Browsing by Author "Lashbrook, Debra"
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Item Borders and Frontiers: Collage and Appropriation in the Contemporary Image(Oakland University, 2011-03-05) Goody, Dick; Lashbrook, DebraExcerpt from essay by Dick Goody: It is paradoxical in the context of the lushness of this exhibition that the above statement, thirty years on, might appear celebratory rather than pejorative. Artists appropriate materials of their time and place, and rapidly the destiny of these “tissues of quotations” becomes the reflective and reflexive visual record of their given epoch. Borders and Frontiers presents a collection of artists that demonstrates both a specialized appetite for the digital and contemporary, yet, at the same time, a blend of quotations from an image bank of the past, and in doing so they build a bridge between historicism, the contextual present, and a conjectural tomorrow.Item Critical Voices: Selections from the Hall Collection(Oakland University, 2022-09-09) Barnes, Leo; Lashbrook, DebraExcerpt from foreword by Leo Barnes: My relationship with the Hall Art Foundation developed over the five years I worked there from 2012 to 2017. The artworks, collected by Andrew and Christine Hall, present a unique index of the best contemporary art of the late 20th and early 21st centuries. The collection, heavily infused in particular with the work of German and American artists, is a fascinating entrée into the contemporary visual arts in both cultures.Item Domestified Angst : Second Recording(Oakland University, 2008-10-18) Goody, Dick; Lashbrook, DebraExcerpt from essay by Dick Goody: To say that Johnson’s identity is wrapped up in himself, that is, in his image, is an idiotic aphorism. Yet, the image of his face is often present in his work. His self-depictions channel the simulacra of a saccharine TV announcer. The face becomes a target at which to aim scorn. If it is self-flagellation, it also serves as a signifier of Johnson’s tortured layered identities. However, at the same time, it is symbolic of his personal thick-skinned resilience, survival and scorn: the distorted idiotic face taunts, as if the artist is mocking his personal anxieties stirred up by concerns over the authenticity of his own warped identity.Item Employees Only(Oakland University, 2015-09-11) Goody, Dick; Lashbrook, DebraEmployees Only features the work of Oakland University’s Department of Art and Art History full-time studio art and graphic design faculty.Item Ethics of Depiction: Landscape, Still Life, Human(Oakland University, 2017-09-09) Goody, Dick; Lashbrook, DebraExcerpt from essay by Dick Goody: 180 years ago, when the first photographs were made, one can only imagine the certainty the phenomenon must have engendered. Finally, here was the ultimate arbiter of truth, the antidote to fantasy and deception because, as we have all heard, “the camera never lies.” Yet it took no time at all for the French photographic pioneer, Hippolyte Bayard, to stage his Le Noyé (Self-portrait as a drowned man) in 1840. All art is staged, all depictions are inventions to some degree. Anything that enters the retina is prone to subjectivity.Item Fundamental(ist)(Oakland University, 2007) Goody, Dick; Lashbrook, Debra; Jones, Dennis MichaelExcerpt from artist's statement: The words we use in daily conversations enable us to navigate the world. Words (texts) are ubiquitous, but the language of painting (syntax), for most, is something forgotten in early childhood. Paintings operate in the interchangeable region between thinking (language/text) and image (object).Item Gilda Snowden Album: A Retrospective 1977-2010(Oakland University, 2013) Goody, Dick; Snowden, Gilda; Lashbrook, DebraExcerpt from the essay by Dick Goody: It is difficult to ascertain whether the tornado form chose Gilda Snowden or she selected it for herself. Is it a subject, an image or a theme? She started using the form because, as she has often stated, she fears tornados. It is an exotically menacing form, which she has wrestled with again and again, but it rapidly became a defining leitmotif. Initially, it provided the impetus to abandon more narrative approaches to making art in favor of ones that became increasingly formalistic and abstract. In a manner of speaking, the tornado is Snowden’s version of Cubism, not in the sense that it pays homage to Modernism (it does not), but if, for example, Cubism emancipated form from realism, then the tornado provided her the freedom to become an abstract artist.Item Hiberna Flores(Oakland University, 2017-01-07) Goody, Dick; Lashbrook, DebraExcerpt from essay by Dick Goody: The poetry, the beauty, the allure of flowers is compressed into their short-lived perfection; their fleeting presence is part of their magnetism. Their poised functionality as receptors for pollinators is all-encompassing. Immaculate visually encoded landing pads, only their winged visitors comprehend their inscrutable methodology. But biological expediency is largely lost to us in our contemplation of them for they exist most powerfully in our imagination. In our mind’s eye, they are synonyms for desire, love and paradoxically, death because their allure is inextricably linked to their certain demise; so brief is their floral presence. Once fertilized, everything goes to seed and we are left to await the next growing season. Flowers truly exist mostly in our memory. A poignantly discovered pressed flower, hidden in the ancient leaves of a long-shelved book, resonates because of its intoxicating archival trace back to its once living existence.Item Idealizing the Imaginary: Illusion and Invention in Contemporary Painting(Oakland University, 2012-01-14) Goody, Dick; Lashbrook, DebraExcerpt from essay by Dick Goody: Central to the practice of the painters in this exhibition is the expansion of the imaginary as the primary source of their compositions, and, as such, their practice is rooted in invention and the mind’s eye.Item Image and the Photographic Allusion(Oakland University, 2022-01-14) Goody, Dick; Lashbrook, DebraExcerpt from essay by Dick Goody: All photography is staged. Every image is objectified, yet certain images possess something indisputably allusive, undirected, inexplicit and enigmatic. The desirable ineffaceability of an indirect allusion, with all its implied ambiguity, is invariably an unnamable quintessence. Our most poignant connection to such photographic paradoxes, which have the power to change our social consciousness, occupies part of our thinking mind far away from the bluntness of a direct index of a particular thing or narrative. To enter the unrestricted territory of meditative intimations, the artist must convey the information without directly unveiling it. This lies at the heart of this exhibition: the revelation sans the reveal.Item Inside OU: Spring/Summer 2002(Oakland University, 2002-04-01) Oakland University. Communications and MarketingSee Jane Give: Jane M. Bingham, professor emerita, Reading and Language Arts, donated more than 6,000 children's books to Kresge Library ; The Advocate: VP's efforts enrich student/campus life ; Mary Beth Snyder, vice president, Student Affairs ; Former professor's gift of children's literature collection supports academic programs ; Transforming gift: $1 million gift establishes new interdisciplinary venture ; The Pawley Institute for Lean Learning ; A Worthy Experiment: Original vision for undergrad education shared in OU Chronicles ; Day One, Part IVItem Inside OU: Winter 2002(Oakland University, 2002-01-01) Oakland University. Communications and MarketingDream Teams at Work ; The Dream, The Journey, The Legacy: Keeper of the Dream scholarship program celebrates 10th anniversary ; Harmony in Variation: Form and Meaning in Native American Art ; Art History faculty and students, MBAG and community cultural institutions collaborate on Native American art exhibition ; Getting to Know: Andrea Eis ; The Safe Guards: 5 Interdisciplinary committees make research at Oakland safe and sound ; In the aftermath: OU faculty, staff find hope, support following 9-11 tragedies ; Development 101: University Relations team shares fund-raising know-how ; Day One, Part IIIItem Jae Won Lee, Internal Distance(s) Mid - Career Retrospective(Oakland University, 2009-01-10) Goody, Dick; Lee, Jae Won; Lashbrook, DebraExcerpt from essay by Dick Goody: There is something universal in the act of contemplating nature; there is something contextual too. For example, imagine walking down a path and homing in on a particularly attractive leaf; now, pick up the leaf and weigh its beauty. But also consider all the other things that come to mind. The work of Jae Won Lee focuses on the formalistic beauty of nature. All the other things that come to mind, which inform her work, she consigns obliquely away to be separately archived.Item James Johnson: I Come from a Serious Place(Oakland University, 2012-10-20) VanderKaay, Cody; Lashbrook, DebraExcerpt from essay by Cody VanderKaay: James Johnson’s artwork encourages the viewer to construct and examine personalized narratives of identity, impulse, ownership and self-determination. With motives likened to that of a magician, he is continually revealing and concealing his method of operation. In spite of these clever manipulations, the behind-the-scenes accoutrements invert newly formed notions and undo guises.Item James Stephens A Mid - Career Retrospective(Oakland University, 2007) Goody, Dick; Stephens, James; Lashbrook, DebraExcerpt from essay by Dick Goody: The work of James Stephens throughout the eighties was that of an artist, a gay man existing (and painting about that existence) in the urban Midwest, specifically in Detroit, a divided city on the threshold of post-industrialization – in other words, the result of being a minority and living a hand-to-mouth existence in a declining city.Item Kristin Beaver(Oakland University, 2006-03-11) Goody, Dick; Beaver, Kristin; Lashbrook, DebraExcerpt from essay by Dick Goody: Kristin Beaver’s lens-based portraits are as much informed by the painterly exuberance of John Singer Sargent’s virtuoso brushstrokes as by the unabashed lushness of fashion photography. Growing up, the sway of full-color fashion spreads had a powerful allure. Photographic paradigms were the primary portal through which she first conceived the visual power of images. Her formative years were spent in flat, agricultural, central Illinois and the glamour of photography was a window into the commodity fetishistic urbane cosmopolitan world beyond, a seemingly seductive culture fueled by taste, style and an unquenchable desire for novelty. Kristin Beaver soaked this up, becoming something of a connoisseur.Item Multiplicity, Connection and Divergence: African Art from the John F. Korachis Collection(Oakland University, 2011-09-10) Eis, Andrea; Lashbrook, Debra; Goody, Dick; Korachis, John F.; Dulio, David; Barclay, Lizabeth A.; Goldberg, Andrew F.X.; Benson, Linda; Reger, Jo; Jhashi, Tamara; Cardiff, Gladys; Rosenthall, Sam; Palmer-Mehta, Valerie; Wren, Patricia A.; Schneeweis, Adina; Bee, Mary; Oakley, Barbara; Evans, Susan; Gilson, Annette; VanderKaay, Cody; Gallien, Louis B., Jr.; Kitchens, Marshall; Guessous, Laila; Corso, John; Pfeiffer, Kathleen; Chapman, Jeffrey S.; Gibbs, Christina; Miller, Karen; Hay, Kellie; Shackelford, Todd K.Excerpt from the collector's statement: This exhibition and catalogue provide a rare opportunity to view and possibly come to understand the enlightening, creative, complex and culturally sophisticated characteristics of African art. Perhaps it may even answer the most commonly asked question as to why I have been motivated to collect this art form. The collection includes a variety of masks, numerous styles of sculptural figures, furnishings and forms of pottery.Item Nostalgia & Outrage(Oakland University, 2024-01-13) Goody, Dick; Lashbrook, DebraExcerpt from essay by Dick Goody: “Nostalgia and outrage” is a state of mind. On the one hand, we long to bask in the memories of a gilded childhood. On the other, we see ourselves on a threshold, walking toward an unknowable, often alarming future. But, really, in all of this, how far do we ever stray from the path of our childhood? As Aristotle said: “Give me the child until he is seven and I will show you the foundation of the man.”Item Oakland University Biennial Faculty Exhibition, 2010-11(Oakland University, 2010-10-22) Eis, Andrea; Goody, Dick; Lashbrook, DebraExcerpt from introduction by Andrea Eis: The art faculty at Oakland University are exceptionally diverse. Our artworks span a wide range of formal and conceptual interests varying in visual style, physical media, and theoretical practice. This richness of approach is one of our strengths, as a teaching faculty composed of working artists. Our students gain from the multiple perspectives we bring to the studio environment and to aesthetic critique.Item Remain Calm: The Art of Graem Whyte(Oakland University, 2012-09-08) Goody, Dick; Lashbrook, DebraExcerpt from the essay by Dick Goody: The artistic practice of Graem Whyte lies at the intersection of family, community, collaboration, craftsmanship, metaphysics and the imaginative repurposing of materials. The compound where he lives and works, Popps Packing, a former meatpacking business, is a model for the integration of art and life. A home, studio, gallery and de facto community center, it lies at the northern rim of Hamtramck, a multicultural enclave within the massive, shifting metropolis of Detroit. Here, amid an evolutionary transition from urban-industrialism to post-capital cooperativism (and along with it, a return to the land and its values), art and life thrive at the confluence of project-based and production-based artistic practices. Whyte produces work in a variety of scale from small, domestic-sized sculptures to mid sized assemblages to larger collaborative projects