Kuhn Fine Arts Gallery
The Kuhn Fine Arts Gallery serves the The Ohio State University at Marion students, faculty, staff and Marion community. The Kuhn Gallery is located off the main lobby at the east entrance of Morrill Hall located at 1465 Mount Vernon Avenue, Marion, Ohio 43302. The gallery is free and open to the public. Normal hours of operation are Monday-Friday, 8 a.m.-5 p.m., September through May, and 7:30 a.m.-4:30 p.m. June through August. Hours may vary depending on the exhibit.
"COUPLED" August 21 - October 6
Early on, as a student in one of my first painting classes I had a disaster and subsequently an epiphany. The “assignment” as always was to make a painting and bring it to the weekly critique. I wanted to make a copy of a photograph- a still from a very popular movie that was featured in the New York Times Art section; it obviously had credibility. The photo of two very anxious men in a precarious biplane, perhaps taking off but more likely about to crash. it was a picture of adventure, risk, and action. It was popular and cool. If I successfully copied that photo it would be a favorite in the critique. Alone in the studio with no one around and half way through the painting I sat back and asked myself what I wanted from this half-finished painting. Yet knowing what it would look like if I succeeded, I couldn't continue. I wanted more of an experience, a risk and the discovery of some kind and so I decided to destroy but I had begun. I scraped and wiped away when I could impressed on turpentine to remove the paint; everything was running on the floor. Trying to control the spill and mess I turned it upside down and let it run to the opposite direction. Working frantically I wiped away what remaining oil paint I could and took a break to survey the disaster area in my painting now in chaos. Chaos, yes but the more I looked I saw the painting covered with beautiful accidents- moments and passages beyond what I had hoped for. Could I keep those and continue the pairing? There I was in the present, having a real experience and an adventure with paint. I had just risked what I had and in a sense, crashed. Taking my cues from the painting and trying what I wanted, I let go of my original intent of making a picture of risk and adventure. Instead I was in my own world of risk, adventure, and discovery, the world of painting. It was exciting to have no plan, trust my intuition and respond to the optical, kinesthetic and tactile sensations, the urges and impulses I felt.
Larry Shineman has a BFA and MFA from the University of Nebraska and is an Emeritus Professor from the department of Art at the Ohio State University in Columbus, Ohio. Shineman has received grants from The Woods Foundation, The Ford Foundation, The Ohio Arts Council and The Adolph and Esther Gottlieb Foundation. In addition to many solo and group shows Shineman has been featured in: Outside New York-The State of Ohio, The New Museum, New York, The Ohio Selection, The Dayton Art Institute, Fifty Years Of Art in Columbus, The Columbus Museum Of Art, American Pluralism, exhibition toured to 8 European museums over two years, Ten in Ten: A Decade of Difference Southern Ohio Museum and Cultural Center, Ohio Artists at the Roosevelt House, New Delhi, India. Shineman’s painting The Bouquet is in the permanent collection have been collected by: The Columbus Museum of Art, The Canton Art Institute, The Sioux City Art Museum, The Lannon Foundation, The Sydney and Roslyn Lewis Foundation, The Chase Manhattan Bank of New York, Kaiser Permanente and Han, Loser-Parks.
Pattern and vibration come to the foreground is the prime mover in my paintings. The marks in their intervals oscillate back and forth producing patterns. What is the significance of the particular ways the patterns appear in the paintings? The pattern show a vibration fours that does not so much as represent a particular world as it enacts one. In a world emerges in the dynamic movement that shuttles back and forth between the surface of the painting and an extension just outside of or just inside of the actual material surface. And the paintings become the visible substance of invisible yet all together real forces of nature. The imagery of the paintings reflect this idea in several ways. The inconsistencies of the woven fabric moving in and out of clear focus feel like a breeze moving through the painting. In the paintings, the layers that build, one upon another, as sediment does in the laying down of the earth’s surface, may take an unexpected turn. The woven aspects of the imagery that both occluded and reveals an underlying reflective surface gives the illusion of light emerging from painting itself. The reflective aspect of the paint makes the painting appear differently according to the lighting and time of day. In these paintings there is a chance to feel a sense of emergence of a world just as it comes into view.
Anne Keener is a painter and writer living in Columbus, Ohio. Keener has a BA in Comparative Studies with a concentration in Religious Studies and an MFA in Painting and Drawing from the Ohio State University. Keener writes on topics such as the role of philosophy in artistic practice. She is currently curating an exhibition in 2018 for the Urban Arts Space at OSU titles Pattern thinking: Australian Aboriginal Art from the Collection of Tom and Cynthia Schneider. Grants and residencies include the Greater Columbus Arts Council Fellowship Award and Dresden, Germany Residency and Ox-Bow Writing Residency from the School of Art Institute of Chicago. Keener has exhibited her paintings and light installations at Columbus College of Art and Design, The Ohio Art League Gallery, The College of Mount St. Joseph, Cincinnati, Ohio, The Urban Arts Space in Columbus, Ohio and Geh-8 Artist’s Collective in Dresden, Germany.
Alice Avenue by Fritz Kappler
"The work I have included in Alice Avenue" consists of projects I have undertaken over many years. Included are oil paintings on canvas and shaped wooden panels, a mixed media construction and one drawing. The work is figurative and reflects continuing interests of mine and includes portraits and narratives. I draw my inspiration from several areas. Often I am influenced by the vague residue of early childhood memory: illustration from story books, Saturday morning cartoons, toys, and the graphics associated with them as well as events such as birthday parties or trips to the circus. These are manifested in the composition of the pictures, the bright color choices and the exaggerated expressions of the faces. This nostalgia also comes across in a number of pieces based on found images that I have selected and re-imagined in new contexts or manipulated to express different, more contemporary ideas and issues such as power, narcissism and objectification. I generally choose a visual style that best suits the subject at hand. Old films, vintage Indian devotional prints, 60's commercial design, even a jujitsu manual from the 30's have found their way into me visual sensibility. Many of the works include or feature portraits. I read avidly and draw upon the subjects as vehicles to integrate into my work. Some of the portraits are based on people I am close to and provide a foundation upon which to experiment and explore visual ideas. While some of my paintings are stand-alone pictures, I generally work in series. Whether this manifests as the reworking of the same image or subject using similar formats while depicting different subjects, there is a thematic link. I like to juxtapose images and allow a commentary to develop between them. However, it is important to me that each piece is strong enough to work alone and is created with the intention of doing so. The setting for my work is frequently flat and up front as if on stage or I have eliminated the background altogether and shaped the support to fit the images rather than shaped the image to conform to the support. I suppose this is an effort at directness and immediacy and allowing the image to exist without the baggage of specific place or context and also speak directly with the viewer on its own terms. As for the choice of media, I work mostly with oil paint when working on solid supports and a mixture of inks, watercolors, acrylics and ballpoint pens when working on paper. I aim for clarity and flexibility and these tools provide the least resistance between what's in my head and what kind of picture I want to produce."
The Subtle Sea by Agnes Burris
Open to the public October 31 - December 5, 2015
The Subtle Sea portrays the hidden world of contemporary oceanic shipping in the context of the histories of Western art and the advent of global trade. From Turner and Géricault to the nameless sea-monster specialists of 16th century Amsterdam's cartography boom, The Subtle Sea makes references and seeks patterns to make meaning of an invisible, integral aspect of daily life - the ships that supply our way of life.
Agnes Burris is an artist currently living and working in Columbus, OH. Originally from rural Mississippi, Agnes studied anthropology and art at Columbia University in New York, NY. She went on to earn a master's degree in anthropology from Mississippi State University in 2006. In addition to her active studio practice, Agnes serves as the curator for the non-profit art space and community organization, EASE. Her work has been exhibited locally, nationally, and internationally.