As seen on the radio

July 11, 2022 Karinna Gomez

JULY 2022
As Seen on the Radio

As seen on the radio is an exhibition of work by twenty artists who've been guests on the KONR Out North Radio program Art Matters, and has been curated by the host, artist Graham Dane. The exhibition showcases artists from Alaska and beyond, spans abstraction to figuration, includes photography, painting, drawing, printmaking and sculpture, and is as wonderfully eclectic as the radio program that brought them together.

Statement by curator Graham Dane
Art Matters first aired in August 2019 and airs on Saturday morning, 11.00am Alaska time. The first chat was with Juneau-based artist David Woodie the day after his show opened at Cyrano’s (September 2019) which had relocated from its original downtown location into what had previously been the Out North building. The program’s original intent to focus on Alaskan visual art and artists morphed into shows about visual art, visual culture, and aspects of art history quickly. Every artist in this exhibition has come on-air to talk about their work and practice.

In the last two-and-a-half years there have been interviews with sixty artists from Alaska, the Lower 48, Canada and Europe (UK and Sweden). Broadcasts have dealt, to name a few topics, with recent Black Lives Matter demonstrations and art, the 1937 Entartete Kunst exhibition/contemporary censorship, art-washing philanthropy, aspects of The Sublime, on science fiction tropes, comics/graphic novels and the depictions snow and ice across the centuries (with an Alaskan twist).

Out North Contemporary Art House originally applied for an LPFM (low power frequency modulation) license in 2002, under the guidance of co-founders Jay and Gene and a handful of knowledgeable volunteers. Permission was granted to build Anchorage’s first LPFM station in 2008. Operations began out of a VW microbus in 2010 and relocated to the former home of Out North in East Anchorage. In 2017 KONR moved operations to Downtown Anchorage for a short period before moving to a new studio space in the heart of Spenard. It’s still there.

From humble beginnings, KONR-LP now provides a platform to support local artists, emerging talent, it hosts important discussions and gives voice to under-served communities. Our current group of over twenty volunteers creates 40+ hours of original content every week; the station airs 40+ hours of Alaskan music - more than any radio station in Alaska.

A selection of Art Matters broadcasts can be heard at https://www.mixcloud.com/grahamdane/

Artists included in As seen on the radio:
Indra Arriaga Delgado
Paul Behnke
Terri Broughton
Simon Carter
John Coyne
Graham Dane
Dr. Herminia Din
Perry Eaton
Asia Freeman
Hal Gage
K N Goodrich
Virginia Katz
Ted Kincaid
Bonny Leibowitz
Linda Infante Lyons
David Myrvold
Alex Rydlinski
Sara Tabbert
Jane Troup
David Woodie

Read about each of the artists in this pamphlet compiled by Graham Dane:

Artist Bios

Virtual Exhibition Tour

Lux Botanica | Vanessa Powell

June 11, 2022 Karinna Gomez

Vanessa Powell, *Three of Wands*, giclée from lumen process image, 18 x 12 inches

JUNE 2022
CENTER AND NORTH GALLERIES
Lux Botanica | Vanessa Powell

Artist Statement
I have always known the connection between nature and humanity. As a child I spent hours singing, dancing, and creating imaginary worlds among the lights and shadows dappling the forest floor. Nature has long been my playmate, my partner and my space to dream.

My alternative process photography series, Lux Botanica, combines botanical material, expired photographic print paper, and a centuries old cameraless photography technique to create artwork that coaxes shifts in perception and invites new interpretations of my known world. Color, translucency, and light guide a refocusing of surface level vision to reveal an image that feels familiar and, at the same time, manifested entirely of dreams. '

Lumen Prints
The lumen print was first developed in the 1830’s by William Henry Fox Talbot. Talbot placed plants on sensitized paper and exposed the paper to sunlight, creating a negative print from which positive contact prints could be made. The original lumen print is archivally unstable and known as a fugitive (impermanent) print. Fugitive prints continue to expose over time, leaving countless opportunities for reiteration and exploration.

The images in Lux Botanica derive from their original, fugitive prints. Immediately taken after being pulled out of the light, these images are scanned, then refined in the digital darkroom to portray the artist’s vision.

Each fugitive print is unique to the paper on which it was created. Expired black and white photographic print paper was used to create all of the images in Lux Botanica, ranging in expiration between 1956-1988. Variable focus, uniquely textured areas, and interesting inclusions are expected as they add to the authenticity of the photograph. These are unique to the ephemeral nature of the alternative process print.

https://www.vanessapowell.photo/

Virtual Exhibition Tour

Cubist Portraiture | Shiela Mahaney

June 11, 2022 Karinna Gomez

Shiela Mahaney, *Family*, acrylic on paper, 12 x 9 inches

JUNE 2022
SOUTH GALLERY
Cubist Portraiture | Shiela Mahaney

Carousel faces
Spinning around.
Multi perspectives;
Fractured, but bound!

Mardi Gras palette,
Ecstatically bright.
Facial celebration;
Collage of delight!

Cubist Portraiture chronicles a painter’s rite of passage along my journey of stylistic exploration. One day, while dabbling with a cubist framework for painting composition, something clicked. I found myself under the spell of true inspiration! Suddenly, my family, friends, and even our dog Maximus, were all transforming in my mind’s eye, through a cubist filter.

I could not wait to express their images onto canvas using the most vibrant colors possible. There are 31 paintings in the collection, and the work flowed from my brushes as though ‘Cubist Portraiture’ had been inside me all along waiting to be freed.

https://www.shielamahaney.com/

Virtual Exhibition Tour

The Site of Landscape | Rachel Mulvihill

May 23, 2022 Karinna Gomez

Rachel Mulvihill, *Driveway*, acrylic on canvas, 24 x 30 inches

MAY 2022
NORTH GALLERY
The Site of Landscape | Rachel Mulvihill

Rachel Mulvihill (she/her) is a landscape painter of Unangan heritage born in Fairbanks, Alaska. As an artist who represents place, her interest and approach is formed by her upbringing in Fairbanks the homeland and traditional territories of the lower Tanana Dene Peoples where she continues to live and work.

Artist Statement
These paintings are not about trees. These paintings are about sight. They are about seeing and what we see when we look at landscape. They are also about where we stand when we look at landscape—the site. How is a landscape framed? How is nature framed by landscape? These trees are out of place: rooted in Fairbanks and here today in Anchorage, on the land of the Eklutna Dena’ina people. Are these “Alaskan” landscapes? My motivations as a painter stem from the complexities of this landscape.

Landscape has/is a history of naturalizing erasures, revisions, and constructed perspectives. Not only does landscape orient and produce it’s viewer but it also can transform the land itself. When I think about landscape I think about stepping back—a perspective of distance and framing from outside a space. Hito Steyerl has suggested that this metaphor could now been more accurately described as a falling backwards. Steyerl describes a “deteritorialized freedom” as a product of vertical perspective. The boundaries that describe spaces disappear as our perspective becomes untethered from a stable horizon and ground. Does untethered perspective do more to reveal or obscure the entanglements that complicate the landscape?

What can the positioning of landscape reveal about its relationship to place? I thought I was painting a referendum of the vertical perspective but I wonder if these paintings are an example of it (or an example of how difficult it can be to be grounded). They are untethered landscapes. Their site is both specific—to Fairbanks, to my experience—but also moving and transforming. Is landscape what I observe, is it the photograph that I take into my painting studio, or is it here, framed by this gallery space?

If being grounded is not always comfortable then it might be easier to experience place at a distance or through a frame. Being grounded is a metaphor for a state of mind as well as a lived experience of place. Being grounded can also be a way of understanding, acknowledging, and caring for the place where I am. There are myriad literal and imaginative ways to be elsewhere. For many people, including myself, being or becoming grounded may be/will be uncomfortable. In these paintings I wanted to look behind the metaphor of a groundless position.

www.rachelmulvihill.com

Virtual Exhibition Tour

After Image | Carla Klinker Cope

May 23, 2022 Karinna Gomez

Carla Klinker Cope, *Spinning Salmon*, 2021, oil on canvas, 30 x 24 inches

MAY 2022
CENTER AND SOUTH GALLERIES
After Image | Carla Klinker Cope

Carla Klinker Cope is an artist living and working in Homer, Alaska. Carla is a long-time board member of Bunnell Street Arts Center in Homer and a founding member of Mother/Artist/Alaska, a statewide collective. She’s worked for local schools and community organizations designing and painting murals and engaging kids in creative exploration. She earned her BFA from Oregon College of Art and Craft in 2003.

I acknowledge the Sugpiaq, Dena'ina and Aluutiq people who have been in community on these lands long before occupation by settler culture. Untangling the mythic romanticism about what it means to be “Alaskan” is a driving force for my creative and social work. I commit to learning with an open, humble heart.

www.carlakcope.com

Artist Statement
After Image begins with a question. “What happens when the other shoe drops, when the fairy tale is over, when the line breaks and the boat is cast adrift?”

Looking inward for equanimity, this work has become my answer. After Image buoyed me through a pandemic and the extended storms of global, political and personal crises. This is how I’ve navigated the shifting tides of identity and belief.

I find my salvation in the studio. Creative inquiry and experimentation are my guides to exploring the honesty, beauty and tragedy of life. Through this work, I chart a course towards becoming whole in regard to myself and in relationship with others.

I grew up fishing salmon in Cook Inlet with my family as part of the commercial drift fleet. My work is informed by ocean extremes: abundance and scarcity, joy and fear, beauty and brutality. Salmon– from flesh to bones to scales– spawn a potent personal symbol which embodies life cycles and the search for home.

So, what happens when the other shoe drops, when the fairy tale is over? We must look inward. With acceptance and a willingness to adapt, I learn that I am seaworthy. After Image is simply an opportunity to begin again.

Virtual Exhibition Tour

Seasoned Soul | Rose Hendrickson

May 23, 2022 Karinna Gomez

Rose Hendrickson, *Promise*, steel, bronze, ceramic, underglazes/glaze, concrete base

APRIL 2022
IGCA Annex
Seasoned Soul | Rose Hendrickson

Rose Marie Hendrickson was born in Anchorage, Territory of Alaska, in the middle of winter. She is the oldest of seven sisters, and has one (adult) child, a daughter.

Rose has been passionate about mark-making since early childhood, teaching herself about concepts like perspective and volume from found art books, or modeling small figures from window putty, mud, children’s modeling clay, or wax.  She has worked independently in many mediums, including graphite, colored pencil, pastel, watercolor, oil pastel, and oils. Early influences were the old masters of the renaissance and the iconic illustrators: Arthur Rackham, Brian Froud, Alphonse Mucha and the Hildebrandt brothers.

More recently Rose has been studying sculpture at UAA, graduating with her BFA in December, 2021. She has been devoting herself to ceramics, metal casting, and steel fabrication designs. Contemporary influences include Kesler Woodward, for his acute observations on Alaska’s changing light, and Nicholas Galanin, for his fearless incorporation of a broad range of materials in his focused pieces.

She lives and practices her art in Palmer, Alaska, where she is also a musician, gardener, gatherer, and nature lover in general.

Artist Statement
The rhythm of our seasons is my breath and my heartbeat. There is a symbiotic intertwining between that rhythm and my very soul that grounds me here in this place through the passing of time.

The seasons are a light map, a timekeeper, a compass directing life. Here, the endless winter darkness robs the breath, chills the bones and slows the heart to the tempo of hibernation. The welcome spring quickens the soul with joy and the hope of new life. The glorious summer drenches us in eternal light, filling our days with riotous color and abundance. The golden fall brings a tang to the air while the changing foliage, with bittersweet glory, warns of the coming dark.

Our extremes of light, temperature and terrain have challenged artists from among the first inhabitants forward to communicate the unspeakable beauty, power, scale and the seasonal light that have surrounded us here throughout time. The cycle of the seasons in this unique place focuses a sense of the Sublime: boundless, breathtaking, even terrifying. Our seasons and terrain can nurture, or kill, but they will never fail to inspire.

Against the pandemic framework that has so impacted our lives, I see the pure, relentless constancy of time and the endless roll of the seasons, one into another, year after year. I find comfort in this constancy.

We are so temporary. We get sick, we die, constant in our inconsistency, flickering against the backdrop of time. The seasons weave that backdrop. They breathe in their own rhythm. They do not stop for pandemics… and even the coldest depths of the whispering winter hold the promise of the coming spring.

2022 Members Exhibition

March 21, 2022 Donna Carr

MARCH 2022
IGCA Members Exhibition

The Members Exhibition is an annual exhibition that showcases the recent work of IGCA member, donors and volunteers. This year over 70 artists submitted work for this exhibition, including painting, drawing, sculpture, ceramics, video, printmaking, fiber art, collage and photography.

Thank you to the artists that included work in the 2022 IGCA Members Exhibition!

Meg Anderson - Behind the Eight Ball Enterprises J. E. Ilgen & C. E. Licka) - Elizabeth Belanger - Mandy Bernard - Kayo Bogdan - Jackie Bowling - Randall Carlson - Nathalie Collins - Michael Conti - John Coyne - Kate Danyluk - Monica Devine - Keetra Dixon - Linda Farr - Donna Goldsmith - Mariano Gonzales - Carolyn Gove - Stephen Gray - Ann Gray - Hans Hallinen - AnneKathrin Hansen - Deborah Hansen - Judith Hoersting - Rhonda Horton - Ed Hutchinson - Jody Jenkins - David Joel - Susan Johnson - Barb Johnson - Yulia Kalagaeva - Amanda Kelly - Scharine Kirchoff - Matt Klinn - Susan LaGrande - Carol Lambert - Jonathan Lang - Petra Lisiecki - Linda Lucky - Melanie Lynch - Shiela Mahaney - Enzina Marrari - Carol McCarty - Iryna McCoskey - Richard Murphy - Monica O’Keefe - Karen Olanna - Jacob Paiz - Nathan Perry - Tami Phelps - MaryBeth Printz - J. Reto - Alex Rydlinski - Aditi Shenoy - Randall Simpson - Mikhail Siskoff - Nancy Stalings - Lauren Stanford - Andriana Strezoski - Addie Studebaker - Christine Sundly - June Takagi - Shoko Takahashi - Sandra Talbot - Sharon Trager - Owen Tucker - Amy Vail - Kathy Vail-Roche - Ron Viol - Jen Wang - Lee Waters - Gretchen Weiss-Brooks - Anna Widman - Nikki Wray

Virtual Exhibition Tour

GroundTRUTH | Klara Maisch

February 18, 2022 Karinna Gomez

Klara Maisch, *Chugach Mountains - Painting on Location,* May 2021, oil on linen, 30 x 60 inches. Ahtna and Eyak Lands, Bagley Ice Valley, Chugach Mountains, Wrangell - St Elias National Park & Preserve. Accessed via basecamp

FEBRUARY 2022
GroundTRUTH | Klara Maisch

Klara is an artist living and working in Alaska. She seasonally instructs for Inspiring Girls Expeditions and guides for Arctic Wild. Klara is passionate about transdisciplinary thinking that involves art, science, and the natural world. Her work has been featured in exhibits and commissions throughout Alaska, as well as Washington, California, and Hawaii.

Artist Statement
Over the past year I visited landscapes throughout Alaska to create large oil paintings on location. These place-based paintings highlight landscapes experiencing the effects of large-scale climate change, including glaciers, recent forest fires, and the northern edge of treeline. Sometimes the signs of change are subtle, such as the relatively simple shape of a tree consumed by a higher intensity fire. Often they are more dramatic, like a newly revealed system of ice tunnels at the toe of a melting glacier. Painting on-site is a way to be in direct conversation with these places.

I am fascinated by the processes that transform and shape an environment, and choose painting sites where I can study the patterns of these events. Each painting is constructed and deconstructed on location and anchored upright with lines or laid flat in the snow or tundra while I work. I apply oil paint in thin layers, so the painting is dry enough to roll up for transport in a few hours. I often add finishing details once I re-stretch the canvas back in the studio.

In science, "ground truth" refers to information collected via direct observation while on location. Although scientific research informs the art, the process of painting outside adds layers of awareness and connection. Traveling through a landscape requires focus and attention to detail, revealing subtleties in the surroundings that are unique to that position and instant in time. Painting outside pushes this immersion further, as I interpret the processes that shape a physical environment through the flow of lines and inferred energy in my work.

Landscapes are a window into vast timescales and complex systems of interaction. Creating this work allows me to contemplate: How do we pay attention to our surroundings? How do we respond to transformation and change? How are we impacting the future?

The exhibit is made possible by a Career Opportunity Grant from the Alaska State Council on the Arts and the National Endowment for the Arts. The work is also supported in part by the Ma Johnson’s Historical Hotel, The Explorers Club, and Discovery.

To learn more about Klara and connect with her online, visit Klara’s website and follow her on Instagram and Facebook.

Virtual Exhibition Tour

Still Life | Alanna DeRocchi

November 26, 2021 Karinna Gomez

Alanna DeRocchi, *We’ll All Be Skulls; Empty Work Boots,* 2021, ceramic, paint, stains

NOVEMBER 2021
CENTER AND NORTH GALLERIES
Still Life | Alanna DeRocchi

Through a series of sculptural still life tableaus, this work explores notions of disconnect, loss, and hopelessness felt in our changing world. Animal subjects share space with common objects to create symbolic connections to our human experience as it relates to the greater natural world.

Alanna DeRocchi is originally from Petersburg, Illinois. She received a BFA from Western Illinois University in 2004, and an MFA from the New York State College of Ceramics at Alfred University in 2010. Since finishing her education, she has participated in several ceramic artist residency programs, including the Clay Arch Gimhae Museum Ceramic Arts Residency in Jilllye, South Korea, and the Archie Bray Foundation for the Ceramic Arts in Helena, MT. She was a 2017 Rasmuson Individual Artist Award recipient and a 2019 Alaska State Council on the Arts Career Opportunity Grant awardee. Her work is inspired by Alaska’s unique wildlife and environment. Alanna is currently a Term Assistant Professor of Ceramics and Studio Technician at the University of Alaska Anchorage.

In these tableaus, animal subjects share space with common objects to create symbolic connections within the human experience and the natural world. Remnants of animal life and taxidermy forms read like souvenirs, a record of a life lost. Preserved as trophies or treasures, animals remain tactile and real, yet still and disconnected. Through their recreation, they are saved from the tragedy of being forgotten. Confronting the animals as lifeless objects, we are forced to acknowledge the presence of death and reflect on our own behaviors.

Even the most mundane of objects can offer reflection when imbued with personal experience and significance. Some evoke meaningful memories, others can hold memories like stains; they haunt. Empty work boots become a poignant reminder of self-worth as you sit idle, removed from a daily routine. Good luck charms can symbolize comfort and hope in times of uncertainty or abandon. A small keepsake, like the rabbit’s foot or the buckeye, are held close and cherished as a wish to gain control of dire or despairing situations.

The creation of this work over the past year originated from overwhelming feelings of desperation and hopelessness. Each composition in Still Life aims to communicate feelings of detachment, longing, loss amongst the need for preservation and connection.

https://alannaderocchi.com/

Virtual Exhibition Tour

Collages | Emily Longbrake

November 26, 2021 Karinna Gomez

Emily Longbrake, *Range Series,* mixed media collage

NOVEMBER 2021
SOUTH GALLERY
Collages | Emily Longbrake

This body of work navigates the landscape and texture of the past 18 months in wood, glass and paper. These experiments with hand-marbled paper, laser-cut birch and art glass in relief and three dimensions reflect an escape into pattern, iteration and nature during a personally and globally tumultuous time. I'm honored by the opportunity to share these explorations.

Emily Longbrake is a born-and-raised Alaskan freelance artist from Anchorage. She finds joy in both analog and digital processes, and she enjoys combining craft and technology in a variety of media. Her work reflects the patterns, lines of connection, and constant change found in nature, and she’s especially inspired by the beauty of the mountains and plants near her home.

emilylongbrake.art

Virtual Exhibition Tour

Recent Works | John Coyne

September 15, 2021 Karinna Gomez

John Coyne, *Summer*, 2021, oil on canvas, 48 x 36 inches

SEPTEMBER 2021
NORTH GALLERY
Recent Works | John Coyne

The isolation and disconnection of the ongoing pandemic fueled my exploration of the natural environment. Observations of places without people in avoidance of physical contact created a space for meditation and introspection. The nightmarish anxiety found a home in the form of cast metal. Taken together, these works examine the complexity of serenity and chaos, and how they exist together.

https://www.johncoyneartist.com/

Cheddar Island and the Shiny Moon | Tamara Wilson

September 15, 2021 Karinna Gomez

Tamara Wilson, *Twelveandseveneighths*, 2021, tile, latex, expanding foam, silicone, construction adhesive, pine, #1 birthday candle, 12 x 12 x 3.5 inches

SEPTEMBER 2021
CENTER AND SOUTH GALLERIES
Cheddar Island and the Shiny Moon | Tamara Wilson

The exhibition Cheddar Island and the Shiny Moon features wall hung and site specific artworks out of a variety of industrial and domestic materials, largely reclaimed, by Fairbanks based artist Tamara Wilson. Works explore ideas of material association and redefinition within our physical space, both present and cosmic.

Artist Statement
My art practice is a mix between site-specific and studio work. I am inspired by domestic spaces, memories, investigations of how things work, daily routines, and industrial materials, but also the need to escape it all and dream. The push and pull of my pragmatic and childish mind fabricate my ideas within my work with the use of craft and industrial materials, such as building supplies, paper and felt.

The act of creating art allows me to combine my formal art education with skills gained through construction work; both fueling the need I have as a maker. Prior to the pandemic, the media attention that women had commanded guided me to take a closer look at how I am manipulating materials and ideas. I create feminine interventions with domestic objects and construction materials, disregarding both the object’s and material’s intended use. I use domestic craft materials traditionally considered feminine, such as thread and fabric and I strip them of their associations by using them just as art material. In parallel, I do the same for masculine aspects of the objects and construction materials I use such as hardwood flooring and electrical components. Within my work these worlds intertwine allowing them to become something new just as the art world does for myself.

I have always idealized the 1960’s and 70’s, so much momentum and change seems romantic. A recent installation, And Tuna, started to question that aesthetic. I have always been overly sentimental and nostalgic, longing for different times. But as an artist and an independent woman this is not a time period to be nostalgic for. This history belongs to my mom, not to me. Her strength and influence is why I am drawn to it. She taught me to be resourceful and that with enough commitment I could accomplish anything. Growing up in Alaska is fundamental in my becoming an artist because of the people like my mother who live here. With this realization I hope to begin to shift out of the past and start to create installations that embrace now and the change that is still needed in order to create an inclusive environment.

Cheddar Island and the Shiny Moon has been created throughout the pandemic growing on previous installations Macaroni and Cheese along with And Tuna. It has been formed through a rise and fall (and an endless repeat) of many emotions and events.

http://tamarawilson.net/

Fantasyland | Stephen Gray

August 19, 2021 Karinna Gomez

AUGUST 2021
Fantasyland | Stephen Gray

Fantasyland is a continuation of my work originating from the deconstruction and recombination of childhood toys. Stylistically in the tradition of comic grotesque, many of the pieces are akin to fetishes or power objects, often exhibiting a perverse humor to them. Stuffed animals and plastic toys are disassembled and reinvented to form strange new creations. Each new “toy” is a remembrance and a resurrection, a mirror to our inner thoughts and motivations.

Stephen Gray originally began working as a self taught artist in the field of photography in the 1980’s. Since that time he has branched out into the mediums of digital collage, sculpture and installation art. Stephen has exhibited his work extensively throughout Alaska and the lower 48 in numerous group and solo exhibitions including solo exhibitions at the Alaska State Museum, Anchorage Museum at Rasmuson Center, and the University of Arizona. His work is in the permanent collections of the Alaska State Museum, Anchorage Museum and the University of Alaska Fairbanks Museum.

Virtual Exhibition Tour

July 2021 Exhibitions

July 19, 2021 Karinna Gomez

Scott McDonald, *Kitchen chairs*, 2021, mixed media on synthetic vellum, 11 x 14 inches

JULY 2021
CENTER GALLERY
Conversations at night with objects | Scott McDonald

This work was done during the long nights of last winter. They are studies of objects and places. When I paint I try not to mediate my decisions, try not to make sense of them. I try to have confidence to follow an inner voice. In my work you’ll see repeated images. I’m interested in the chaos that happens when the same actions are repeated—how they eke out their individuality and take new shape.

Scott McDonald is a life long Alaskan. He tried to leave but always bounced back. Scott lives in Anchorage with his wife, Ashley, and two kids—seven and nine. He currently teaches elementary art for the Anchorage School District. He often spends summers in Homer, Alaska and enjoys the usual things: skiing, fishing, biking.… Scott received his BFA from Minneapolis College of Art and Design and an MAT from Alaska Pacific University.

scottmcdonaldart.com

Ewelina Skowronska, *that's me, that's me, that's me,* from *if not, winter* series, 2019, limited edition hand pulled screen print on Japanese Izumi paper with airbrush on selected elements, 50 x 70 cm

JULY 2021
NORTH GALLERY
Fragments of Beauty | Ewelina Skowronska

Ewelina Skowronska. Photo credit: Maciej Komorowski.

The self is as puzzling concept as mental, mind, and consciousness, however we all are sure that we have our own distinctive self. But is it really ours? Created during our live through deliberated choices? Or maybe there are also different pieces, the remains that influence who we are?

Reading fragments of poems written by Sappho, the earliest and most famous Greek woman poet, living and creating around 600 BCE on the island of Lesbos, make me wonder about what is absent and what is present in the idea of self. Out of around 10,000 lines of Sappho poetry only 2 full poems survived, the rest what we have access today is just fragments. Small pieces of text, the unknowns, missing gaps … but also an opportunity for new personal interpretations.

“if not, winter” is body of work created mostly during artist residency at Shirakino Art Village in Minamishimabara, early in 2020. The series, inspired by fragments of Sappho - lyrics depicting feminine beauty, desire and rejecting the world of masculine warfare - explores issues connected with gender, identity, sexuality and the body. Drawing from personal experience, Ewelina Skowronska touches subjects connected with the experience of living within the body, and the ways gender and sexuality intersect to form complex identities. Much is left to the imagination while working with the fragments of Sappho however, thinking about language, as being both shared and personal, what are the new meanings and connections we could take for ourselves? Especially now, during such an uneasy time with the uncertain future.

Visual artist and printmaker (b. 1980 in Poland, currently lives and works in Tokyo). After having an accomplished career in advertising, Ewelina decided to fully dedicate herself to art in 2013. She retrained and studied visual arts at University of the Arts London where she graduated with distinction in 2015. The female body is at the forefront of Ewelina’s prints and ceramic sculptures, exploring issues connected with gender, identity, sexuality and the body. She draws from her personal experience touching subjects connected with the experience of living within the body, as well as the way race, gender, and sexuality intersect to form complex identities. Ewelina’s work has been exhibited in London, Ireland, USA, Canada, Poland, and Japan. In 2017, she was awarded the Print Prize by ST Bridge Foundation, and in 2018 she was shortlisted for Ashurst Emerging Artist Prize 2018. Her prints are in the collection of VA Museum London; Spiral Wacoal Art Foundation, Tokyo, Japan; Guanlan Printmaking Museum, China and many more.

ewelinaskowronska.com

Alaska Bookmobile. Photo by Michael Conti.

JULY 2021
SOUTH GALLERY
Floor Show | Alaska Bookmobile

The Floor Show features prints by artists that were invited to carve scraps of linoleum leftover from a recent project to replace the Alaska Bookmobile’s 20 year old carpeting with linoleum. The Alaska Bookmobile is a mobile free library / venue on wheels. A 23 foot bus, built to be a library, the Bookmobile retired from service in 2018, after 20 years at the Allegany Library in Pennsylvania, and moved to Alaska in the Fall of 2019, now calling Anchorage home. It offers free art supplies, books and other media. The Bookmobile is also available to help with a variety of types of projects & events, offering access to our growing list of resources.

Artists: Tara Devlin, Bryce Nicolasa Fredrick, Brian Hutton, Sheila Kratzer, Scott McDonald, Tommy O'Malley, Jessica Thornton, Levi Werner and Thalia Wilkinson. Curated by Jimmy Riordan.

akbookmobile.com

Virtual Exhibition Tour

June 2021 Exhibitions

June 11, 2021 Donna Carr

Mariano Gonzales. *Non Fungible Trinity.* Digital print construction. 28 x 30 inches

JUNE 2021
CENTER AND SOUTH GALLERIES
Artifacts and Fictions | Mariano Gonzales

These works, consisting mostly of images that were created in 2020-21 as well as a few from years past, are manifestations of Mariano's current interest in using digital technology as a studio tool to produce tangible artifacts, giving shape and substance to purely “virtual” concepts.

Artist Statement
This collection of work is mostly images that were created in 2020-21 as well as a few from years past. These works are manifestations of my current interest in using digital technology as a studio tool to produce tangible artifacts, giving shape and substance to purely “virtual” concepts.

Mariano Gonzales is the coordinator of illustration and printmaking and has taught foundation, photography, digital arts, metalsmithing, sculpture and painting courses at UAA. He has conducted numerous art workshops and lectures throughout Alaska. He has exhibited extensively in Alaska in both solo and group exhibitions. In 2015, Gonzales had a solo exhibition of his work entitled “A Man in the Shadows” at the Anchorage Museum at Rasmuson Center. He was honored as the "Outstanding Individual Artist," 2010 Anchorage Mayor’s Awards for the Arts, and received the "Excellence in Photography" award in 2004 from the Alaska Photographic Society. His work is featured in collections at the Anchorage Museum at Rasmuson Center, the Alaska State Museum in Juneau, the University of Alaska Fairbanks (UAF) Museum, and the School of Business at UAA. Gonzales has also served as a panelist in many symposia on Alaskan Art, and as a tertiary reviewer for the educator’s program - SIGGRAPH ASIA. He was featured in an article in Tikkun, Fall 2012, entitled “A Salvo Against War, Torture and Racism, the Art of Mariano Gonzales” by Paul Von Blum.

Jennifer Sonne. *Adventure Awaits.* Oil on canvas. 36 x 48 inches

JUNE 2021
NORTH GALLERY
Outstanding Opportunities for Solitude | Jennifer Sonne

In 2019, Jennifer spent eight days kayaking deep within an uninhabited area of Southeast Alaska, where she was sensorially inspired by what she saw, heard, smelled, and felt emotionally. Her paintings offer a macro and micro view of the living shores of Tebenkof Bay in the Tongass National Forest.

Jennifer Sonne is an artist and outdoor enthusiast living and working in Alaska. She loves the beautiful contrasts in this state, from the cold, dark winters to the bright, energetic summers. From the seas below to the staggering mountains, this place has endless inspiration.

She began painting as a self-taught artist but realized she had much more to learn to be able to capture the beauty of Alaska the way she intended to. She enrolled in the art program at UAA in 2016, and that has allowed her to take her work to the next level, empowering her to turn her hobby into something a little bigger.

Website: Jennifersonneart.com

Virtual Exhibition Tour

May 2021 Exhibitions

May 18, 2021 Donna Carr

Carol Lambert, *Perseverance*, 2020, Soft ground etching on Somerset 250 gsm paper, 8 x 10, Edition of 8

MAY 2021
CENTER GALLERY
Perseverance | Carol Lambert

Perseverance is about getting through life, especially the hard parts. In 19 etchings, mostly in color, we see characters responding to situations with strength, patience, energy, imagination, and sometimes resignation. In other words, they are very much like us.

Screen Shot 2021-05-14 at 12.27.16 PM.png — Portrait of the artist, courtesy the artist

Carol Lambert studied art at the American College (now the American University) in Paris, and in 1969 earned her BA in Art and Art History at Brown University. She completed an MA in Counseling Psychology though Goddard College in 1973, and a PhD in Clinical Psychology at Fielding Graduate Institute in 1999. From 2000 to 2015 she continued her training in painting, drawing, and printmaking at several schools, including Grand Central Academy and the Art Students League in New York. In 2016 she began attending workshops at Crown Point Press in San Francisco and has concentrated on intaglio printmaking since then. She has lived in Alaska since 1979.

carollambertarts.com

Natalie Baxter, *House of Bread,* 2021, Fabric, found quilt, graphic t-shirt, laundry bag, dish towels, fabric, cotton batting, 44 x 66 inches

MAY 2021
NORTH GALLERY
Homefront | Natalie Baxter

In the past year, our homes have simultaneously become bunkers and battlefields. An oversized housecoat, plush assault rifles, quilts, and show ribbons make up the work in Homefront, an exhibition by Natalie Baxter that explores the complexities unveiled by the pandemic.

Screen Shot 2021-05-14 at 12.50.52 PM.png — Portrait of the artist, courtesy the artist

Natalie Baxter (b. 1985, Lexington, Kentucky) explores concepts of place-identity, nostalgic americana, and gender stereotypes through sculptures that playfully push controversial issues. Natalie received her MFA from the University of Kentucky in 2012 and a BA in Fine Art from the University of the South in Sewanee, TN in 2007. Her work has been exhibited in galleries and museums internationally with recent shows at Intersect SOFA Chicago with Elijah Wheat Showroom (Newburgh, NY), Birmingham Museum of Art (Birmingham, AL), Spring/Break Art Show with Gloria’s (New York, NY), Material Art Fair with Beverly’s (Mexico City, MX), Institute 193 (Lexington, KY), Yale University (New Haven, CT), and Brandeis University (Waltham, MA). She has been an artist in residency at the Wassaic Project, a fellowship recipient at the Vermont Studio Center, and twice awarded the Queens Art Fund Grant. Press for Baxter’s work includes, The New York Times, The Boston Globe, Hyperallergic, The Guardian, and Bomb Magazine. She is currently a resident at The Wassaic Project in Wassaic, NY.

nataliebaxter.com

Sharon Trager, *Coffeehouse Sketch #1*, Graphite on paper, 8 x 10 inches

MAY 2021
SOUTH GALLERY
A Daily Practice – Coffeehouse Sketches | Sharon Trager

Anonymous, trying not to disturb my subject’s space, I am looking at light, shadow, form, gesture, movement. I draw, making a distinct effort to be sensitive to myself while keeping a concentrated observational focus on what I see. It is a practice, therefore results vary but I am most satisfied when I achieve a sensitivity of character and spirit in the drawing.

Screen Shot 2021-05-14 at 12.38.06 PM.png — Portrait of the artist, courtesy the artist

Sharon is an Anchorage based artist. She received a BFA from Eastern Michigan University and had a long career as an art educator.

Her mixed media collage work and painting have been exhibited in several of the All Alaska Biennial exhibits and various juried exhibitions.

The past several years have been devoted to advancing her proficiency in figurative work with a concentration in classical painting and drawing.

She is active in several live model drawing and painting groups here in town and continues to work with master artists in the field.

sharontrager.com

Virtual Exhibition Tour

2021 Members Exhibition

March 15, 2021 Karinna Gomez

MARCH 2021
IGCA Members Exhibition

Thank you to the artists that included their recent work in the 2021 IGCA Members Exhibition:

Behind the Eight Ball Enterprises
Elizabeth Belanger
Kayo Bogdan
Linda Brady Farr
Abby Brown
Marisol Bundtzen
Randall Carlson
Joseph Richard Carr
Sharlene Cline
Nathalie Collins
Michael Conti
John Coyne
Monica Devine
Robert Eastaugh
Shiree Farmer
Gideon Gerlt
Ann Gray
Annekathrin Hansen
Deborah Hansen
Martin Hansen

Lesley Harrison
Judith Hoersting
Esther Hong
Scharine Kirchoff
Matt Klinn
Jonathan Lang
John Letourneau
Emily Longbrake
Linda Lucky
Shiela Mahaney
Kim Marcucci
Iryna McCoskey
S. Hollis Mickey
Don Mohr
Richard Murphy
Monica O'Keefe
Karen Olanna
Nathan Perry
David Pettibone
Elissa Pettibone

Tami Phelps
Marybeth Printz
J Reto
James Robson
Becca Rorabaugh
Alex Rydlinski
Randall Simpson
Mikhail Siskoff
Becky Stephan
Andriana Strezoski
Addie Studebaker
Christine Sundly
Shoko Takahashi
Sandra Talbot
Sharon Trager
Ronald Viol
Jen Wang
Lee Waters
Gretchen Weiss-Brooks

Virtual Exhibition Tour

Chlorine Aqualung and other works produced during a pandemic | Graham Dane

February 14, 2021 Karinna Gomez

FEBRUARY 2021
Chlorine Aqualung and other works produced during a pandemic | Graham Dane

It’s been a difficult year for us all but throughout the societal, political and viral concerns/fears I and my wife - the love of my life - Linda Infante Lyons have continued to paint. It helped us maintain sanity amidst the chaos and uncertainty, gave us order and continuity, our studios being safe havens.

The British painter Howard Hodgkin said it well – and I’s something I can certainly understand – when he said, “When I finish a painting, it usually looks as surprising to me as to anyone else." All of this work was completed since January 2019. Much of it might’ve started some time back but everything was finished under the damoclesian threat of corona virus.

In the past I’ve written or talked about the similarities between the way that jazz/blues musicians improvise and how I paint, of how music is the most abstract art of all; why I believe abstract painting is the visual equivalent. I can quote Kandinsky, Paul Klee and Mark Rothko, discuss chaos theory, alchemy, The Sublime and/or my visual sources, of how they’re used, inform and translated into what I need . . . but I won’t.

In recent months I found myself realizing that no one really expects a musician to talk about what they do nor justify it. So, if it’s good enough for them it’s good enough for me.

Like it . . . or not.

Engage or distance.

Your choice.

www.grahamdane.com

“Forever on the edge . . . of forever”  (2018-21)              acrylic, latex, oil pastel and oil stick on cotton twill 27 x 47 inches

“Recall to Adventure” (2018-21) acrylic, latex, oil pastel and oil stick on cotton twill 27 x 47 inches

“Paradoxical exercises regarding the thinking of stones“  (2015-18, re-worked 2020-21) acrylic, latex, oil pastel and oil stick on canvas and MDF 22 x 50 inches

“The burden of always being right II”  (2019-21)  (as in number 2 but use the Roman numeral equivalent) acrylic, latex, oil pastel, oil stick and pencil on canvas 30 x 48 inches

“Chlorine Aqualung”  (2016-20) acrylic, latex, oil pastel, oil stick and collage on cotton twill Overall 28½ x 34½ x 1½ inches

“Penitent too” (2015-16, re-worked 2019-21) acrylic, latex, oil pastel, oil stick and pencil on canvas and wood Overall 30 x 45 inches

“Random little acts of kindness” (2015-20) acrylic, latex, oil pastel, oil stick, china marker, pencil, collage and staples on paper mounted on MDF 20 x 31¾ inches

“Terra Incognita (here be monsters?)”  (2015-16, re-worked 2020) acrylic, latex, oil pastel, oil paint, pencil and collage on cardboard and timber 19 x 33¾ inches

“Flesh was our reason” (2015-17, reworked 2020) acrylic, oil pastel, pencil and collage on wood 24 x 36 inches

“The ways of lost peoples III” (2015-16, re-worked 2020-21) acrylic, latex, oil pastel, oil stick and pencil on canvas 24 x 36 inches

“Matter, anti-matter and doesn’t matter” (2015-16, re-worked 2021) acrylic, latex, oil pastel, oil stick, china marker, pencil and collage on canvas and MDF 24 x 48 inches

“Primitive urges” (2019-21) acrylic, latex, oil pastel, oil stick and pencil on canvas and wood 23 x 69¾ inches

Small study #1 (2020) pencil and oil pastel on paper 5 x 8 inches

Small study #2 (2020) pencil and oil pastel on paper 5 x 8 inches

Small study #3 (2020) pencil and oil pastel on paper 5 x 8 inches

Small study #4 (2020) pencil and oil pastel on paper 5 x 8 inches

“The Shape of Things to Come” (2020) charcoal, compressed charcoal, oil pastel, oil stick, chalk and pastel on paper Overall 40 x 40 inches

Pandemic drawing #27 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #31 (The secret language of bees) (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #45 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #49 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #52 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #53 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #58 (What will we do without us?) (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #66 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #72 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #73 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #77 (Hansel and Gretal) (2020) charcoal, compressed charcoal and mixed media on paper 13½ x 10½ inches

Pandemic drawing #81 (Burning from the inside out) (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

Pandemic drawing #86 (2020) charcoal, compressed charcoal and mixed media on paper 10½ x 13½ inches

After Rembrandt’s Faustus #1, #4, #7 and #9 graphite on paper 6 x 8½

“Flights of fancy” (2020) acrylic and latex on wood, MDF and sintra Dimensions variable

Virtual Exhibition Tour

I Protest | Michael Conti

January 15, 2021 Karinna Gomez

*James Morrow at BLM, Palmer, AK* by Michael Conti

JANUARY 2021
CENTER GALLERY
I Protest | Michael Conti

The images in I Protest were made with anger and desperation and anxiety and hope, from both subject and photographer. This document records expressions of dissent and peaceful protest by people across cultures and borders and classes and genders, in word and deed, individuals and groups, in both public and private.

Artist Statement
The First Amendment of the United States Constitution declares that Congress shall make no law respecting an establishment of religion or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.

In the spirit of that document, these images record the expressions of dissent and peaceful protest by people across cultures and borders and classes and genders, in word and deed, individuals and groups, in both public and private.

These images were made with anger and desperation and anxiety and hope, from both subject and photographer. There was a shared sense of purpose in these voices of dissent against violence and oppression and environmental destruction and economic exclusion and disenfranchisement.

This series of images were made in 2016 going forward. It is fitting that they should show four years later in January of 2021.

Artist Bio
Michael Conti is a photographer, mixed media and video artist based in Anchorage, Alaska. He earned a BFA from the University of Alaska Anchorage and an MFA from Lesley University College of Art and Design. In 2016 he mounted a solo exhibition at the Anchorage Museum of History and Art at Rasmuson Center. His video work has been shown at the Nam June Paik Art Center in Seoul, South Korea, ContainR at the Winter Olympics in Vancouver, Canada and won awards at the Anchorage International Film Festival. In May and June of 2016 he was an artist in residence at the Santa Fe Art Institute.

He received a project award from the Rasmuson Foundation in both 2006 and 2015 and is a Connie Boocheever Fellow from the Alaska State Council on the Arts in 2011. He presently teaches printmaking, photography and video art at the University of Alaska Anchorage.

www.conti.biz

Women’s March, Inauguration Day, Anchorage, AK, 2017

Erin Jackson, Black Lives Matter March, Palmer, Alaska, 2020

Dunleavy Shame Mask, Anchorage, AK, 2019

Student’s Climate Strike, Anchorage, Alaska, 2019

Extinction Rebellion Signage, Student Climate Strike, Bruce Farnsworth, Anchorage, AK, 2019

Selfie/Groupie, Override the Veto Rally, Anchorage, AK, 2019

Island Women Rise, Natalia Roxas, Mauna Kea, Hawaii, 2019

Shot by US border agents from across the Rio Grande, Memorial and Vigil, Nuttaphol Ma, Juarez, Mexico, 2016

Recall Dunleavy signature gathering, Erin Jackson, Anchorage, AK, 2019

The People, Black Lives Matter, James Morrow, Palmer, Alaska, 2020

#ripAKarts, Save Our State, Sarah Ayaqi Whalen Lunn, Anchorage, Alaska, 2019

Pissing on the Border Wall, Mauricio Esquivel, Juarez, Mexico, 2016

Teacher Occupation, Oaxaca, Mexico, 2018

Signs, First Women’s March, Anchorage, Alaska, 2017

Save Our Future, Save our State, Anchorage, Alaska, 2019

Occupy Mauna Kea, The Big Island of Hawaii, 2019

What the Fucking Fuck, Reykjavik, Iceland

Patriarchy Ball and Chain, Women’s March, 2017

Rebel, Refuse, Reject this System, Gunnthor Sigurdsson, Reykjavik, Iceland, 2017

Protect Mauna Kea, Mauna Kea, The Big Island of Hawaii, 2019

World Map Umbrella, Student Climate Strike, Anchorage, Alaska, 2019

I’m with Her, Women’s March, Anchorage, Alaska, 2017

Override the Vetos, Save Our State, Anchorage, AK, 2019

Virtual Exhibition Tour

Nordic Light and Darkness | Kim Jansson and Josefine Östberg Olsson

January 15, 2021 Karinna Gomez

JANUARY 2021
NORTH GALLERY
Nordic Light and Darkness | Kim Jansson and Josefine Östberg Olsson

Working across video and fabrics Nordic Light and Darkness, the two Swedish based artists first show together, revolve around this sort of situation-based logic, where both the landscape and cars works as amplifiers of the situation. In this exhibition through act of cleaning an internal combustion engine and a hunt for the first Sun after the polar night.

Statement from the artists:
We wanted to go to Alaska to experience and inhale the logic woven into the car launch event in Glacier View on 4th of July. Twice these last two years, we’ve booked plane tickets, both times it was cancelled. First time due to a financial crisis on a personal level, and the second was due to Covid19. The starting point of our now two-year long collaboration was this event in Glacier View, with the monumental Alaskan landscape as backdrop, and the name Glacier View, setting the mood, concept and title. Then... cars flying through the sky... Like the final scene in Thelma and Louise (1991), on repeat.

Josefine Östberg Olsson holds an MA degree in Fine Art, Valand Academy (2016). Östberg Olsson works mainly through performance and has exhibited at several galleries in Sweden and is represented in collections both in Sweden and internationally.

In Fluid and Dirt, a series of digitally printed fabrics, the motifs have emerged through the physical act of thoroughly cleaning a V8 engine, a performance by Östberg Olsson that lasted for 4 days, through layers of dirt, engine oil, gearbox oil, and other car-related liquids. The cloths have later been printed digitally on textiles, creating the distance needed from smell and stickiness to turn the motifs into images, resulting in abstract landscapes of darkness and light on cotton cloth, images of a heart-breaking goodbye, when she decided never to drive a combustion engine again.

Östberg Olsson writes: “Feeling a roaring V8 setting off at full speed gives me goosebumps, and through my performance practice I have, until now, driven a V8 engine many times. For me it’s about desire, a desire for risk-taking at full speed, all summed up in the car...”

www.josefineostbergolsson.se

Kim Jansson is a video based artist and holds a BFA degree in Fine Art, Valand Academy (2016). Her short documentary The Family Farm has been shown at several international film festivals including Anchorage International Film Festival in 2019.

Driven by a deep interest in traveling to remote places in the north, Kim Jansson has travelled by sea to the fishing village Berlevåg in the Arctic part of Norway. In Jansson’s video From Darkness, the viewer meets the sun after its return from the long-lasting polar nigh. A short glimpse of the sun is visible, as it emerges from behind the clouds.

Jansson writes; “Last winter I went on a five-day boat journey to Berlevåg. I wanted a slow way of travel, allowing me to adapt to the changes of the landscape along the Norwegian coast. I had a strong wish to be in Berlevåg when the sun came back after the polar night, as its breaking out of the dark. A manifestation of the polarities between light and darkness. This is as far as one can get on the Scandinavian mainland, it really feels like being at the end of the world.”

www.josefineostbergolsson.se

JULY 2022As Seen on the Radio

Virtual Exhibition Tour

JUNE 2022CENTER AND NORTH GALLERIESLux Botanica | Vanessa Powell

Virtual Exhibition Tour

JUNE 2022SOUTH GALLERYCubist Portraiture | Shiela Mahaney

Virtual Exhibition Tour

MAY 2022NORTH GALLERYThe Site of Landscape | Rachel Mulvihill

Virtual Exhibition Tour

MAY 2022CENTER AND SOUTH GALLERIESAfter Image | Carla Klinker Cope

Virtual Exhibition Tour

APRIL 2022IGCA AnnexSeasoned Soul | Rose Hendrickson

MARCH 2022IGCA Members Exhibition

Virtual Exhibition Tour

FEBRUARY 2022GroundTRUTH | Klara Maisch

Virtual Exhibition Tour

NOVEMBER 2021CENTER AND NORTH GALLERIESStill Life | Alanna DeRocchi

Virtual Exhibition Tour

NOVEMBER 2021SOUTH GALLERYCollages | Emily Longbrake

Virtual Exhibition Tour

SEPTEMBER 2021NORTH GALLERYRecent Works | John Coyne

SEPTEMBER 2021CENTER AND SOUTH GALLERIESCheddar Island and the Shiny Moon | Tamara Wilson

AUGUST 2021Fantasyland | Stephen Gray

Virtual Exhibition Tour

JULY 2021CENTER GALLERYConversations at night with objects | Scott McDonald

JULY 2021NORTH GALLERYFragments of Beauty | Ewelina Skowronska

JULY 2021SOUTH GALLERYFloor Show | Alaska Bookmobile

Virtual Exhibition Tour

JUNE 2021CENTER AND SOUTH GALLERIESArtifacts and Fictions | Mariano Gonzales

JUNE 2021NORTH GALLERYOutstanding Opportunities for Solitude | Jennifer Sonne

Virtual Exhibition Tour

MAY 2021CENTER GALLERYPerseverance | Carol Lambert

MAY 2021NORTH GALLERYHomefront | Natalie Baxter

MAY 2021SOUTH GALLERYA Daily Practice – Coffeehouse Sketches | Sharon Trager

Virtual Exhibition Tour

MARCH 2021IGCA Members Exhibition

Virtual Exhibition Tour

FEBRUARY 2021Chlorine Aqualung and other works produced during a pandemic | Graham Dane

Virtual Exhibition Tour

JANUARY 2021CENTER GALLERYI Protest | Michael Conti

Virtual Exhibition Tour

JANUARY 2021NORTH GALLERYNordic Light and Darkness | Kim Jansson and Josefine Östberg Olsson

Virtual Exhibition Tour

JULY 2022
As Seen on the Radio

JUNE 2022
CENTER AND NORTH GALLERIES
Lux Botanica | Vanessa Powell

JUNE 2022
SOUTH GALLERY
Cubist Portraiture | Shiela Mahaney

MAY 2022
NORTH GALLERY
The Site of Landscape | Rachel Mulvihill

MAY 2022
CENTER AND SOUTH GALLERIES
After Image | Carla Klinker Cope

APRIL 2022
IGCA Annex
Seasoned Soul | Rose Hendrickson

MARCH 2022
IGCA Members Exhibition

FEBRUARY 2022
GroundTRUTH | Klara Maisch

NOVEMBER 2021
CENTER AND NORTH GALLERIES
Still Life | Alanna DeRocchi

NOVEMBER 2021
SOUTH GALLERY
Collages | Emily Longbrake

SEPTEMBER 2021
NORTH GALLERY
Recent Works | John Coyne

SEPTEMBER 2021
CENTER AND SOUTH GALLERIES
Cheddar Island and the Shiny Moon | Tamara Wilson

AUGUST 2021
Fantasyland | Stephen Gray

JULY 2021
CENTER GALLERY
Conversations at night with objects | Scott McDonald

JULY 2021
NORTH GALLERY
Fragments of Beauty | Ewelina Skowronska

JULY 2021
SOUTH GALLERY
Floor Show | Alaska Bookmobile

JUNE 2021
CENTER AND SOUTH GALLERIES
Artifacts and Fictions | Mariano Gonzales

JUNE 2021
NORTH GALLERY
Outstanding Opportunities for Solitude | Jennifer Sonne

MAY 2021
CENTER GALLERY
Perseverance | Carol Lambert

MAY 2021
NORTH GALLERY
Homefront | Natalie Baxter

MAY 2021
SOUTH GALLERY
A Daily Practice – Coffeehouse Sketches | Sharon Trager

MARCH 2021
IGCA Members Exhibition

FEBRUARY 2021
Chlorine Aqualung and other works produced during a pandemic | Graham Dane

JANUARY 2021
CENTER GALLERY
I Protest | Michael Conti

JANUARY 2021
NORTH GALLERY
Nordic Light and Darkness | Kim Jansson and Josefine Östberg Olsson