Archive | 2010 Exhibitions

Elizabeth M. Claffey recipient of Emerging Artist Exhibition Grant


Abecedarian Gallery is pleased to announce the result of the 2010 Emerging/Student Artist exhibition grant.


Elizabeth M. Claffey is the artist selected from the applicants  by gallery director Alicia Bailey. Her work considers physical deterioration and the relationship between medical science and life experience. Elizabeth is a photographer and book artist pursing an MFA at Texas Woman’s University.


She states:


I have great faith in photography and human nature.  I believe that a photograph can tap into the most protected part of a person, where the vulnerability lies and the barriers break down to give way to understanding.  I try to focus my camera on the moments “in between,” those everyday situations that, separate from life’s climactic events, make up the moments that we often overlook even while pushing through them.  These are the moments that can reveal the truths of our nature, nurture, and circumstance, that allow subject, viewer, and photographer to relate.


This work is inspired by the content of a found object, as well as by my folkloric inheritance, which often describes the physical experiences of family members and ancestors. Through personal narrative, this series comments on broader issues of physical intimacy, trends in medical science that can have permanent effects, and the meaning of the body in a familial context.


Merck’s Manual 2


Her work has been recognized by PDN Magazine, Project Basho Gallery and various other galleries and publications including The Chronicle of Higher Education, USA Today, The Dallas Morning News, and The Kinsey Institute.


On display are 4 of the 5 books in the Medical History series (the 5th is part of the traveling Photo Book Works exhibition which will be on view in 23 Sandy Gallery, Portland, Oregon through February). A catalog of the exhibit is available here. The series utilizes medical texts and reference books to explore family history and folklore through the juxtaposition of words, photographs, and pre-existing text.

Woman’s Surgeon 1


Also included are 8 images and a 28 image artists book from the series Remember Me.



Remember Me is a project that explores the deterioration of physical existence and the changing lines, shapes, and textures of the human body. The images are made clinically, creating a physical closeness that is not sexual or familial, but rather scientific, suggesting a detached intimacy most often known by doctors. Despite the clinical approach to the image making, the subject inspires thoughts and memories that survive and even transcend physical being.


ec 1.JPG


Selections from a larger series Medical Record are installed in the center of the Reading Room These works are human scale images printed on hospital gowns. Claffey’s choice to present these images in this way makes avoidance of the reality of the aging body impossible for any who wander into the Reading Room during her exhibition.

My personal favorite of the works are the series of 4 Petri Portraits, each a a photographic image with an additional splash of color presented in a Petri dish. The dishes rest on elegant white columns, lit from within letting these works glow with a diffuse but steady illumination.

Abecedarian Gallery will continue offering this grant to eligible student/emerging artists on an annual basis. To help support this project, the gallery is offering a wide range of hand-pulled artist prints created by artists throughout the United States for $15 each during the month of January. Those unable to visit the gallery are invited to peruse some of the online offerings available for purchase here.


Photo Book Works

in the Reading Room October 1 – 30, 2010

Merck’s Manual 2

Photo Book Works is an international exhibition of artists’ books incorporating photography as a primary element. Photo Book Works was juried by Mia Semingson whose exhibition 39+ is on view in the main gallery. For this exhibition, Semingson selected the work of 31 artists from the United States, Great Britian, Switzerland and Australia.
Images of the works in the exhibit can be viewed here

Included in Mia’s statement are the following remarks:

“The artists included in this exhibition bring their images back to the tangible realm and weave visual stories not just with images, but with the materials they have chosen and the structure that houses their work. All of these ingredients deliver the artist’s concept to the viewer.
As technology changes and upgrades, as we reach deep into our pockets to purchase the next version of Photoshop, one thing remains and will remain a constant – the book. And I will defend books to my death – they are a technology that is here to stay, a wonderful constant presence in a rapidly changing world.”

Oneiro 2

Photo Book Works includes work by the following artists:

Adam Milner, Boulder, Colorado;
Aileen Bassis, Jersey City, New Jersey;
Al Rodríguez, San Diego, California;
Anna Mavromatis, Houston, Texas;
Bessie Smith Moulton, Falmouth, Maine;
Charles Hobson, San Francisco, California;
Cristina de Almeida, Bellingham, Washington;
Elizabeth M. Claffey, Denton, Texas;
Elsi Vassdal Ellis, Bellingham, Washington;
Ginger Burrell, San Jose, California;
Jill Timm, Wenatchee, Washington;
John Watson, Springfield. Oregon;
Judith Hoffman, San Mateo, California;
Kelly O’Brien, Alexandria, Virginia;
Laura Russell, Portland, Oregon;
Lauren Henkin, Portland, Oregon;
Lee Steiner, Pearland, Texas;
Louise Levergneux, Salt Lake City, Utah;
Mary Jane Henley, Tucson, Arizona;
Mary L. Taylor, Marshfield, Massachusetts;
Megan Adie, Basel, Switzerland;
Monica Oppen, Sydney, Australia;
Paula Jull, Pocatello, Idaho;
Philip Zimmermann, Tucson, Arizona;
Sabina U. Nies, Ashland, Oregon;
Sally Waterman, London, United Kingdom;
Scott K. Murphy, St. Joseph, Minnesota;
Steve Kostell, Chapaign, Illinois;
Thomas Finke & Jean Buescher Bartlett, Denver, Colorado & Ann Arbor, Michigan;
Victoria Bjorklund, Tacoma, Washington

39+ What Comes Around Goes Around

October 1 – 30, 2010

Days into years, Day 39

an exhibition by Mia Semingson
39+ presents 366 images from a year-long photographic project.

“I turned thirty-nine on May 7, 2009 and I documented my 40th year of life by photographing every day. I used a “point-and-shoot” style digital camera to collect a series of snapshots to visually document and communicate the progression of this year of my life. As part of my project each day’s image references the previous day, either visually or conceptually. The project ended on my 40th birthday, May 7, 2010. The entire project can be viewed here.

Prior to my 39th birthday I had confronted myself many times with the concept of living in the present moment instead of looking to the past or the future as the present moment ticked by. I have since decided to change my thought process, to slow time down with the aid of a digital camera, and become sensitive to the present moment by literally seeing and photographing what is in front of me.

This old house, Day 145

The idea of the snapshot aesthetic is often considered to be amateurish or imperfect since snapshots tend to be shot quickly or spontaneously, formally lacking artistic or journalistic intent. Eastman Kodak first introduced the concept of the snapshot in the 1900’s by putting the Brownie Box Camera into the hands of common people. Kodak marketed the camera by encouraging users to capture moments in time without being overly concerned with producing perfect imagery. “You press the button and we do the rest” is their familiar slogan.

The new digital snapshot camera continues this democratic idea of easy photography for the average consumer. According to a recent study from the Consumer Electronics Association (CEA), 77% of American households now own at least one digital camera.

Losing, Day 36

The other aspect of this project that I am exploring is the idea of the “third effect.” A visual dialog occurs when one photograph is visually paired with another. Although the meanings of the individual images are preserved, a third meaning that is highly subjective shifting and enigmatic is produced. It can be compared to the relationship between mise-en-scene and montage in film. Gestalt psychologists have labeled this cognitive experience to seeing isolated parts connected to a larger whole as “closure.” I am pushing this idea by exploring what happens when the viewer is confronted with 366 “paired” images. I see this visual connection as a metaphor for life itself- a build-up of experiences over the course of a year represented by the relationship of the images I have chosen each day”.

Not a girl, Day 21common object, common site, Day 6

The resulting series of images, particularly when presented in book form as they are in this installation, successfully walk the line between presenting Semingson’s personal vision and images that have universal appeal with their evocation of sensations both comfortable and familiar. Also on display is a selection of framed digital inkjet prints.

Mia Semingson works in a variety of media including photography, video, performance, sculpture, and artists’ books. She received her MFA in photography and electronic media from the University of Colorado at Boulder. She was an instructor in the department for 11 years. Currently she is the new owner of Two Hands Paperie in Boulder, Colorado. Her work has been exhibited throughout the US and in Colombia, Mexico, Guatemala, and France.


Interior Markings

Ivory Lithics; detail 1

Interior Markings, a Reading Room Exhibition, is an invitational exhibition featuring artists’ books that have hand-drawn content as a primarily element in their production.

Field Studies: Arnica gracilis  (We Know Why); detail

On view July 1 – August 7, 2010
How to Distinguish Scents; pagesRepresented are artists from the United States and Italy. The exhibition includes both limited edition works alongside limited edition works.

Burning Me Open; pages

Clicking on above images will take you to a flickr page with full information about the artwork pictured, as well as other works by the same artist.

Clicking on the name from the artists’ list below will take you to their website.
Alicia Bailey, Aurora, Colorado
Alicia Griswold, Atlanta, Georgia
Andie Thrams, Coloma, California
Annie Cicale, Fairview, North Carolina
Carolyn Sheehan, New York, New York
Clarissa Jakobsons, Aurora, Ohio
Ellen Wiener, Southold, New York
Jamie Runnells, Starkville, Mississippi
Jan Owen, Belfast, Maine
Lisa McGarry, Florence, Italy
Melissa Jay Craig, Chicago, Illinois
Merike van Zanten, Acton, Maine
Moe Snyder, Portland, Oregon
Patricia Sahertian/Mary C. Leto, Pheonix, Arizona
Suzanne Vilmain, Santa Fe, New Mexico
Velma Bolyard, Canton, New York

Abecedarian Gallery is open Thursday, Friday and Saturday 1-5pm. Please inquire if you wish to view the exhibit outside regular gallery hours.


Works from Wood

merrill Shatzman Calligraffiti #4Works from Wood, featuring prints and artists’ books that include woodcuts, woodblock prints or woodengraving as a primary element is on display at Abecedarian Gallery July 1 – August 7, 2010.

Neruda Questions L; open book with box

The exhibition, curated by gallery director Alicia Bailey, includes artists from throughout the United States, England, Italy and Australia.

Woodblock printing is one of the oldest forms of printmaking, believed to have originated in China in the 8th Century and spreading quickly throughout Asia and Europe. A relief technique, areas of the wood are removed with a variety of tools, the remaining surface area inked, and the inked surface transferred to paper or fabric. Throughout history the technique has been used to produce prints, books, textiles and wallpaper.

This exhibition includes a wide range of contemporary approaches to both print and book production. Included are the brightly colored, narrative multi-block prints by Anthony Lazorko and by Theresa Haberkorn, stylized one color prints by Merril Schatzman,

Crimes Against Neighbors, Filling Empty Eyes

the exquisitely detailed wood engravings of Johanna Mueller and shrine like boxes covered with reduction wood prints by Carolyn Sheehan.

Woodcut Box 2, interior

Artists’ books on display include a selection of books printed entirely with woodcut by Andrea Krupp, Earle D Swope, Joseph J Field and Lorelie Clark.

Arbitrary Units of Measurement

Most of the books on display combine woodcut printing with other techniques such as letterpress in the works of David Mittelman, Leon Loughridge, Lynn Sures, Robert Walk, Rupert Deese and Tom Virgin.

Variations on the  Dialectic between  Mingus and  Pithecanthropus erectus #1

Alicia Bailey and Frans Baake present books printed utilizing other print processes such as intaglio, offset and photography.

Clicking on above images will take you to a flickr page with full information about the artwork pictured, as well as other works by the same artist.

Clicking on the name from the artists’ list below will take you to their website.
Alicia Bailey, Aurora, Colorado;
Andrea Krupp, Philadelphia, Pennsylvania;
Anthony Lazorko, Mesilla, New Mexico;
Carolyn Sheehan, New York, New York;
David Mittelman, Denver, Colorado;
Earle D. Swope, Boise, Idaho
Franz Baake, The Netherlands;;
Joseph J Field, Newcastle, UK
Johanna Mueller, Denver, Colorado;
Leon Loughridge, Denver, Colorado;
Lorelei Clark, Ashgrove, Queensland, Australia;
Lynn Sures, Silver Springs, Maryland;
Merrill Shatzman, Durham, North Carolina;
Robert Walp, Chestertown, New York;
Rupert Deese, New York, New York;
Theresa Haberkorn, Boulder, Colorado;
Tom Virgin, Coconut Grove, Florida

Abecedaries in the Reading Room

Exhibition open May 20 with an opening reception May 21 from (5-8pm) during the 3rd Friday Artwalk and remains on display through June 19.

In the Reading Room is an exhibition of Abecedaries (an abecedary is a book arranged in alphabetical order) by artists from throughout the US, UK, South Korea, Puerto Rico and Italy.

Artists included in this exhibition are:

Cari Ferraro (San Jose, California)

Falconer-1-ABC cropped Curt Lund (Minneapolis, Minnesota)

Dan Smith (Brooklyn, New York)

Dave Buchen (San Juan, Puerto Rico)

Emily Marks (Sonoma, California)

Heidi Zednik (Ashville, North Carolina)

Hong In Young (An-yang-city, Kyoung-ki-do, South Korea)

Joshua Falconer (Ventura, California)

Karen Hanmer (Glenview, Illinois)

Laura Davidson (Boston, Massachusetts)

Lisa McGarry (Florence, Italy)

Marian Crane (Phoenix, Arizona)

Marie Philomena Noorani (Richland, Washington)

Megan Chandler (Normal, Illinois)

Otis Lab Press (Los Angeles, California)

PBI ABCers (Northport, Alabama)

Philippa Wood and Tamar MacLellan (Lincoln, United Kingdom)

Rebecca Chamlee (Simi Valley, California)

Roberta Lavadour (Pendleton, Oregon)

Shawn Kathleen Simmons (Silver Lake, Ohio)

Shu-Ju Wang (Portland, Oregon)

Sushmita Mazumdar (Arlington, Virginia)

Suzanne Vilmain (Santa Fe, New Mexico)

Wendy Partridge (Cincinnati, Ohio).

And thirdly, also in the Reading Room – The Black Book Project. This is a multi-medium collaboration between 44 Colorado artists working on 14 teams.  Each team is comprised of 3 to 4 artists who, at the time of the project’s inception, had never met. The first week of March, 2010, each team was given one standard black spiral sketchbook, and participants were asked to cycle the book among their teammates as many times as possible over a 10-week period. There were no rules about how the artists could use the books or what content they could contribute.


One Unit Per Increment

May 20 – June 19, 2010

This exhibition features works created by artists in a regular unit (hourly/weekly/monthly) as part of an ongoing practice – once a day or once a week or once a minute for a chunk of time or continuing chunks of time.

Recording our thoughts and observations is an ongoing human activity. For visual artists, the impulse to create a tangible result of these observations is a widespread practice. The results of several such projects make for a lively and engaging display at Abecedarian Gallery.

Many of the projects in this exhibition honor and celebrate ritual and process within various set parameters.

Some, such as Denver’s Homare Ikeda

Untitled have committed to an ongoing studio practice that spans many years. Ikeda begins each day in the early morning with less than 30 minutes spent in creating 7, 9 or 11 gestural sumi ink drawings. For Ikeda the exercise gives him a chance to begin hiw work without critical thought, to simply pick up the tools, to start making marks.

parallel tea texts: january
Heidi Zednik, of Asheville, North Carolina, speaks of a continuing commitment

to simply have some sort of record of the days, however small the observation’

. On exhibit are selections from two of her 2010 projects. Walnut ink drawings on found paper, starting with a stack of vintage computer-punch-cards and a second project, typed text on stained tea bags. The text reflects some thought(s) of the day. Each months’ teabags are tied with string, becoming a single “standing month” or object.

January Untitled 3Another Asheville artist, Tony Bradley, has dedicated years to the practice of daily drawings and virtually all his two-dimensional work is an outgrowth of this practice. He has created portfolios of his mixed media on paper works into a series of Monthly Reports.

Another ongoing project is that of Genie Shenk, a California artist, who has been creating visual documents of her dreams since 1982, preserved and presented in a book for each year. Two of her dream books are included in this exhibit.

Dreams 2007

Also honoring specific experiences are the daily drawings of Elizabeth (Tilly) Strauss whose drawings, spanning over 100 days, document the relationship between the artist and a dying friend.Curtains for Jen

Other of the projects were designed with very specific intent – New South Wales artist Sara Bowen states she started The Daily Drawing project

‘to try and recapture my enthusiasm for drawing. As a child I always carried pencil and paper and didn’t care what I drew; I drew anything, anywhere. It dawned upon me that I could start again . . . I thoroughly enjoyed the experience’


Daily Drawing B

Book artist Alicia Bailey wished to quickly process the early phases of a series of ideas. Her Book a Week series forced her to create books quickly and get ideas either out of her system or recognize their worth as more fully developed projects.

Alicia Bailey - Book a Week project

100 Days - Installation ViewTatiana Ginsberg (Santa Barbara, California) made a cup out of handmade paper every day for 100 days, drinking her daily tea from it, letting the tea soak and stain the paper bowl. Ginsberg has studied in Japan and is familiar with the way Japanese tea ceremony ritualizes an aspect of everyday life. Thinking about the pauses in the day provided by cups of tea or coffee, she made cups that reacted to and recorded the specific act of drinking. Ginsberg is also exhibiting Shadow Drawings, daily works drawn from the shadows cast by insect ravaged leaves.

Photography has been a mainstay in the realm of personal recording/documentation. The photographers included in the exhibit have each approached the notion of connecting with the personal or physical landscape.

July 25 ,2004Denver artist Anna Newell-Jones spent one year working on Daily: A Self-Portrait a Day For a Year, motivated by what she says was a ‘desperate desire to see who I really am.’ The photos are funny, sad and everything in between, but are always unflinching.

What Comes AroundIn a year long project, beginning on her 39th birthday, Lafayette, Colorado artist Mia Semingson investigates the relationship of one day’s image to the next.

Views from the Interior: the First Seven-Year Cycle

Connecticut artist Janet Pritchard’s Views from the Interior: The First Seven-Year Cycle records her multi-year connection a personal landscape by acting as recording witness to it.

Unfolding Each Day - openAlso documenting experience is Denver artist Sammy Lee, whose work Unfolding Each Day is a photographic journal of the year 2005, handsomely housed in a multi-faceted box that gives evidence of her architectural training.

Another artist using photography as the basis for a daily project, Chicago’s Stacy Sears photographed the sky each day, using the photographs as a starting point for a daily painting practice.One Month

And lastly, Nikki Thompson, Katerine Case and Sara McManus used the format of daily postcard mailing as a tribute to their friendship. They sent each other postcards once a month for a year, then each created an artists’ book from the postcards.OUPI_all3_39post_a

ABC – Artists Book Cornucopia

On display in the main gallery April 1 – May 8, 2010, Artists’ Book Cornucopia is a juried exhibition including a broad range of artists’ bookworks. Open...Heart SurgeryIt was juried by
Michael Levine-Clark Special Collections Librarian
Penrose Library, University of Denver. Printed exhibition catalogs are available here:

Denver, Colorado

Juror’s Statement:The Phoenix

I have chosen 45 books by 37 artists. These books represent a range of styles, prices, sizes, and techniques – hopefully together they create a true cornucopia of artists’ books. Books range in style from the traditional codex to sculptural objects. They range in price from $45 to $1,800. They include one-of-a-kind works and editions, simple and complex structures, and books printed letterpress and books sewn together: something for everyone.

In choosing as broad a range as possible, I frequently opted to include just one book from a particular artist; in general, if an artist entered two books from the same series or with a similar feel, I chose just one. I did choose multiple books from some artists, but in these cases, I felt that the books were dissimilar enough to warrant inclusion.
Promise Book
Judging a show based purely on photographs and brief written descriptions is difficult. Some artists did a great job conveying a sense of the book – its subject, its appearance open and closed, and most importantly, the experience of reading. Others included just a single image, or multiple similar images, making it difficult to judge the book as a whole. It’s possible that other images oversold the books they represented. On some level, what I judged was the ability of an artist to show off a three-dimensional interactive object via a few images and words.

Gallery Director’s Statement:

The question I am asked more than any other is “What is an artists’ book?” That question is most easily answered by providing examples drawn from the wide array of works this term describes. Exhibitions such as Artists Book Cornucopia give me an opportunity to exhibit a selection that is inclusive of most of the sub-genres of artists’ books.

This exhibition is one of special signifance for the gallery as the books are on display in the main gallery of Abecedarian, rather than being restricted to the gallery’s Reading Room. The exhibit includes works by artists already familiar to me as well as works by artists’ previously unknown to me. A juried exhibit has the potential to be only as good as the best of the artworks submitted (and concepts such as good and best are, obviously, very subjective). I am honored that so many artists submitted such high quality entries, contributing to what is a wonderful array and, as Michael says above, a true cornucopia of artists’ books.

Accordion Book 1
Alicia Bailey
– Gallery Director and Exhibition Curator

Abecedarian Gallery,
Denver, Colorado

Included in Artists’ Book Cornucopia are:

Alice Walsh, Andrew Huot, C.J. Shane, Carolyn Sheehan, Catherine Nash, CB Sherlock, Cristina de Almeida, Diane Fine/Mario Laplante, Diane Gillespie, Ellen Knudson Emiy Tipps, Georgia A. Greeley/Sue Bjerke, Hyeyoung Shin, Jana Sim, Jenny Craig, Jim Lee, Joan Iversen Goswell, Judith Cassel-Mamet, Judy Gardner, Karen Hanmer, Leslie Waygren, Lin Fife, Linda Samson-Talleur, Maryann J. Riker, Mary-Ellen Campbell, Maureen Piggins, Melissa Jay Craig, Merike van Zanten, Michael Peven, Paula Curran, Peggy Johnston, Rochelle Newman/Maryanne Scatamachhia, Sammy Lee, Sarah Bryant, Sarah Vogel, Thomas Parker Williams & Tom Virgin.

Above the Eye


In Retrospect: works on paper and books by Ann Lovett, Maureen Cummins and Nava Atlas

A Reading Room exhibition, In Retrospect opens April 1 and remains on view through May 8, 2010. It is the first venue in a several state tour of this exhibition by three notable contemporary book artists and the only scheduled venue west of the Mississippi.
Ann Lovett

Maureen Cummins

Nava Atlas

In Retrospect presents the work of three artists who explore contemporary culture through the lens of the past. Their shared source of inspiration is the book, a form that, while intimate and familiar, also carries with it the weight of history and the voice of authority.

As such, it provides a reference point from which to challenge personal and cultural constructions of knowledge. All three artists delve into public and private archives to gather images, documents, texts, and ephemera as source material. Rearranging and combining these found elements with new material, they create provocative new works that expose biases and question assumptions about what we know and how we know it.
For the viewer, new meanings and interpretations emerge as official versions of history and reality are subverted.
The found materials in these books are textual as well as visual, both common and rarified; the collections from which they are culled are varied and diverse, from libraries and museums to flea markets and dumpsters.

Maureen CumminsThe work of Maureen Cummins is inspired by old letters, documents, and photographs that she collects and lives with in her studio. She infuses wrenching subjects (including slavery, insanity, and torture) into motifs such as quilts, photo albums and ledgers, subverting the traditional values and gentility usually embodied in these ordinary objects.

Ann LovettAnn Lovett draws source material from historical archives and museum collections, as well as from personal documentation. Her work explores individual and collective memory, the culture of memorials, and institutional control of sites of war, trauma, and loss.

26. Atlas6Nava Atlas draws from personal collections of everyday ephemera, including pinup photos, advice columns, vintage food images, and old comic books. These texts and images, arranged in ironic juxtapositions, question intransigent assumptions about gender.

In the books as well as their related wall installations, intimacy and insight emerge in a variety of ways. By employing beauty and craft—in the form of sensual materials, compelling imagery, and both ancient and modern technologies—these artists draw their audience into difficult subject matter. They seek to navigate the very dualities of life itself: pleasure and pain, appearance and reality, past and present, what is represented and what is experienced.

In voices ranging from contemplative to impassioned, from ironic to vehement, the works in this exhibit generate an experience of wonder and revelation that is both personal and political.


RE: (rebound, recycled, repurposed, reused)

February 12 – March 20, 2010.

Margaret Whiting

This is an exhibition of mixed media artwork created with the intent of changing a book from its original form into a different form, thereby altering its meaning/intent. Some works in the exhibit continue to function as interactive books; other works, both two- and three-dimensional have become passive objects for display.

(Margaret Whiting Cyclopedia of Law and Procedure pictured right.
Sara Furey 2

Altering books is currently one of the most popular creative techniques for self-expression. Beth Cote, one of the authors of Altered Books 101 maintains that ‘you don’t need any artistic ability to make altered books . . . if you’re color blind, memory challenged and can’t draw a darn thing to save your life, you can still be an altered book artist’.

Detail from Sara Furey’s Bottles to Sea pictured left

Siobhan Martin 2
Due to the widespread popularity of the medium, and the abundance of altered book creations that address self-expression to the exclusion of anything else, gallery director Alicia Bailey stresses the importance of presenting contemporary work that is created with thoughtful regard to concept and execution, that makes a meaningful contribution to both the genre and to an individual artists’ studio focus.

pictured right Everyday Birds by Siobhan Martin

The juried portion of RE: was juried by Barbara Hale (Denver, Colorado) whose workis included in the exhibition. Hale is printmaking instructor at Metropolitan State College of Denver.

Destructive and Useful Insects lo res.jpg

Her selections include work by Adina Weinand/Andrew Vomhof, (Minneapolis, Minnesota), Amanda Nelson, (Cambridge, Massachusetts), Ania Gilmore, (Boston, Massachusetts), Barbara WF Miner, (Bowling Green, Ohio), Cori Buder, (Denver, Colorado), Cynthia Colbertrecipient Topeka County Public Library Purchase Award, (Lexington, South Carolina), Deborah Bryan, recipient Gallery Director award (Johnson City, Tennessee), Haylee Ebersole, (Denver, Colorado), Jana Sim, (Chicago, Illinois), Jean Tock, (Carmel, New York), John Sager, (Austin, Texas), Jonathan Whitfill, (Lubbock, Texas), Jonathon Wiley, (Denver, Colorado), Julia Nelson-Gal, (Palo Alto, California), Katherine Reed, (Denver, CO), Margaret Whiting, (Waterloo, Iowa), Mary Jordan, (Denver, Colorado), Megan Moore, (Chico, California), Peggy Johnston, (Des Moines, Iowa), Sandy Toland, (Aurora, Colorado), Sara Furey, (Breckenridge, Colorado), Siobhan Martin, (Devon, UK), Susan Porteousrecipient gallery director Best of Show award, (Denver, Colorado), Virginia Unseld, (Black Hawk, Colorado) and Will Ashford, (Santa Rosa, California).

The exhibition also features collages created from book parts by Chicago artist Douglas Stapleton and Denver artists Stephen Daniel Karpik and Susan Goldstein.

stimmung lo res.jpg

Douglas Stapleton is a curator and exhibition designer at Illinois State Museum’s downtown Chicago gallery. Stapleton holds an undergraduate degree in Anthropology and MFA in performance and installation from the School of the Art Institute of Chicago. He also works as a dramaturg/artistic for The Seldoms, a Chicago based dance company. It is no surprise that a result of such diverse interests results in a body of work that is visually stimulating and rich with cultural and historical reference. Michael Weinstein, writing for New City Art (Chicago), describes Stapleton’s collages as ‘rife with exuberant cultural play . . . Postmodern globalized melange reaches its limits . . . an unbridled romp through history’.

RE Stepen Karpik Mm.jpg

Stephen Daniel Karpik (SDK) is a self-taught and multidisciplinary contemporary artist currently living in Denver, Colorado. Utilizing encryption, symbols and motifs incorporating the influence of primal aesthetics, urban culture and the collective consciousness, SDK fuses aesthetic energy and colorful composition to create playful mixed media paintings. His contribution to RE: is an unbound abecedary featuring mixed media on library cards. The theme for this series is the abstraction of animals, each confined to its own letter in time and space.


Susan Goldstein is a Denver resident with a long and well-rounded exhibition history. In addition to annual solo exhibitions at Edge Gallery, the Mizel Center for Art and Culture hosted a sizable retrospective of her work in 2006. Goldstein will be exhibiting pieces from an ongoing series Intersections. Goldstein has great reverence for historic artifacts and documents and so allows herself to use only printed material already damaged or terribly common and not important enough to keep intact. By incorporating this damaged ephemera into her collages, these bits and pieces of the past are given new life and will survive in an altered form.

During the exhibition Abecedarian will be hosting an altered book workshop, taught by Judith Cassell-Mamet. Cassel-Mamet will assist students in turning a discarded book (provided) into a sampler of altered book techniques.