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Stan State University Art Galleries

Stan State University Art Galleries

Stan State University Art Galleries

The Stan State University Art Galleries feature the work of students, faculty and professional artists as part of the university's commitment to the fine arts and academic excellence. California State University, Stanislaus is located in the heart of California's Central Valley and is part of the California State University family of campuses.


One University Way
Turlock, California , USA
95382

3D Ausstellungen

  • Stan State University Art Galleries

    Karen Smithee - Shelter in Place, 2020

    18 Dec 2020 – 18 Jan 2021

    Artist Statement My interest lies in the relationship individuals have with location, place, and color that spark memories. My paintings are psychological in nature, exploring the myths and stories we create for ourselves to give our lives meaning. We can create our own reality in the act of observation. My work is about paying close attention to our emotions and how our perspective is tied to it in a circle of reciprocity. I am attracted to the uninhibited flow and pattern that paint creates. This allows me the freedom to experiment with the nature of paint. Gravity is an important aspect for a less controlled element of mark making, as well as, using the palette knife. Existence contains many visual moments that can be captured in the most essential elements of life. I work to trace these forms through an open-minded and evolution of making marks and forms. Using expressionistic figures and landscapes connects my human desire to explain and capture the world around me. Even in static images that are rendered in loose lines and brush strokes I include movement and energy, which suggest my own connection with the things and people I paint. I want to avoid a straightforward reading which allows the images to retain their secrets and put the viewer to work in finding a common human thread of intimacy, affection, and atmosphere that create memorable moments in life. Artist Biography Karen Smithee was born in 1966 in Redwood City, California. In December 2020, she will receive her Bachelor of Fine Art degree in Studio Art at California State University, Stanislaus. Smithee has already been included in various important exhibitions including Penumbra, Stanislaus State Literary and Art Journal, Turlock CA; “Nature” Art Exhibition, Light Space & Time, Online Art Gallery, Palm Springs, CA; Celebration of the Humanities, Modesto Junior College, CA; and Autumn Art, Festival, Mistlin Gallery, Modesto CA. She was honored with the Benjamin A. Gilman International Scholarship in 2020, and several SERSCA Program Grants from California State University, Stanislaus. Smithee currently lives and works in Oakdale, California. To view her work, visit karensmithee.weebly.com/

  • Stan State University Art Galleries

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  • Stan State University Art Galleries

    100 by 10

    13 Nov 2020 – 19 Dec 2020

    Stan State Art faculty exhibition featuring ten works by the ten faculty members: Martin Azevedo Dean DeCocker James Deitz Daniel Edwards Jessica Gomula-Kruzic Daniel Heskamp Chad Hunter Ellen Roehne Susan Stephenson Jacob Weigel

  • Stan State University Art Galleries

    Abelina Galustian - Womansword and Beyond

    16 Oct 2020 – 06 Nov 2020

    Abelina Galustian was born in Tehran, Iran to Armenian parents of the diaspora. During the Islamic Revolution and the subsequent Iran-Iraq War, her family escaped the country to seek refuge from Iraq’s earlier attacks. They eventually found the opportunity to start a new life in California, and despite their traumatic migration, the motivation to continue toward a brighter future gave them the hope of recovering their fundamental rights. The challenges that came with a complete uprooting subsumed not only the losses of material and socio-cultural capital, but also generational dissonance—intensified due to the difficult adjustment to their host society. The bicultural conflicts pushed Galustian to adhere to the normative expectations in both private and public spaces. Following the standard patterns of cultural norms and values in each realm (private/public, old/new) became a coping strategy she endured perpetually, notwithstanding her best efforts to access a presence in the social commentaries of her art. Galustian’s parents condemned the Womansword paintings, claiming that the works were an affront to Armenian/Eastern values. They viewed her work apart from the larger meaning in the project and labeled it pornographic and prurient. The subsequent estrangement of Galustian by her parents lasted more than a year, during which time art became the lens by which she viewed the world. Her works simultaneously and inadvertently became a type of litmus test that exposed the thinly veiled ideologies of the viewing public. The evocations of invisible politics in her visual language extracted violent and unpredictable reactions from both men and women. She was baffled by the audience’s reception at first, but in retrospect, it made sense for visual communication in the form of painting to be immediate, visceral, and violent itself for its instant penetration and assault on the senses. The complex socio-psychological reception of Galustian’s artworks would lead to her intellectual pursuit of critical art history in higher education, where she honed her symbolic (Woman)sword. Both critic and artist, Galustian could now see how the plastic arts transcended the limits of language, and evoked reactions that were raw, honest, and immediate, eliding space and time for political correctness. Galustian’s attempts to introduce objection to “objective-styles” in the Orientalist documentary ideal, informed her utilization of the same methods of Master artists. The heavy reliance on photo-references have long been a critical component in Orientalist painters’ repertoire to generate absolute accuracy, but for Galustian, it became an effective tool to turn the viewer’s gaze toward the direction of uncomfortable truths. Her study of the representational regimes in Orientalism led to a more candid approach in her collaborative works with photographer, Hilma Shahinian. Together, they joined forces in 2003 on what would be the “Veiled” series that opposed the fanatical control over women’s bodies, but, ironically, it was a woman attending the underground feminist art exhibition in Iran, who had the works confiscated by authorities. Fourteen years later, they again risked being blacklisted by their birth country, when Shahinian’s expert photography and Galustian’s hyperrealist brush worked in tandem to produce “PLAyatollah”. In this work, they target the blind spots of corruption, deception and hypocrisy of religious extremists and high-ranking clergy by appropriating a womanly gaze within the masculine artistic production. The criminalization of race during Trump’s authority, inevitably evoked memories of domination with its violence and shaming practices. Stamped in bold red letters, the words “Illegal Alien,” was affixed on Galustian’s administrative school files by the US Department of Education. She bore her nonhuman status of alien while her family spent thousands of dollars in legal fees to protect their right to establish residency. After relentless efforts for legal assistance, Galustian petitioned independently for naturalization, and it wasn’t until 1995 when the judge, who happened to be Armenian, conducted the swearing-in ceremony for her admittance to U.S. citizenship. In her latest painting titled “Miss Illegal Alien,” Galustian collaborates, once again, with Shahinian to illuminate racialized and gendered dynamics. The work exhibits how local/global forces claim ownership of the entire embodiment of the female subject as a site of negotiation and a zone of engagement, and raises questions regarding who belongs, who is “qualified,” and who gets to determine life trajectories.

    neueste Werke

    • David Olivant

      Beating About 3D, 1999
      15 x 18 x 19 inch (h x w x d)
      # Sculpture
    • David Olivant

      Sweet Separation 3D, 1999
      17 x 18 x 25 inch (h x w x d)
      # Sculpture
    • Karen Smithee

      Karen smithee Title, 2020
      16 x 30 inch (h x w)
    • Karen Smithee

      Karen Smithee AS, 2020
      16 x 20 inch (h x w)
    • Karen Smithee

      Time in Place, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Michelle, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Raking Leaves in the shade, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Fire Pit, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Gardening, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Leisure Time, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Yard Work, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Rodden Road, 2020
      24 x 20 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Raking on the Hill, 2020
      20 x 16 inch (h x w)
      # Oil on canvas
    • Karen Smithee

      Keeping Busy, 2020
      12 x 9 inch (h x w)
      # Oil on canvas
    • 100by10 4
    • Daniel Edwards

      Womb Mates, 2013
      23 x 26 inch (h x w)
      3D Sculpture
    • Daniel Edwards

      Untitled Social Discord Composition, 2017
      23 x 26 inch (h x w)
      3D Sculpture
    • Daniel Edwards

      Sandra Bland, 2020
      26 x 21 inch (h x w)
      3D Sculpture
    • Daniel Edwards

      Portrait of Micheal Phelps as a Father, 2016
      26 x 16 inch (h x w)
      3D Sculpture
    • Daniel Edwards

      Hot Stuff and Moses, 2016
      26 x 17 inch (h x w)
      3D Sculpture
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