LHUCA – THE LOUISE HOPKINS UNDERWOOD CENTER FOR THE ARTS Gallery hours Tuesday-Saturday 11:00 AM–5:00 PM 511 Avenue K 806.762.8606 www.lhuca.org Christine DeVitt Exhibition Hall
LHUCA – THE LOUISE HOPKINS UNDERWOOD CENTER FOR THE ARTS
Gallery hours Tuesday-Saturday 11:00 AM–5:00 PM
511 Avenue K 806.762.8606
Christine DeVitt Exhibition Hall
February 7 – March 28, 2020
1.relating to a transitional or initial stage of a process.
2. occupying a position at, or on both sides of, a boundary or threshold.
Known for her meticulously-composed realism, Erin Cone distills the emotion of traditional figurative painting into abstracted compositions, for a bold vision all her own. After graduating with a Bachelor of Fine Arts degree in Painting and working briefly in the design industry, Cone had her first solo show at the age of 24 and has been painting full-time ever since. From the beginning, Cone’s paintings have captured a unique fusion of aesthetics — combining the evocative detail of magical realism with the simplicity of minimal abstraction to create something completely new.
Since her first show in 2001, Cone has had twenty-five solo shows and participated in more than a dozen group shows across the U.S. and in Europe, consistently enjoying critical and commercial success for her unconventional approach to figurative realism. She has twice been recognized in the national art press as a top emerging artist, has been interviewed on PBS, and has been featured in numerous art magazines — appearing on the cover of American Art Collector Magazine and Southwest Art Magazine, among others. Cone’s work is in hundreds of private, public and corporate collections throughout the U.S., Europe and Asia. She lives with her husband and daughter in Santa Fe, New Mexico.
Helen DeVitt Jones Studio Gallery
February 7 – March 28, 2020
Adrian Armstrong (b. 1990) is a creative from Omaha, NE now living and working out of Austin, TX. Armstrong received his BFA from the University of Nebraska – Lincoln in 2014.
Armstrong’s work explores identity and what it means to be black in modern America. Armstrong aims to depict people who experience these scenarios on a daily basis through large-scale portraiture, while putting an emphasis on raw emotion. His work touches on topics such as depression within the black community, systemic oppression, and police brutality; but on the other side of the spectrum explores fashion, love, success and growth.
High’s and Lo-Fi’s is a multi-sensory exhibition, which explores the topic of mental health in African American culture. Through this show, Armstrong intends to foster an open and inclusive dialogue. It is partly an exploration of Armstrong’s own personal struggles and a discussion about why mental health is often a taboo topic in his culture. Many minorities suffer from depression in one form or another but it is often dismissed, ignored, or misdiagnosed.
By pairing music and art, Armstrong aims to fully convey the highs and lows of mental health issues. Not only exploring what mental health issues are, but also how they manifest in ones day to day life. The show consists of a series of figurative paintings and drawings (including excerpts from the “We Can’t Breathe” series), depicting different scenarios and feelings associated with depression. Accompanying these paintings will also be an EP of self-produced songs created in tandem with the visual elements.
Instagram: @adrianarmstrong art
John F. Lott Gallery
January 3 – Feb 15, 2020
“A mixed media fiber art project by Marion Coleman and Carol Larson explores personal, social, historical and political events that start in the 1940’s and continue to 2017 when they both have reached seventy years of age.”
Martin McDonald Gallery
February 7 – March 28, 2020
Bree Lamb: In the series, “A House, A Home,” I isolate ubiquitous household objects as a way to investigate traditions of domestic American life. My observations are rooted in my own personal indulgences, expectations, and questions, as well as how I see myself existing within this larger system. I’m interested in revealing some of the complex layers of this shared cultural vernacular through pairing the familiar with the unexpected and creating anticipation that is never quite resolved. The interventions and commercial style of capture re-contextualize the objects as a way to challenge traditional domesticity, to pose questions about social conventions, expectations and stereotypes, and to highlight consumption and convenience as staples of American popular culture.
Rebecca Drolen: “Factory” presents a space where the female body is increased as a means of defense and empowerment through physicality. Hair, nails, and teeth are added to the body, rather than managed or re moved. The sets are built to juxtapose the flesh and vulnerability of the figures with textured, repurposed materials. The spaces appear to be in the state of being built up and changed, just as the body itself is being re-formed and re-identified. The images address the surreal nature of the body at large, constructed appearances, and how our physicality can communicate with others. While the work humorously points at the desperation of how women’s bodies are managed and adjusted, it also imagines how multiple female bodies can work together to build each other up. Factory questions if patriarchal ideas can be dismantled and power can be regained once a body is no longer required to be smaller, hairless, and inherently vulnerable. The work uses photographs, looped video, and small sculptures to address notions of how the female body can be emboldened, rather than reduced.
Year Around Event (2018)
511 Avenue K