Celebration of Learning 2016: Full Program

Full program of the 2016 Celebration of Learning at Augustana College

Fall 2014

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2017 Senior Art Exhibition

This exhibition features the Senior Inquiry projects of the Augustana College studio art and graphic design majors of the Class of 2017: Jorge Ambriz, Paris Edwards, Chloe Gale, Giselle Gaztambide, Emily Kathleen Grooms, Ginger Hamilton, Olivia Havens, McKee Jackson, Emily Johnson, Jordan Peklo, Henry Roderick, Glen Williamsonhttps://digitalcommons.augustana.edu/artmuseumexhibitions2016-17/1005/thumbnail.jp

Material Conversations

This exhibition focuses on recent work by the studio and graphic design faculty at Augustana College. Their practice is as varied as their media - from conceptual to process-based - and belies the breadth of teaching embodied by the art faculty. The varied approaches to art-making is a strength of the program, and provides for our students a multiplicity of perspectives from which to approach their own learning about theoria (thinking), poiesis (making), and praxis (doing). This exhibition includes works by: Kelvin Mason, Vickie R. Phipps. Megan Quinn, Trew Schriefer, Rowen Schussheim-Anderson, Corrine Smith, Ronda Wright-Phipps, Peter Tong Xiaohttps://digitalcommons.augustana.edu/artmuseumexhibitions2017-18/1004/thumbnail.jp

Fall 2016

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Fall 2021

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Summer 2023

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Battle/Dress: Camouflage as a Metaphor for Passing and Other Works by Kiam Marcelo Junio

Kiam Marcelo Junio (preferred gender pronoun: they/their/them”) is a Chicago-based visual and performance artist. Their research and art work center around queer identity, Philippine history and the Filipino diaspora, American imperialism, and personal and collective healing through collaborative work and individual WERQ. Kiam served seven years in the US Navy as a Hospital Corpsman. They were born in the Philippines, and have lived in the U.S., Japan, and Spain. #QueeringCamouflage Camouflage as a Metaphor for Passing is a body of work that articulates the specific intersections of my identities as a queer, Filipino American immigrant, and US Navy veteran. I associate camouflage’s use in nature, and the camouflage pattern in military and contemporary art history, and investigate how they collide with ideas of Filipino and Asian visibility in the context of postcolonial studies. -Kiam Marcelo Junio, exhibition essay Junio\u27s exhibition not only included work from Camouflage as a Metaphor for Passing, but also included a reflective essay, tying together their biography and work, as well as video work from other projects including Filipino Fusions, Porn Again (a collaboration with Sofia Moreno), and Sacred Skin.https://digitalcommons.augustana.edu/artmuseumexhibitions2016-17/1001/thumbnail.jp

What a Relief! Variations on Printmaking

What (is) a Relief? Relief printmaking was the first printmaking process invented, and has its origins in seals in China around 255 BCE. At its most basic, one can think of a stamp as a relief print. The artist uses tools to cut away portions of the matrix (a wood block, linoleum sheet, Styrofoam, etc.), leaving behind a raised image area, which is then printed on a substrate (paper, fabric, etc.). To this day, relief printmaking is still the most accessible form of printmaking because a press is not required to make a print – just the matrix, ink, pressure and the substrate. The process is direct, accessible and low-tech, and allows for bold graphics that can be abstract or representational. The works in this show provide three avenues into the process, from historical and contemporary perspectives. The ukiyo-e prints provide an opportunity to study the process from a historical perspective. Ukiyo-e woodblock prints flourished in Japan between the sixteenth and nineteenth centuries, focusing on the pleasure districts of Edo (modern Tokyo). Each individual print was made from a number of separate blocks, starting with the key block which creates the lines of the print. This print is pasted on separate blocks, and these blocks are then carved individually, based off the lines provided by the key block, to carry a specific color. An example of the process creating a wood block print can be seen on the screen behind you. Beginning with an image of the key block, the images outline the process of making a print of Suzuki Harunobu’s Heron Maid, building up the print using the separate colors, ending with a block that is carved to provide texture to the final work. These historical works from Augustana’s collections have been brought together with two contemporary artists using the relief process to very different ends. Janet Taylor, a contemporary fiber artist from North Carolina, creates matrices out of Styrofoam, and prints directly on silk organza, creating diaphanous, layered compositions. Joseph Lappie is a local artist and professor at St. Ambrose University. His series inspired by the Nuremberg Chronicles is on display for the first time in the Quad Cities as part of this exhibition, which combines the prints and their matrices, as a cohesive whole.https://digitalcommons.augustana.edu/artmuseumexhibitions2015-16/1000/thumbnail.jp