Makes sense to me!
A creative approach to developing as an engineer: learning to problem-solve like an artist.
Makes sense to me!
A creative approach to developing as an engineer: learning to problem-solve like an artist.
Here are some shots from a recent solos how AntiPatterns, which featured paintings, digital prints, and sculpture/installation. A big thank you to colleague Michael Holloman, Hiromi Okumura and Reza Safavi for inviting me to show and coordingating. Thanks especially to graduate students Laura Pregeant, Yuanwen Lin, Anna Davis, Kayleigh Lang, Hayley Black, Andre Fortes, and Stephen Cohen for the scrupulous painting, install and writing for the exhibition. This was a fun way to introduce faculty and students at Washington State University to my work.
Reception 09/03/2015 5pm-8pm
Washington State University
Department of Fine Arts
Gallery hours 9-5 M-F
AntiPatterns are corrective actions gone awry. AntiPatterns stand apart from bad solutions in that they seem like effective means of problem solving; they are nefarious, appearing reliable, even virtuous, all the while containing their own retroactions.
In the paintings, digital prints, and sculptures by Joe Hedges, we see the hybridization of natural and technological objects, united and interacting in often humorous, often contemplative ways. Hedges’ works posit that while human intervention in natural processes sometimes provide solutions to specific problems, these efforts frequently leave us worse off. But hope is not lost–what most distinguishes the AntiPattern from its cousin, bad pattern, is that within the seemingly counterproductive measures of its application is found a true, eventual solution. Hedges’ solutions ask us to examine our embedded relationship with nature and how–but more importantly why–we meddle. Perhaps within our collective societal and ecological AntiPatterns we may still find a grain of elucidation and resolution.
My great grandfather Montgomery Jones and his brother Joe came to Wyoming from somewhere but I never knew exactly where. I know they wanted to “become cowboys” and I knew that’s exactly what they did: my grandmother loved to tell the stories of my Monte riding horses with Buffalo Bill, wrangling and taking care of business with other homesteaders in Cody, Wyoming while Bill Cody was out doing shows. Eastern U.S. born and immigrants had come from all over to unlikely places like Wyoming and Idaho for gold or for promise of a better life for their families. But the details of Monte’s early (pre-Wyoming) life were not so interesting to me. Until now.
A week ago during the long road trip from Cincinnati, Ohio to my new home here in Moscow, Idaho, my wife Mei and I stopped at my Aunt’s house in Cody, Wyoming. As usual, we got out the old cowboy family photos. There were the old true sepia favorites: My mom and sisters in oversized hats, indians and cowboys with names like Shootin Billy and Davey the Kid playing poker at the Cody Stampede, etc. As we turned the pages and my aunt recounted the histories, I noticed one family photo I had never investigated closely, featuring Monte as a kid squeezed awkwardly into the middle. Then Mei spotted it–a photographer’s stamp in the bottom right corner reading: MOSCOW, IDAHO.
I had never even heard of Moscow Idaho (until I got a job in the nearby town of Pullman, WA) let alone visited or lived here. But of all the places in the country to randomly end up, I am here now in the very same place that my great great grandfather chose when he decided to leave Virginia to find some freshly acquired U.S. government land for his family.
With a little help from the University of Idaho (now within walking distance from me) I learned that, ERICHSON AND HANSON, the photo studio stamped in the bottom left, was comprised of two prolific and skilled photographers Henry Erichson from Germany and John A. Hanson from Denmark. As well as studio work, the photographers compiled the (now partially reconstructed) photographic history of the U.S. war with the Nez Perce Indians. Since Erichson and Hanson’s partnership was so brief (University of Idaho Library Nez Perces Indian War Series ’77 (1891) . April 2001), I can practically confirm the date of the family photo as 1892: the same year The University of Idaho opened its doors and the year my current employer, Washington State University was founded. It’s likely that the Danish photographer Hanson took the picture of my great grandfather and great great grandfather with family in Grangeville, ID, while Hanson was still in partnership with Erichson who remained here in Moscow, ID.
Well, okay, so that old photo was probably not taken here in Moscow but in Grangeville, ID, on the other side of the Nez Perce reservation. My Aunt says that yes, Monte and Joe had lived in Grangeville for a while before they ran off to “become cowboys”. That’s always where my mom started the stories. Well, now it starts right here in Idaho. Or is this where it ends?
Today, I am going to Grangeville, ID to find the ghost of my great, great grandfather Jones.
Friday night I celebrated the opening of a group exhibition, Momento/Memento at REVERSE space, a gallery in Brooklyn, New York. I showed digital paintings, and friends Jacob Lynn, Christy Wittmer, and Corrina Mehiel showed fiber works, sculptures, and photographs, respectively.
We had a nice little write up in Artfcity.com, calling the exhibition a must see event and describing my photos as possessing an “Alzheimer’s-like strangeness”
This was my first show in New York and I am happy to have shown alongside good friends from Cincinnati. Here’s an excerpt from the exhibition description:
OPENING FRIDAY, JUNE 19TH, 7 – 9PM, REVERSE will present, for the first time in New York, four Cincinnati-based artists working on the objectification of time and memory.
Consciousness is endlessly grasping for objects as moment boxes. Yet there is an important etymological distinction between our contemporary understanding of memento (commonly misspelled momento)—a French souvenir, which can take the form of anything from a cheap snow globe to an interesting rock—and memento mori, which symbolized the medieval practice of reflecting on mortality and the transient nature of the universe. It is in the gap between these two definitions of the same term that the exhibition MOMENTO / MEMENTO operates, as Joe Hedges, Jacob Lynn, Corrina Mehiel, and Christy Wittmer work to acknowledge an objectified attachment to moments in time.
Read the entire description here: http://reversespace.org/momento-memento/
I am pleased to have accepted a position at Washington State University in Pullman, WA as Assistant Professor of Painting/Intermedia! I will run the painting program, teach and advise undergraduate and graduate students, conduct a program of peer-reviewed scholarship (mostly in the form of participating in national and international art exhibition) etc.
While I worked hard to make this happen, I was only able to do so because of a supportive art community in Cincinnati, OH that includes artists, curators, gallerists, educators, institutions, universities, non-profits, etc. Over the last couple decades, Cincinnati has been a forum for all my creative activity from music to art to everything in between. I have essentially enjoyed two careers in the arts (as a musician and artist) in a relatively short span; I honestly believe that in no other city would this have be possible. I have been a beneficiary of cheap rent and the creative efforts of so many people, especially in and around OTR, my home for the last seven years or so. I am among the fortunate who have survived and benefited from an urban renaissance, having watched this neighborhood grow and transform along with the city. So it is going to be tough leaving, of course, but the time is right. Cincinnati has such an amazing art community, but this position in Washington will provide some “me time” to focus on my studio practice, and some structure and incentive to do so (the tenure process).
I have heard tenure-track positions described as “winning the lottery” or “catching a unicorn”, so it is difficult to understate my excitement. The position and the university are a perfect fit for me. The job title of Painting/Intermedia describes my art practice–an intermedia approach that ties together my varied interests in photo, internet art, installation etc. (interests I developed in graduate school at DAAP, the University of Cincinnati) while remaining focused on painting (my undergraduate BFA emphasis at Northern Kentucky University) as a way of seeing.
As a bonus, the northwestern United States is among the only area of the country I have not explored. While Washington State as a brand has taken on a hip reputation because of Seattle and Portland, to be clear Pullman WA is not on the West coast exactly–it’s located in a rural college town near the border of Idaho. Idaho coast. However, WSU is a top research university with about 20,000 students in a unique region called the Palouse, within a half-day’s driving distance to forests, mountains, plains, and deserts. So there will be opportunities at the university for professional collaborations, and in a setting of big skies and surreal wheat grass dune hills carved by ancient glaciers.
I have always been drawn to unusual places and am looking forward to making the most of a new environment. It seems fitting to do so with my biggest supporter, harshest and most helpful critic, life-adventure partner Mei; this move will truly signify the start of a new life together. Mei is going to teach foundations at WSU so for the first time we will be colleagues.
Looking forward to making new art and design, new friends, doing some intense camping and exploring the west! Please keep in touch.
An article I helped to write appears on pages 24-39 of FutureForward: Foundational Ideas, Curriculum and Continuous Improvement, volume 4, number 1: march. In the article, colleagues discuss ways of engendering the “Three R’s” (Risk, Rigor and Research) in the foundations classroom. The article came out of a summer 2014 ThinkTank in Bozeman, Montana presented by Integrative Teaching International.
Artists work in ways that are not dissimilar from the ways that scientists work; artists ideate, follow lines of inquiry, conduct research, take risk and pursue every step of the creative process with rigor that parallels processes of other disciplines
I made this for students and thought I would share. Please feel free to contact me if you want a gallery added.
This is by no means comprehensive; the Cincinnati region contains many excellent museums, galleries and arts centers. Most of these locations are open Monday through Friday 9-5, unless otherwise noted–and for frequent openings and events. Make sure you plan ahead to see if the gallery is open (sometimes galleries close when they are installing new shows). Included below are the three major art museums in Cincinnati: The Cincinnati Art Museum, the Taft Museum, and the Contemporary Arts Center, as well as many galleries and other arts-related establishments. Here are my favorites organized by neighborhood:
Contemporary Arts Center – On sixth and Walnut. Unlike the Cincinnati Art Museum and the Taft Museum, the Contemporary Arts Center or CAC does not maintain a permanent collection. Instead, the center stages ongoing temporary exhibitions of regional and internationally recognized contemporary artists. Through their curatorial practices and the artists they showcase, the CAC continually pushes the boundaries of contemporary art. The CAC is free Monday evenings. At other times it is $6. Check website for upcoming performances and exhibitions. http://www.contemporaryartscenter.org.
21C – Museum Hotel – http://www.21cmuseumhotels.com/ Free, open to public 24 hours a day. World-class collection of contemporary art in a clean contemporary space. Taxidermy, unconventional materials, permanent collection and special exhibitions, as well as local artists works in vitrines on floors for hotel guests.
Taft Museum of Art – an intimate location–a historic mansion downtown–with a collection that rivals any other museum of its size in quality. In the Taft Museum’s permanent collection are artists such as John Singer Sargeant, Duveneck, Turner, Rembrandt, to name just a few. Museum hours are Wednesday through Friday, 11 a.m.–4 p.m., and Saturday and Sunday, 11 a.m.–5 p.m. Free on-site parking is available.Free on Sundays. – http://www.taftmuseum.org
Weston Art Gallery – Excellent, progressive exhibitions featuring contemporary artists. One of the largest and nicest galleries in town, ajoined to the Arnoff Center for Performing Arts http://www.westonartgallery.com
OVER-THE-RHINE, CAMP WASHINGTON:
During Final Fridays (the last Friday evening of every month) from 6-10, OTR turns into an art-walk. Many local businesses participate and showcase art. Additionally, these galleries have hours and openings at other times:
Lily’s 1305 Gallery – Main St. Cincinnati, solo and two-person shows, contemporary, local and regional artists. A Final Friday staple.
Art Academy of Cincinnati – Jackson St., exhibitions often during final fridays and at other times featuring student work as well as internationally known artists and illustrators. http://www.artacademy.edu
Carl Solway Gallery – http://www.solwaygallery.com/ works by major, established international contemporary artists.
Semantics Gallery – Contemporary, provocative, underground, local. – https://www.facebook.com/semanticsgallery
Harvest Gallery – Neighborhood gallery showcasing mostly Cincinnati artists
Many other OTR businesses participate in Final Friday. Here is a list: http://finalfridayotr.com/
Clifton Cultural Arts Center – Excellent community arts center with wide range of programming including occasional partnerships with UC DAAP Students and faculty: http://www.cliftonculturalarts.org/
DAAP Galleries – Several galleries run by the college of Design, Architecture Art and Planning at the University of Cincinnati. The two most popular are colloquially known as the Reed and Meyers galleries. These spaces often showcase internationally recognized artists alongside student-work and local and regional artists. http://daap.uc.edu/galleries.html.
Niehoff Urban Studio – University of Cincinnati urban planning space that often stages art exhibitions
EVANSTON, HYDE PARK, OAKLEY:
Manifest Creative Research Gallery and Drawing Center – has quickly established itself as an international force in painting and drawing. showcasing works with impeccable craftsmanship and contemporary concept – http://www.manifestgallery.org
Phyllis Weston – Famous promotor and patron of the arts in Cincinnati, contemporary works, mostly painting http://phyllisweston.com – 2005 1/2 Madison Rd.
Malton Gallery – Commercial gallery, contemporary but accessible, sometimes decorative works. http://www.maltonartgallery.com
Miller Gallery – Commercial gallery, contemporary but accessible, sometimes decorative works. http://www.millergallery.com
Greenwich House Gallery – Traditional sculpture and painting – http://greenwichhousegallery.com
PAC Gallery – https://www.facebook.com/pages/PAC-Gallery
Cincinnati Art Museum – Eden Park – http://www.cincinnatiartmuseum.org/ atop beautiful Eden park is one of the oldest museums in the country and has a fine permanent collection of art throughout the ages. They have a good collection of modernist works and decent contemporary collection as well, although this floor is often closed. They do also stage traveling exhibitions of works by well known modern masters. Although the museum charges an admission for parking the museum itself is free. You may park at the bottom of the hill in the park and walk the short distance up to the museum.
Kennedy Heights Art Center – Kennedy Heights. Nice arts center in a large converted house, featuring frequent exhibitions of well-known mostly regional artists. http://www.kennedyarts.com/
BOOM Gallery – Norwood. 1940 Dana Ave. Underground and experimental contemporary art. Open during openings and by appointment – http://www.boomgallery.us
Nearby – Various locations. An untethered curatorial collective staging ephemeral and interdisciplinary exhibitions and performance works around town. – http://www.nearby.gallery
A painting for my father. This is a painting of a print of a painting–my dad’s only fine art print, a Monet from Monet’s Houses of Parliament series. I grew up looking at this print, and became intrigued with it again after being asked to create something for an exhibition Totem, exploring family history and the power of objects.
I recently learned that Monet was criticized for using photography to help with these renderings.
Over the summer I lived with Tom Wesselmann. More accurately, I lived with the work and specter of the late Cincinnati pop-art icon Tom Wesselmann, through the execution of several projects including an enormous outdoor mural downtown with teaching artists and teen-apprentices. It was easy to develop a personal connection with the late Cincinnati master, who shares my love of objects, painting, women, and was even an accomplished songwriter as well (a song of his appears in the soundtrack to Brokeback Mountain. movie only not the CD).
I also met his wife Claire, who was lovely. And during the mural project Wesselmann’s one-time studio assistant in New York, Kevin T. Kelly (who is also a well-known pop artist) was gracious enough to spend a little time with me and the apprentices.
Tonight, we were finally able to dedicate the mural, a project of non-profit Artworks, to the city of Cincinnati. The mural was created in preparation for the Wesselmann retrospective at the Cincinnati Art Museum, which opens this weekend. In addition to the dedication, as a way to have a more personal creative dialogue with Wesselmann’s body of work, Meredith Adamisin from Artworks and myself staged an tribute art exhibition, Wesselworks, that opened wednesday at Align Furniture Store across the street from the mural on Main. The exhibition features works by apprentice artists, teaching staff who worked on the mural, as well as my piece seen here, Breakfast Table.
Finally, I will be involved in two events at the Cincinnati Art Museum in the next few months: On November 15th I will lead a program for kids–Art in the Making: Pop Painting–at the Cincinnati Art Museum. On January 18th I will lead another program called Creative Encounters, for adults of all ages which is also one-part workshop one-part museum tour. So, it is safe to say that I have developed something of a relationship with Wesselmann.
The source image for the mural, Wesselmann’s Still Life No. 60 came into my life precisely as I had begun a new series of photographic still life’s and was considering the vast array of possible meanings that relationships between objects in a picture plane can create. I had also just serendipitously begun arranging items in stage-like compositions as well. So it was with great pleasure that I took on the mural project, created a painting in response, and continue to be engaged with Wesselmann’s work.
Although my recent photographs are borderline, my tribute painting is decidedly not pop-art. But Wesselmann and I have some similar formal interests including clarity of line and form, a love of high contrast and bold color on muted fields, etc.
For this tribute painting, I essentially took Wesselmann’s Still Life No. 60 and flipped it on its head. Instead of larger-than-life I worked small. Instead of flat I worked with naturalistic angles and lighting. I did, however, retain Wesselmann’s selection of objects, or at least five of six of the objects: the nail polish, sunglasses, lipstick, matchbook, and ring. But instead of the necklace beads I have included grapes. This is partly an inside joke–in the early summer I mistakenly identified the beads as grapes and presented the work to apprentices artists that way–but partly a reference to the Dutch Golden Age breakfast table paintings I have been looking at lately as well. My painting also references another American master from yet another generation, painter of beautiful trompe l’oeil still life’s William Harnett. These are my three muses lately. I have some other paintings in my studio that are more “for me” and feature the kinds of weird objects that have been appearing in my photos lately. But this one’s for Tom Wesselmann. May your match continue to smolder!
Nov. 15, 1-3 p.m.:Cincinnati Art Museum – Art in the Making: Pop Painting, for kids ages 6-12 and a parent. Reservations required. $10 per pair members, $20 nonmembers ($3/$6 for each additional person).
Jan. 18, 1 p.m.:Cincinnati Art Museum – Creative Encounters visits the Great American Nudes series, then creates figure drawing inspired by the exhibition. Reservations required. $10. $5 members and college students.
October 26, 2014 at 8:25 pm
This is what we did over the summer. The mural is on six story wall at 8th and Main Street in Cincinnati, OH, a reproduction of Tom Wesselmann’s Still Life #60. Wednesday, we finally dedicate the beast to the City of Cincinnati!
The mural is a summer project of Artworks, a Cincinnati non-profit that “empowers and inspires the creative community to transform our everyday environments through employment, apprenticeships, education, community partnerships, and civic engagement”. I was the project manager for this mural, one mural in an annual series of Cincinnati Masters. I worked alongside Cincinnati-based artists and teaching assistants Nicole Trimble and Joshua Mindlin, and ten area teen apprentices.
The image we painted is a reproduction of a grouping of six canvases, a sculptural painting which will be featured prominently in the retrospective of Wesselmann’s work opening at the Cincinnati Art Museum in the fall. In addition to the mural, we created our own works which respond to and pay homage to Wesselmann’s art. These works will be shown tonight at a companion event, Wessel Works, at Align Furniture just across the street from the site of the new mural.
The mural is on the wall of Sophia’s Deli at 8th and Main St., in the middle of downtown, Cincinnati. The dedication will be at 4pm:
Cincinnati Master Tom Wesselmann Mural – Still Life No. 60
Dedication and Party Wednesday October 29 4pm
811 Main St,
Cincinnati, OH 45202
The art exhibition Wessel Works, featuring responses and tributes to the work of Wesselmann by myself, Nicole and Josh and the apprentices will be up for the next couple weeks, beginning at 5pm tomorrow at:
Wessel Works Art Exhibition Wednesday October 29 5pm
Algin Retro Furniture
800 Main St,
Cincinnati, Ohio 45202
I am so proud of the team I worked with and so pleased to have again been selected to work with Artworks on a large scale public art project working with youth apprentices. Especially grateful for the support from Arnold’s restaurant, Sophia’s Deli, Kort Peter’s and everyone else who donated money, food, space and emotional support and encouragement to make this happen.
Stop by and see our mural. And our art!