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VEREX EXHIBIT 2012
VEREX EXHIBIT 2011
VEREX EXHIBIT 2010
VEREX EXHIBIT 2009
VEREX EXHIBIT 2008
The gallery provides quarterly exhibits at the Verex Building, 150 East Gilman Street.
The Verex Building is located on Lake Mendota, next to James Madison Park.
The lobby is open for viewing the exhibit during business hours 9 a.m. to 5 p.m.
Please select from the seasons below to view exhibits
Winter Ken Schneider Spring Terrence James Coffman
Summer Jean Crane Autumn Amy Arntson
Winter Exhibit 2012 |
: Ken Schneider : Paintings: |
January - March |
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Ken Schneider, Left side of exhibit, 2012, Watercolors. From Left: |
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Ken Schneider, Right side of exhibit, 2012. Left: Quartzite Steps, Oil on canvas; Right: New Season Cascade, Watercolor. |
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Ken Schneider, Trunks in Current, 2010, Watercolor, 22 3/4" x 28", framed: 31 3/4" x 36 1/2" |
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Ken Schneider, Revealing Thaw, 2009, Watercolor, 28" x 23", framed: 36 1/2" x 31 1/2"
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Kenneth Schneider, Pool and Dark Trunks, 2008, Watercolor, 20 3/4" x 22 7/8"
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Ken Schneider, Birch in Late Light, 2010, Watercolor, 22 3/4" x 28", framed: 31 3/4" x 36 1/2" |
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| Left: Ken Schneider, Quartzite Steps, 2009, Oil on linen, 22" x 28" frame:32 1/4" x 26 1/4" |
Right: Ken Schneider, New Season Cascade, 2010, Watercolor, 15" x 16", framed: 23 1/2" x 24" |
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To view more works by Ken Schneider please use the Artists link at Page Top: |
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Artist Statement 2012
When painting landscapes, I strive to accomplish a marriage of apparent
contradictions: of abstract imagery within a realistic framework, of arbitrary shapes and
the singIe-source light that imbues realistic depth, and of imposed, formalist structure
on random, "messy" nature. The desired effect is for a state of flux to exist in a painting;
flat plane versus three dimensional depth. The depiction of water in various states of
movement and light adds nicely to this effect, so it continues to figure prominently in
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Ken Schneider EDUCATION: 1982 Bachelor of Science Degree EXHIBITS: 1983 “Watercolor Wisconsin,” juried group exhibition 1984 “Wisconsin Biennial,” juried group exhibition 1986 “Kenneth Schneider, Watercolor Paintings” 1986 “Festival Salute,” group exhibition 1988, 1990 “Kenneth Schneider, Watercolor Paintings,” 1991 “Interpreting the Landscape, the Paintings of 1991 “Kenneth Schneider, Feature Show,” 1992 “Kenneth Schneider, Watercolor Paintings,” 1995 “Landscape in Focus,” Drawings, Paintings, and 1996 “Kenneth, Schneider, Recent Work,” 1997 ”Kenneth Schneider, Feature Show,” 1998 “Wisconsin Vistas, New Paintings by Kenneth Schneider” 2000 “Essential Places, New Paintings by Kenneth Schneider,” 2002 “Transitions, New Oils and Watercolors by Kenneth 2004 “All But Summer - New Oils and Watercolors”, Grace 2006 “Woods & Water - New Oils and Watercolors”, Grace 2007 “Hangin’ Out The Washes; 40 years of Watercolor 2008 “Paintings 2008 - Oils & Watercolors”, Grace Chosy 2010 "Forest Immersions, New Oils and Watercolors," COLLECTIONS: Public: "University of Wisconsin-Stevens Point, Stevens Point, WI
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Winter Spring Summer Autumn Page Top
Spring Exhibit 2012 |
: Terrence James Coffman : Paintings : |
April - June |
Artist Statement Artist Resume
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To view more works by Terrence James Coffman please use the Artists link at Page Top:
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View of the main wall upon entering the lobby of the Verex Building |
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View of the side wall
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ARTIST Statement General Statement on work I seem to move through the world as if I am a character in a novel. Being an artist teaches one that there is always another canvas to paint. The work in this exhibition represents a range of paintings created during the last seven years. The County Road series titles are not to be taken literally, while they may take their cues from names of Wisconsin roads, they are really metaphors for the paths I have traveled these many years as a painter. Roads lead to destinations; some go through small towns and pass farmers fields, woodlots and lakes. Some roads are made of dirt; seashells or maybe gravel, most macadam and many are concrete. The roads I have traveled throughout my life have been filled with joy and disappointment, therefore the crucial question to me has always been, and Does the road have a heart?" If it does not, then I have abandoned it. It is not an easy thing to do, often times it has been with fear, regret or reluctance, but always with the faith that there is an opportunity for discovery. The Scarecrow in the Wizard of Oz said; "If the road goes in, it must come out, and as the Emerald City is on the other end of the road, we must go wherever it leads us." With the paintings titled “County Road Y” it is the Y that is significant. The letter Y is a symbol for a fork in the road and the question I have always had to ask myself, "Which way shall I take?" The Center Avenue paintings were breakthrough paintings that I had been seeking for a long time. They leave the planned application of rules behind. They are my dance on a linen land of white lead and dreams that explode quickly without thinking of the steps. No choreography, just moving to my own rhythm. I have re-found my center. My friend John Slorp sent me the following quote from Bodidharma, the bringer of Zen to
China "Using the mind to look for reality is delusion. Not using the mind to look for reality is awareness. The series of paintings titled "In the Garden of Eden". Represents the biblical garden. Joseph Campbell referred to Garden as the place of the historical rejection of the Mother Goddess. He wrote, "Our fall in the Garden sees nature as corrupt, and that myth corrupts the whole world for us. Every spontaneous act is seen as sinful and must not be yield to." Evan Schwartz in his book Finding OZ writes, "The world's oldest forms of spirituality agree that the root of all our sorrow is the loss of contact with our true self. When this disconnect happens the world becomes governed by the seemingly unending rounds of birth and death, pain and pleasure, and happiness and suffering." Swami Vivekananda wrote, "Our recovery is possible only by reestablishing contact with our true self." "Rusted Hearts” is a recent series of paintings. They are about a lost relationship. This new work is a challenge. The paintings are exciting, but because of the heart forms I have to fight to keep spontaneity. Writing appears in these paintings and are keys to the nature of these works. The band of color that cuts through the center of the paintings is the Rio Grande and represents the barrier of what kept us apart. The images of hearts and the borderlands of Mexico and Willy Nelson's Texas are metaphor. The dancing movements of my brush and my spirit are critical to the success of the paintings. The series of paintings that I recently concluded are entitled “Gail’s Garden” they came a week after I spent the day at the Chicago Botanical Gardens with a woman I met in Chicago. I now realize just how inspired I was by the garden. These paintings are brighter and painted with a new palette of colors. There is no angst in the work, just joy and beauty. The surfaces are less intense, the brush stroke calmer and more certain. |
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Terrence James Coffman Administrative Background Director for the Advancement of Visual Studies Academic Dean (and President), Milwaukee Institute of Art & Design, Milwaukee, WI. September 1983 to December 1985. President, Milwaukee Institute of Art & Design, Milwaukee, WI. September 1983 to December 2003. President, Maryland College of Art and Design, Silver Spring, Maryland 1974 to 1983 Dean, Maryland College of Art and Design, Silver Spring, Maryland 1973 to 1978 Teaching Experience Artist-in-Residence tutoring BFA, MFA and PHD candidates at the Burren College of Art, Ballyvaughn, Ireland Spring 2011 Peninsula Art School, Door County, WI 2010-2011 Artist-in-Residence, Milwaukee Institute of Art and Design 2004-2006 Fellowship artist/teacher, Lacoste School of Art, Provence, France 1995 Professor, Milwaukee Institute of Art and Design 1983-2003 Professor, Maryland College of Art and Design 1970-1983 Instructor, Smithsonian Institute Associate Program Current Projects Curating a national sculpture exhibition in support of WORLD BICYCLE RELIEF and The SRAM Corporation. The show opens September in Las Vegas and moves to Chicago in November 2011. Consulting for the Delafield Arts Center. Teaching Watercolor for the Milwaukee Institute of Art and Design’s Continuing Education Program in Fall 2011 Two one-person painting exhibitions August-December 2011 Completing second novel, “Rusted Hearts” and novella, “The Game” Education Corcoran College of Art and Design 1963 to 1967 Skowhegan School of Painting and Sculpture 1966 Honors and Awards Ford Foundation Grant 1966, 1967 Skowhegan School of Painting and Sculpture Scholarship 1966 Corcoran College of Art and Design Scholarship 1965-67 City of Milwaukee Art commission Annual Award 1987 Milwaukee Historic Third Ward Association Award. 2000 The Greater Milwaukee Foundation Frank Kirkpatrick Award, 2001 The Wisconsin Association of Independent Colleges and Universities Recognition of Distinguished Service to the Advancement of Private Higher Education, 2004 Southeastern Wisconsin Information Technology Exchange Achievement award, 2004 Laird Leadership in Art Award 2008 Past Professional Affiliations Board member: Art College Exchange (ACE) Juror Juror: Milwaukee International Airport Selected Dennis Oppenheim 2001 Collections and Commissions o International Business Machines (IBM), Rockville, MD. Current Gallery Representation 1993-present Tory Folliard Gallery, Milwaukee, WI |
Winter Spring Summer Autumn Page Top
Summer Exhibit 2012 |
: Jean Crane : : Watercolors: |
July - September |
Artist Statement Artist Resume
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To view more works by Jean Crane please use the Artists link at Page Top:
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View of the main wall upon entering the lobby of the Verex Building |
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View of the side wall |
Individual Images Below: |
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Jean Crane, Pink Flower, 2012, Watercolor, image: 15 1/2" x 21 1/2" frame: 25" x 31 1/4" |
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Jean Crane, Squash Blossom in Space, 2012, Watercolor, image: 27" x 21" frame: 38 1/2" x 32 1/2" |
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Jean Crane, Peony in Space, 2012, Watercolor, image: 30" x 22 1/4" frame: 40" x 32" |
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Jean Crane, Cosmo, 2012, Watercolor, image: 12 1/2" x 18 1/4" |
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Jean Crane, Wild Garden, 2012, Watercolor, image: 13" x 20 1/4" frame: 24 1/4" x 31 3/4" |
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ARTIST'S STATEMENT Jean Crane - 2012 I am very interested in the boundaries between shapes, how they come together and the push and pull they can affect each other. I Like manipulating values, so that some shapes come forward, and others are pushed into the background. Flowers have been a focus, but more often now than in the past in a wilder, less formal setting, and just at the very beginning edge of disintegration. The dark backgrounds are an important emotional element - they symbolize the source of life and energy that the flowers have come out of, and to which they will eventually return. Another theme that I have been exploring is the distortions and reflections that glass creates - almost like small universes mirroring the environment but unique and complete in themselves. I love working with watercolors because of the wonderful transparency of the medium, and the sense of light it creates. I build up colors through multiple glazes, shifting the balance and tone between shapes until the tension feels right. The subject matter is of minor importance; I am more interested in the shapes, and how they interact with each other, as well as the movement of light and color over the surface
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Jean Crane - 2012
RECENT HONORS: Watercolor Wisconsin , 3rd Place 2008, 1st Place 2006 & 2007; GALLERIES: Chosy Gallery, Madison, WI EXHIBITS: (Partial Listing) Grace Chosy Gallery, Madison Wi COLLECTIONS: (Partial Listing) Madison Art Center, Madison, WI
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Winter Spring Summer Autumn Page Top
Autumn Exhibit 2012 |
: Amy Arntson : :Watercolor :
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October - December |
Artist Statement Artist Resume
To view more works by this artist please use the Artists link at Page Top:
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View of the main display wall in lobby Watercolors by Amy Arntson - From far Left: Kind of Blue, framed 32" x 32"; From a Far Point, frame: 32" x 32"; Adagio, frame 32" x 38". |
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View of the side wall in lobby |
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Amy Arntson, Kind of Blue, frame: 32" x 32"
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Amy Arntson, From a Far Point,
frame: 32" x 32" |
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Amy Arntson, Adagio, frame 32" x 38". |
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Amy Arntson, Pier and Pebble, frame: 32" x 38" |
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Amy Arntson, Brush with Spring, frame: 40" x 24" |
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The visual theme of my paintings revolves around bodies of water in the Great Lakes Region and beyond. The work is created from sketches and photographs of locations I visit. I believe there is a spirit in the water and the environment that we instinctively respond to. The conceptual theme of my work deals with the connection between the viewer, artist, painting and environment. I’ve been looking at and creating art for many years. Like most contemporary artists, there
are many influences on my work. These range from wash drawings of. the l7th century
luminists who addressed the relationship between landscape and the expression of
feeling, to an array of 20th century abstract artwork. Abstract color, shape and texture are
an underpinning to all my realistic paintings, as is my Since my undergraduate days, I’ve believed that it’s important to be familiar with a wide
variety of media, so that any choice made comes from a strong knowledge base. I’ve
examined a wide variety of concepts and media in painting, photography and electronic
art. As an artist; author and design educator, my commitment to painting is enriched by a
respect and enjoyment of design history and design concepts. Many of my talks and
writings address the effect of technology on art, design and Of all media, line and wash and watercolor consistently seem the most beautiful to my eye, and this is the medium used in my current paintings. The use of figure/ground relationships throughout the 20th century fascinates met and is the structural underpinning of my work with transparent watercolor. Growing up in the Great Lakes region, water has always been a powerful symbol for me. It is intimately connected with the passage of time, of stability and change. Most of my current paintings do not reference the surrounding land. Instead, they focus on light, texture, shape and movement of water. There is no place to stand, only a place to be. Without a horizon line, the implied physical presence of the viewer diminishes. Viewers are encouraged, to meditate on the water, projecting themselves into, the painting, and connecting with something inside. From a few feet away you could be looking at a photograph. On closer inspection, the surface shifts. The images divide into lines: dark brushstrokes defined against translucent teal, or flashes of crisp white. What was deep and dark and mysterious-opaque-is revealed as a pattern of precise details, rendered layer by, layer in transparent watercolor. Amy E. Arntson
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Amy E. Arntson
Professional Experience
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• Grace Chosy Gallery • 1825 Monroe St • Madison, Wisconsin 53711 • |
• Phone:(608)255-1211 • Fax:(608)663-2032 • email: staff@gracechosygallery.com • |
• All Rights Reserved © 2005 Grace Chosy Gallery • |