Exhibition Catalogues

Permanent URI for this collectionhttps://hdl.handle.net/10323/764

A collection of the exhibition catalogues.

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Aggregate | Senior Thesis in Studio Art Fall 2012
(Oakland University, 2012) Goody, Dick; Eis, Andrea
Excerpt from introduction by Andrea Eis: "'Aggregate' is an incredibly active word, serving sometime as a noun, at other times as an adjective, and yet other times as a verb. The students in this Senior Thesis class have, over the course of the semester and in this exhibition, personified this word's energetic ability to do so much: there is no question that they have been as active as any verb, as expressive as the most intriguing adjective. And ultimately, they have created their own nouns - the artworks in this exhibition. "
Detroit Now: See Detroit from the Inside
(Oakland University, 2003-06-06) Goody, Dick; Cynar, John; Robinson, Phaedra; Timlin, Aaron
Excerpt from introduction by Dick Goody: "The curators first conceived this exhibition a year ago with little more than a title to articulate their intent: Detroit Now - contemporary art in Detroit. At first, an exhibition of outstanding, successful Detroit artists was broached - respected artists like Cordon Newton, Peter Williams and Stephen Magsig - successful for good reason - artists who have shaped and defined the Detroit art scene."
Search | 2006 Oakland University Faculty Exhibition
(Oakland University, 2006-01-14) Goody, Dick
Excerpt from introduction by Andrea Eis: "As practicing artists, we are committed to guide our students as they make the transition from student to artist. We demand of ourselves what we expect of them: a strong commitment to aesthetic quality and intellectual significance in art. Their creative activity encourages us to consider our own aesthetic positions and their enthusiasm energizes us. As artists, our teaching is enriched by a parallel work ethic as we pursue our individual creative trajectories."
Eight Years Nine Months Six Hours
(Oakland University, 2000-09-08) Goody, Dick; Wilson, Rachelle E.; Williams, Peter; Machmut-Jhashi, Tamara; Mannisto, Glen
Excerpt from essay by Tamara Machmut-Jhashi: "The exhibition of paintings by Peter Williams at the Meadow Brook Art Gallery represents nearly ten years of work by one of the most prolific artists working in Detroit today. The Oakland University community as well as the greater Detroit area is fortunate to have the opportunity to see a number of canvases by this highly accomplished painter. Williams, a professor of painting at Wayne State University for the past thirteen years, presents the viewer with beautifully executed works that offer a challenging panoply of images. Autobiographical in nature, the images in Williams's paintings constitute a complex set of signs and symbols that are ultimately about crossing boundaries, both personal and cultural. In short, what do these provocative images tell us about the artist? What do they tell us about ourselves?"
Supersized: Drawn to Completeness
(Oakland University, 2004-11-20) Bulka, Douglas; Goody, Dick
Excerpt from introduction by Dick Goody: "Detroit painter Douglas Bulka curated this timely exhibition. It places contemporary drawing centrally and primarily as a terminal process and speaks of drawing as an end in itself. Super Sized comprises the work of eight contemporary artists from Michigan and New York. The unifying factor in all their work is its dynamic human scale. This is a very important exhibition for our students at Oakland University. Work of this quality and variety presents a tremendous learning opportunity for both our Art History majors and the growing numbers of students enrolled in our new Bachelor of Arts degree in Studio Art. All Oakland University students will benefit from the scale and experience of seeing these extraordinary drawings and attending the related educational programming held in conjunction with this exhibition."
No Joy in Mudville | An Exhibition by Eric Mesko
(Oakland University, 2002-10-18) Goody, Dick
Excerpt from essay by Dick Goody: "The art of Eric Mesko evokes a powerful sense of memory, place and ideology. These are the chief themes that reveal themselves and the revelation is often abrupt, comic and urgent. His images and structures transmit an emphatic polemic vision. Mesko is an artist on a mission and his vanguard, postindustrial production presents a cultural critique of western immoderation. He is also a nonconformist whose work cannot be neatly placed into a single context, and he is delighted by this dichotomy. Defining Eric Mesko's raw output is a formidable task. Despite the futility inherent in classifying his oeuvre, any critical analysis of his work must first attempt to place it contextually within the contemporary art scene because he operates within this milieu. To accomplish this endeavor it is constructive to describe the outward appearance of his art, but before that, let us briefly examine the contemporary scene."
Ed Fraga | Paintings
(Oakland University, 2001-10-12) Goody, Dick; Wilkinson, Mary Ann
Excerpt from essay by Mary Ann Wilkinson: " Ed Fraga's paintings make the strange appear familiar and the familiar strange. They seem to be pictures of places one has seen before although it is difficult to quite remember where or when. Upon closer observation, these same places become ever more foreign, until finally they are unlike anything that could possibly be experienced in the real world. The world Fraga explores is that of the unconscious, specifically the world of dreams with its power to influence and shape events beyond the control of the human mind.
Detroit Drawing | Works on Paper by Nancy Patek
(Oakland University, 2002-11-22) Goody, Dick; Brinker, Ludger
Excerpt from essay by Ludger Brinker: "Nancy Patek is an unabashed regionalist, not an easy stand to take in a time when regionalism is dismissed as simply retro or anti-modernist. Concerned with the reality of life and the outside world, Patek's representational works run counter to many trends in contemporary art. The current exhibition clearly demonstrates that Patek's own version of regionalism is both artistically original and politically relevant."
Chamber of Commerce | Pat Glascock and Michael Hall: Artists and Collectors
(Oakland University, 2006-11-18) Goody, Dick
Excerpt from essay by Dick Goody: "Pat Glascock and Michael Hall have undertaken numerous exhibitions of their individual artworks as well as academically correct expositions of works from their art collection; Chamber of Commerce is unconventional in that it involves their work and Collections Simultaneously. As such, it is a confluence of their personalities (which are very different) and their work (also strikingly dissimilar). One thing they have in common is their shared passion for art collecting. When we met to discuss the project (surrounded by their collection - an agglutination of regional painting, folk art, commercial ceramic collectibles and Native American and Eskimo art), the three of us had a mutual intuition that we were going to be breaking new ground and participating in something challenging that hadn't been done before."
The Art of the Cathartic Circle: Drawing, Painting, Sculpture , Installation, Photography & Film by Artists of The Catharctic Circle
(Oakland University, 2001-03) Goody, Dick
Excerpt from essay: "In 1985 a group of Detroit artists began a collaboration uniting their disciplines in the act of making performance art. They were an unlikely group; not all were painters, there were sculptors, photographers and filmmakers. Neither were they a single sex collective. There were also significant differences in age,ethnicity and religious affiliations. Some had full-tine jobs; others led a hand to mouth existence, barely surviving off the sale of their art. There were always discussions about whether they should make a living to make art or make art to make a living. On the surface it seemed unlikely that such a miscellaneous group would gel into The Catharctic Circle, the leading collaborative performance art entity in the region."
A Heritage of Teaching: The African Art Collection of Catherine C. Blackwell
(Oakland University, 2003-02-21) Goody, Dick; Quarcoopome, Nii Otokunor; Harrison-Hale, Algea; Coles, Gloria; Downing, David; Goody, Dick
Excerpt from essay by Nii Otokunor Quarcoopome, Ph. D.: "The exhibition, A Heritage of Teaching: The African Art Collection of Catherine C. Blackwell, serves a manifold purpose. First, it celebrates the world of a unique African American collector, reflecting on her valuable role as cultural agent and pioneer. Second, it seeks to educate the American public about the educational and historical importance of her collection. Third, it aims to enlighten the African American community about the cultural capital to be reaped from developing an appreciation for African art. And last, it aspires to building a sense of cultural pride in Africa that is deeper than the usual affinity forged with Egyptian civilization."
Critical Voices: Selections from the Hall Collection
(Oakland University, 2022-09-09) Barnes, Leo; Lashbrook, Debra
Excerpt 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.
SRA: Stimulus Response Affect
(Oakland University, 2015-10-16) Whitehead, Vagner; Ludwig, Colleen
Excerpt from introduction by Vagner M. Whitehead: Stimulus Response Affect is an exhibition that explores the varied ways in which artists create, react, engage and understand the world around them. This process of receiving, decoding and potentially rejecting information, feelings or other data by the artists becomes further mirrored, translated or distorted by the gestures and feedback from the participating audience. The selected artworks specifically engage the human body through sensorial, perceptual, chronological and spatial changes, while considering an array of contemporary issues.
The Body Metonymic: International Contemporary Sculpture
(Oakland University, 2014-01-11) Goody, Dick; Lashbrook, Debra
Excerpt from essay by Dick Goody: Contemporary sculpture has the immediate, visceral quality to assert itself in ways that mediated art forms, like video or painting, cannot because the sculptural object’s signification is metonymic - in other words, it holds the equivalency of the image or entity depicted, embodied in the presence of the materials of its fabrication.
Shadows of the Invisible
(Oakland University, 2014-10-11) Baillargeon, Claude; Lashbrook, Debra
Excerpt from essay by Claude Baillargeon: Shadows of the Invisible explores the ability of contemporary photography to reveal what is invisible to the naked eye. Often echoing the conflation of science and art that shaped early photography, the current preoccupation with the unseen manifests itself in remarkable fashions ranging from the poetics of evocation to the dread of the unknown.
Your Very Own Paradise
(Oakland University, 2019-09-07) Goody, Dick; Lashbrook, Debra
Excerpt from essay by Dick Goody: Paradise exists in the mind’s eye. To begin to imagine, we have to free ourselves for a moment from the frame of our everyday lives and rise above to something better than reality. We have to give ourselves encouragement to daydream. Our goals have to be open to the possibility of discovery. We must believe anything is possible and shed any feelings of absurdity and guilt associated with the monotony of a typical day.
Image and the Photographic Allusion
(Oakland University, 2022-01-14) Goody, Dick; Lashbrook, Debra
Excerpt 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.
Appliance | Nolan Simon
(Oakland University, 2004-10-16)
Excerpt from essay/interview: Simon's work encompasses the practical life of operating, of driving, of using electrical devices, of being surrounded by sprayed, machined finishes and of the faceless facades of machines that evoke nothing but efficiency and ease. The eclectic epistemology of these works fuses the Minimalist aesthetics of artists like Donald Judd, the factory ethos of contemporary design and the anodyne whiteness of Formica.
Communicable Consumption | Phaedra Robinson
(Oakland University, 2005-03-15) Goody, Dick
Excerpt from essay by Dick Goody: Above all, Robinson is interested in the seminal properties of substances, and in the monolithic thing, the single salient idea that will reveal everything - as she puts it, "the macrocosm in the microcosm." She talks about blood and milk as being seminal fluids - simple yet complex. Simplicity and complexity fascinate her. All the paradoxes and issues embodied in interpretations of what these two liquids can incite -the red and white - keep Robinson's imagination energized.
The Flowers Of Insomnia & other photographs: a retrospective by Rob Kangas
(Oakland University, 2004-01-09) Goody, Dick
Excerpt from essay by Dick Goody: The Flowers of Insomnia Series, Kangas's panoramic photographs, which he began in the late 1980s, are passages. As we read them, our eyes travel across the time and space of the photograph, recording the surface, with its geometry and abstractions, in a way that is different from the perception of a single iconic image. It is this effect, this passage, which is not unlike the "passage effect" in Duchamp's paintings Nude Descending a Staircase, No 2 or The Passage from the Virgin to the Bride (both 1912), that makes these works so unusual and unique.

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