April 16, 2021-June 8, 2021
Get to know the Teaching Artists who facilitate our over 900 yearly programs and classes through this annual exhibition. From painting and glass to ceramics, mixed media and drawing, this show features a vibrant cross section of the people who make the Art Center a place of creation, learning and sharing: our faculty.
Along with the Annual Faculty Show exhibition there will be two solo exhibitions from Krista Hoefle and Clarissa Pezone, the winners of the Art from the Heartland exhibition’s Director’s Choice Awards.
This body of work consists of life-size installations that incorporate figurative sculptures and found objects in scenes that are centered in private space and moments. These scenes highlight the isolation of these moments and the boundary between the viewer and the private space they are surveying. I use repeated self-portraiture as a way to explore the border between the real and the artificial, and the self and other. These body doubles are exploring the mythology of self, and the ability of iconography to encompass the unheroic. This work demonstrates the complexity of navigating the uncontrolled and unpredictable nature of reality, and the complicated ways that we relate to ourselves. Based in autobiographical narrative, these scenes are woman-centric and about complex inner dialogues, performance, masquerade, doubt and reflection.
Clarissa Pezone Biography
Clarissa Pezone is a ceramic sculptor originally from Sacramento, California, and now residing in Bloomington, IN. She received her BA in 2013 from Humboldt State University in northern California and is currently completing an MFA in ceramics at Indiana University, Bloomington. Her recent work consists of realistic figurative sculpture and found object installations. Clarissa has exhibited across the United States in both group and solo exhibitions and has been the recipient of numerous awards and fellowships.
In the Morning, I’ll Be Better
In the Morning I’ll Be Better is a collection of artworks that were conceived of and fabricated during most of 2020 (and if I’m being completely honest, the latter few months of 2020). Overall these works are a manifestation of my personal processing of the last year. Usually, my artworks and installations use games as inspiration and a medium for sculpture and installation. My creative works typically question all aspects of game structure and game culture—expanding the perception of the gendered nature of these spaces--and impart the emotional impact games can have in/on real life. But the pandemic, the 2020 election, the death of George Floyd and subsequent protests, changed everything for me. Games weren’t so important to me.
Being creative became a challenge as I grappled with the personal and collective ramifications of events that unfolded during 2020. I decided to put my usual creative practice on hold, and lent my skills towards something else. I volunteered for the Social Justice Sewing Academy (based in Antioch, CA), working on a large scale bereavement quilt project honoring the lives of individuals who have died due to gun violence. My contribution to the project was a quilt block for 16-year old Nya Cope, an Indianapolis teen who was shot and killed by a stray bullet in May of 2020. My participation in this project sparked a deep interest in the tradition of bereavement -or- memorial quilts, particularly memorial quilting combined with social justice issues. This was the departure point for the works in the IAC exhibition In the Morning I’ll Be Better.
2020 was a “...year filled with the loss of life, and the loss of living” recently said by President Joe Biden in his national address marking the one year anniversary of COVID shutdowns (March 11, 2021). All the works in this show function as a kind of memorial to the year. How we said goodbye to loved ones, and processed our grief, radically changed during the COVID pandemic like so many of our rituals, rhythms, and social practices. In response to this, I began with a series of memorial “mini quilts” titled iPad Goodbyes. This series seeks to humanize the technology used to mediate these final moments of comfort and closure between dying COVID patients and their family members. Each work is the approximate size of an iPad Pro, and framed with a window much like the device’s framing around the interior screen. Both recycled fabrics (from thrift stores and clothing scraps) and hospital gowns are being used as media in the series. The text reflects different points of view in the new closure ritual and is being sourced from news sources and my own family: a nurse’s hope as she holds the iPad, a journalist’s observation, a family member’s frustration but gratitude for the chance to say goodbye. Unlike traditional bereavement quilts, which focus on a specific person, this series takes the point of view of multiple people working in the health care industry (a number of my family members work in this field and treated COVID patients directly), as well as those who have lost loved ones, and the emotional burden and toll COVID has taken on them.
Other works also memorialize or pay homage to how we lived: the advent of “pods” in the work Social Distancing, a tribute to the song that helped me survive really hard days, in the work I Keep Believing In Our Own Healing, and the feeling of social isolation and personal protection that I’ll carry into 2021 in the piece Things We Carry: An Isolation Suit To Transition Into a Better Tomorrow. There are other events and issues I didn’t include in the exhibition, but I’m only beginning to wrap my head around and reflect upon them at this point. I’ve never exhibited artwork so highly personal and obviously so. I hope the works on view aren’t too self serving despite this, and you the viewer can find aspects of your own experience within the artworks that comprise In the Morning I’ll Be Better.
Krista Hoefle Biography:
Krista Hoefle received a BFA in Furniture Design from The Savannah College of Art and Design and an MFA in Sculpture from Pennsylvania State University. Krista has had international solo and group exhibitions at a variety of galleries and museums, such as The Akron Art Museum (Akron, OH), Heron Arts (San Francisco), Sage Art Center (Rochester, NY), Packer Schopf Gallery (Chicago), WomanMade Gallery (Chicago), TrykTrykTryk Gallery (Copenhagen, Denmark), High Loft Gallery (NY), and Mixed Greens Gallery (NY). She has been awarded Artist Residencies at the Newnan Art Center (Atlanta, GA), Anchor Graphics (Chicago, IL) and The Experimental Television Center (Owego, NY). She has been a Visiting Artist at the University of Tennessee (Knoxville, TN), University of Rochester (Rochester, NY), and the University of Southern Maine (Portland, ME). Her work has been reviewed in regional and national publications such as Hyperallergic, Sculpture Magazine, Art Papers, The Wall Street Journal and TimeOut Chicago. She is a Professor of Art at Saint Mary’s College (Notre Dame, IN).
Currently, Krista’s videogame-based artworks are a part of the group exhibition Open World: Videogames and Contemporary Art curated by Theresa Bembnister, Akron Art Museum (Ohio). The exhibition includes work by Cory Archangel, Angela Washko, Joseph DeLappe, Butt Johnson, and Bill Viola (among others). It will travel to the Currier Museum of Art (New Hampshire) and the San Jose Museum of Art (California) through 2022.
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