WSU Tri-Cities

Art Exhibition Center

2007 Exhibitions

Lee Walton: When I Get There

No poster available for this exhibition.

January 16-February 14, 2007

(Sponsored by the Digital Technology, Art and Cultural Club)

"Often regarded as an Experientialist, Lee Walton's primary concern is the creation of new experiences, either for himself or for others. Walton's work takes many forms- from drawings on paper, game/system based structures, video, web-based performances, public projects, theatrical orchestrations and more. At the core all of these projects are geared towards creating experiences of heightened awareness resulting in new perspectives, relationships and appreciation. Recently, Walton has been exploring many questions, from the idea of city inhabitants as planned, predictable and repetitious architectural elements to more formal concerns relating to compositions in space.

"After a two-year affiliation with the Headlands Center for the Arts in Marin, Walton has received many accolades from Museum funded projects (Reykjavik Art Museum of Iceland, Indianapolis Museum of Contemporary Art), public commissions (Art in General, Socrates Sculpture Park) national and international exhibition venues (Kraushaar Gallery of NY, Island #6, China, Clubs Project Inc., Australia) and collections (Metropolitan Museum of Art).

"Lee Walton holds a MFA in visual arts from the California College of the Arts. His drawings are represented by Kraushaar Gallery in NY. Walton currently lives and works in both Brooklyn and San Francisco."

Artist's website

Statement

Lee Walton was invited to exhibit his work by the WSU-TC Digital Technology and Culture Club.

Before he arrived, he asked that students collaboratively select an object that would inspire the creation of the artwork in the exhibition. Two classes of students participated in the selection process and chose a ball of multi-colored yarn and a roll of sod.

When Lee arrived on Monday, Jan. 15, he was presented with two boxes, one containing the sod and the other the yarn. Instead of choosing one box or the other, Lee developed a system to select the box and therefore the object.

Five people would bowl two games each. The final scores would be added. If the number was even, the smaller of the boxes would be opened, if it was odd, the larger would be opened.

The sum of the ten games was 984 and thus, the smaller of the boxes was opened revealing the ball of yarn.

Object Exchange

Participants were asked to arrive at the exhibition opening with an object that was selected with the sincere intention of inspiring a fellow participant to do something. A "White Elephant" exchange took place and everyone received an object.

The objects will remained in the exhibition space for 3 weeks.

After 3 weeks, participants took their object from the exhibition space and did something that was in some way inspired by the object.They documented their action with one digital photograph and short text about the activity.

This documentation was collected and published as a book.

Images from the exhibition:






Craig Hickman: Someplace Else

No poster available for this exhibition.

February 28-March 28, 2007

Image by Craig Hickman
Image © Craig Hickman

"Most of the pictures in 'Someplace Else' were made within 70 miles of my house in Eugene, Oregon, an area that seems plain to some and exotic to others. I want these pictures to occupy that wonderful space between document and opinion – the realm of selectively gathered facts. In the pictures I have emphasized its saturated quality of color and weather, and I focus on subjects that were created for one purpose but that, due to time, erosion and coincidence take on new visual meaning, often turning out to be more beautiful than when they were new. As I search for pictures, I often come across configurations of objects and space that feel as if they were created for me to photograph. They can be poignant, sad, humorous, sometimes subtly bizarre.

"Whatever generalities I make about the pictures in Someplace Else always include exceptions...I took most of them on cloudy days, but some in the sun. Most were made in the past five years, but they can be as old as 25. Overall this is a documentary project, from my personal point of view."

Craig Hickman is a Professor of Digital Art at the University of Oregon and the Digital Arts Program Director for 05-06. He received a Bachelor of Science degree from Portland State University and a Master of Fine Arts Degree from the University of Washington, Seattle.

Artist's website


The Chancellor's Exhibition Series — Fall 2007

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August 27 - December 2009

Four Tri-City artists are featured in the inaugural Chancellor's Exhibition Series, opening Monday at Washington State University Tri-Cities.

The artists will be honored at a reception from 4 to 6 p.m. Monday, Aug. 27, in the East Building at WSU Tri-Cities, 2710 University Drive. The 14 paintings will be on display through December in the administration corridor. The East Building is open to the public from 7 a.m. to 1 0.m. weekdays and 8:30 a.m. to 4 p.m. Saturday.

This is a semi-annual juried exhibition series designed to showcase the remarkable art of the Columbia Valley. Chancellor Vicky L. Carwein will present a special award to one of the artists at the reception.

The artists and their works are:

  • Tracy Horner: Insect Mandala and Meet the Beetles.
  • Vali Hawkins Mitchell: The Palouse at 60 MPH, Untitled, and Your Dinner is Getting Cold.
  • Heather Willoughby: All There Is, Rare Respite, Eternally on the Verge of Tears, and A Sense of Tangibility.
  • Leonard Orr: 99, 103, 49, 105, and 104.

Insect Mandala, by Tracy Horner
"Insect Mandala," by Tracy Horner


Leonard Orr: Fluent Borders: 50 Paintings

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August 27-September 24, 2007

Untitled, by Leonard Orr
Untitled © Leonard Orr

"Painting is a way to engage life in a fully sensory and passionate manner. It is a refreshing departure from the verbal and linear, from the rule-bound or time-bound. Abstraction allows me the greatest freedom; instead of trying to create a resemblance, every painting can be filled with surprise, mystery, energy, and emotion. I attempt to keep my brain out of the process as much as I can and let my unchecked passions flow. At the same time, my process is meditative and not end-directed; it is often difficult to decide when a painting is finished and I have returned to place new layers of color in a 'finished work.'

"I enjoy painting when it provides constant surprises, both in the form of the entire painting and the minute details of a small area. I turn the canvas around to paint from all sides to keep seeing it anew; they have no predetermined orientation and I make no sketches or advance plans. To encourage this open-endedness, I allow for chance and spontaneity, accept accident, and go against rules and conventions (using colors that normally do not go together, using splashes of paint and water, allowing drips and transparent paints over those areas that seem most complete). I use acrylic paints because they allow the greatest speed of execution and drying and the fullest range of effects from the most watercolor-like translucence to thick textures and opacity. I normally apply paints directly from tubes to canvas to keep the brightest and most true colors (and to make the brush just one of the possible tools for moving the colors).

"My current paintings fall into different general categories of technique. One painting generates the next because with each painting I try to use different colors and different techniques than I employed in the most recent painting. I often work on two paintings at once and these will in some way offer parallel and opposing responses to the same emotional moment. All of the paintings, though non-representational, are full of meditative spots, hot and cold cul-de-sacs, and panoramas without place."


Wings of Memory: The Holocaust & Genocide Art of Akiva Kenny Segan

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October 1-31, 2007

A reception will be held with the artist from 5 to 6 p.m. Monday, Oct. 15, at
WSU Tri-Cities, in the Consolidated Information Center Room 102 (exhibition center), 2770 University Drive, Richland.

The reception is followed at 6 p.m. by an artist presentation upstairs in CIC Room 216. The public is invited. Admission to the events are free.

Recht und Gesetz (Child on Sidewalk)
Recht und Gesetz (Child on Sidewalk) © Akiva Segan

"I am an American Jewish artist living in Seattle. In the mid-1980's I studied in Poland. My interest in European Jewish and Christian interaction in European history led, in 1991, to begin a series of drawings created in traditional media: ink, colored pencil, gouache.

"The 'Under the Wings of G-D: Reflections on the Shoah, 1939-45' series is designed to increase awareness of and sensitivity to this history with portrayals of some of the 6,000,000 Jewish victims of the Nazis and the silence of most of European Christianity.

"Everyone portrayed once had a name and was born to a mother and father. Each individual is portrayed with wings based on my research with the birds wings collection at the Burke Museum of Natural History at the University of Washington in Seattle.

"In 1999 I began depicting non-Jewish victims of the Nazis. These include a Roma child and Christian or Christian background individuals who resisted the Nazis and Christians who tried to help Jews. Less than one-half of one percent of European Christians tried to help Jews (or Roma) or assist those who were trying to help them.

"After WWII ended, some Jewish Holocaust survivors believed the world would not witness mass murder again.

"In 2002 I began a companion series, 'Sight-seeing with Dignity.' These portray victims of more contemporary hate crimes, genocide and war. Most victims of today’s conflicts and wars are children.

"In addition to the murder of two-thirds of Europe’s Jews, the Nazi’s systematically murdered 250,000 mentally and physically disabled non-Jewish Germans and Austrians, half a million Roma, over one million Polish Catholics, two million Soviet (Russian) POW’s, millions of non Jewish Russian civilians. Thousands of political prisoners, including Jehovah’s Witnesses, labor and union activists, socialists, Communists and anti-Nazi Christians perished from brutality, slave labor, starvation and executions in camps too.

"As in the WWII years, we face choices in our own communities on injustice around us. We can speak out, or we can be silent. Don’t be silent. The Holocaust did not have to happen."


Rajah Bose: The New Patriots

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November 5 - December 3, 2007

Opening reception from 7:00-8:00 p.m. on Thursday, November 8, 2007
Free and open to the public.

Wave, by Rajah Bose
Wave © Rajah Bose

“It was a third grade research project on the American flag that served as my introduction to patriotism. My essay on the red, white and blue didn’t focus on the typical heroics of Betsy Ross or Frances Scott Key, but on the Flag Code — a ten-part explanation of how the stars and stripes are to be displayed and treated. These rules, which are rarely used for enforcement, are usually only referenced to understand and teach others how to pay respect to the nation’s most widely-used symbol.

“To a young mind, simple ideas easily become the ideals that color one’s view of the world. And though it’s never been a concerted effort, I have always taken special note of the symbols we choose to champion, and in turn, how we treat them. These photos are a study of the cultural and commercial appropriations of those symbols and those who wave them.

“The New Patriots is an ongoing project that I have photographed during the past few years while roaming throughout the Northwest. The images in this exhibit are found situations, largely within a close radius to my home.”

Rajah Bose lives in Kennewick, Washington, with his dog Chobi. He graduated from Washington State University with a degree in Marketing. His work can regularly be seen in the Tri-City Herald where he works as a photojournalist.