Defining MULTIPLE Points of View

October 19 - December 5, 2009
Reception: Friday, November 20, 5 - 7 P.M.

Gallery Hours: Mon. - Thurs., 12:30 - 3:30, Fri. - Sat. 12:30 - 5:30 PM


Amy Fleming, Clint Shaw, David McLeish, Jessica Gatlin, Kabuya Bowens, Rhonda Thomas

Curated by Prof. Kabuya P. Bowens, Florida State University
Tallahassee, Florida

The long history of printmaking has produced various processess that involve technical skill and science.  Today
printmaking continues to hold its plac in our fast moving technological environment actively engaging art forms and art fourm discussions.  Printmaking's significance is that it's reproductive.  Creating editions is the ususal course, however sometimes that very reproductive quality suggests to some that printmaking is not equal to other mediums used in contemporary art practice.  This exhibiition Defining MULTIPLE Points of View highlights my research interest, which is to critic the use of the 'multiple' and its current useus in all media by contemporary artists and in particular, its use in art installations.
The artists in this exhibition are former MFA graduate students I worked with at Florida State University.  The artwork is both two and three-dimensional and sometimes interdisciplinary in apporach.  How each artist makes use of the 'multiple' is different. It is the way in whch the multiple functions to give context to the artists ideas.  Whether the result is an installation, a single, or group of objects is the 'point of view' in this exhibition.  It is clearly seen here that contemporary artists have relinguished the edition in order to open the way to more innnovative and experimental practices.
The points of view in each of these artists' works present differences.  In the works of Clint Shaw and Jessica Gatlin, the multiple is presnted through the repetitious layering of wood in Gatlin's contruction.  Shaw's drawing of the flattened car image creates a playful illusion of how e might view the layered cars in a junkyard.  Shaw's pen and ink drawings of multiple stacking of cars merge bold linear abstractions of blacks and whites.  Gatlin's geometric stacking of would builds a kind of puzzle canvas that creates a compsite image.  Both artists confront the viewer with a magical twist of line and form that we recognize and visually weave together.   The work of Amy Fleming is a multiple that uses various jprocesses s andmaterials.  Her work is not simply a collage; her piece has painterly qualities, which together with printed papers are  are layerd to blend into one final image.  David McLeish's sculptural works are interstingly the result of a ply on social issues of poervty and desperation. Rhonda Thomas' multi-panel work is a good example of the overall multiplicity on which this exhibit is based; repetition of form and image occurs within each panel and across the nine panels.  Defining MULTLIPLE Points of View is an exciting play on how repetition of an object or obhects can enhance the meaning of a work of art. 
Kabuya P. Bowens
Association Professor of Art
Florida State University