts. Inspired by found photographs infused with hidden
history, I begin the task of creating/reliving a story. The photographs
serve as impetuses toward storytelling or invention, as I may recall a
specific instance, or be driven to create a new one based on a combination
of photographs. Additionally, to remove certain figures and objects from
the photograph by tracing, not only depletes the photograph of its
authority, but also creates an echo of reality. This "echo-tracing" is not
only detached from its original location and time, but its matter-of-fact
creation disregards the "skill" in drawing in order to maintain the
anonymity and the immediacy of capturing the story.
Whereas tracing photographs, painting and drawing suggest the necessity to
remember and narrate things immediately, the hand embroidery demands that
such stories become solidified through the slow, solitary process of
stitching. While embroidering, I am able to reflect upon the narrative...to
let it engrain in me through the experience. Such stitching is not meant
as a mere stimulation towards storytelling, but also serves as my attempt
to reclaim lost feminine and family traditions, as well as to embed myself
in an active dialogue between "women's work" and a clearly masculine way of
I make these pieces--tell these stories--as a way of processing and
understanding. I tell these vulnerable stories not as a means to expose my
life's details, but as a platform to address common events, shared woes and
One Thread at a Time
By: Sarah H. Jackson
January 15 - February 12, 2014
Artist's reception and lecture: Wednesday, January 29, 2014, at 6:30 p.m.
in the John and Linda Friend Art Gallery in Grimm Hall.
Handweaving, simple or elaborate; it all begins with one thread. To sit at
my loom and throw the shuttle while witnessing the interplay of color,
pattern, and texture as it develops into cloth is endlessly fascinating.
My design process often centers on color as I work within the limitations
of the loom to stretch and explore the possibilities of color interaction.
At other times I focus on the combination of structure and fiber, using
only one or two colors, to create the desired cloth.
Whether designing for the home or one-of-a-kind garments, my weaving
reflects a passion for marrying structure, fiber, and color to produce
cloth that is unique, practical, beautiful, and just right for my intended
About the Artist:
Sarah H. Jackson earned a B.F.A. in Design, concentration in textiles, at
the University of Kansas.
She owns a business dedicated to designing and marketing handwovens and
reconstructed clothing, conducts workshops for guilds and conferences, and is
a technical editor and designer for *Handwoven* magazine.
What a Relief
Contemporary and Experimental Woodcuts
By: Sheryl Seltzer
December 4, 2013 - January 15, 2014
Artist's reception and lecture: Wednesday, December 4, 2013, at 6:00 p.m. in the John and Linda Friend Art Gallery in Grimm Hall.
Relief Printmaking is one of many techniques used in fine art printmaking; it has a long history dating back to the 10th century in China and has been an ongoing practice of artists throughout art history. Today, printmaking in general, and relief printmaking more specifically, are being used in exciting new ways to produce unique and stimulating and beautiful art for our times. Relief printmaking is a practice where a plate (usually linoleum or wood) is cut in such a way to reveal the desired image by inking its surface and then transferring that image to paper. The work I am showing here is all done using wood.
My art practice consists of making paintings, woodcuts and monotypes and monoprints. In the past year I have begun to use the wood plates I cut as elements in larger or more complex monoprints. So rather than use the plates to edition a series of identical prints, I am using them in various combinations to produce singular expressions. My paintings and my prints inform one another as I work toward producing work that is sincere and exciting and beautiful.
I consistently use elements of the natural world as my subjects, sometimes rather literally, but increasingly as vocabulary for expression of the patterns, energies and rhythms we experience in the world both externally (visually) and internally (emotionally, experientially, physically, spiritually) as we live our lives.
I live and make art and teach in Laguna Beach, California. I welcome visitors to my studio to see my work as it progresses and to learn more about the possibilities of relief printmaking. I will be joyfully teaching this upcoming semester at Concordia University.
Watercolor mixed media paintings
By: Rachel Leising Soo
October 30 – December 4, 2013
Artist's reception and lecture: Wednesday, November 6, 2013, at 6:00 p.m. in the John and Linda Friend Art Gallery in Grimm Hall.
The paintings in this series were produced by examining memories, perceptions and personal relationships. This examination was a visceral and instinctive experience shaped by recent travels and significant life altering events.
The climates, vegetation, and landscapes of California, Malaysia, and Vietnam provided a palette to draw from. Motherhood has changed the way I view my female identity. The process of creating artwork has given me pause in life’s busy schedule for contemplation.
And to that notion, I have tried to depict the emotional awareness of abundance with the many blessings in my life—my two sons, my husband, my love of creating and expressing through the process of making art.
The origin of this series of paintings can be traced to a daily artist’s journal. I experimented with watercolor washes, and drawing with ink, colored pencil or charcoal. A few of these images led me to begin an exploration of a similar style and a combination of media on a larger scale. I allowed specific personal events or emotions to guide my color selections, forms, and strokes. Painting in a gestural manner with watercolor and India ink onto the paper created a feeling of spontaneity. I responded to these initial watercolor forms by segmenting the painting. The last step included drawing with ink to manipulate the composition. White/negative spaces were used to affect the balance of the paintings, as these areas act as major forms within the compositions.
About the Artist:
Rachel Leising Soo received a B.F.A. in Commercial Art at Concordia University, Seward, Nebraska and an M.F.A. in Integrated Visual Art, at Iowa State University, Ames, Iowa.
Soo is an associate professor and co-chair of the Art Department at Concordia University, Irvine, California.
Harmony of Pencils and Water Colors
New Paintings and Drawings
By: Cheryl Cotman and Arnold Starr
September 25-October 30, 2013
Artists' reception: Wednesday October 2, 2013, at 7:00- 8:00 p.m. in the John and Linda Friend Art Gallery in Grimm Hall.
Cheryl Cotman Artist Statement:
Cheryl Cotman received a B.A. in Biology from Reed College and a M.F.A. from California Institute of the Arts. Her work deals with science, and the hidden side of nature it reveals. An unusual method is involved. She becomes immersed in the concepts and methods of her topics, sometimes going so far as to engage in basic research, in search of an artistic direction or interpretation.
The results often have a singular esthetic quality, combining a sense of the naggingly familiar (reflections of nature) and the strange (images of type never before seen). Her art has the potential of allowing the viewer to experience the presence of science in worlds outside its normal boundaries, as in how discoveries in the brain sciences affect the way we view human nature.
Through her art she interprets essential concepts in a book, “Big Brain: The Origins and Future of Human Intelligence” which has been translated into Greek and Japanese and featured in popular magazines. Cotman’s drawings have appeared in numerous scientific publications and meetings and were featured in a prominent monograph. Her work is part of the Creative Arts Agency collection and her larger works have been shown at various museums and galleries, including Norma Desmond Productions, the JoAnne Artman Gallery, Oceanside Museum of Art, the Beall Center, Track 16 at Bergamot Station and the Basel Art Fair. She is also a member of West Coast Drawing whose focus is to show that drawing, in all its diversity, is an end, not just a means, as valid an art form as oil on canvas, fresco, carved marble or contemporary quirks.
Arnold Starr Artist Statement:
I am both an experimental neurologist and an artist. In fact, I started to do watercolors of nerve cells while in medical school and then switched to outdoor scenes. I found that while I could perceive the scene artistically, portraying its essence was a challenge. During the past two years I have been working with rocks and water. They are natural companions and a challenge to paint. I emphasize particular features of the harmony with vivid colors. I want the viewer to work and think, and come away with a smile.