Exhibitions Calendar - 2016
- January 4 to February 5
- February 15 to March 18
- March 28 to April 22
- May 16 to June 17
- August 15 to September 16
- September 26 to October 28
January 4 to February 5
Susan La Mont
February 15 to March 18
Allison Long Hardy
Allison Long Hardy was born and raised in Frederick, MD. She has a BA in Intermedia from West Virginia Wesleyan College and a MFA in painting from Towson University. She has taught at Northern Virginia Community College and the University of Mary Washington. She currently lives in Virginia Beach, VA.
Hardy's work has been exhibited nationally. Her most recent exhibitions were at American Unviersity's Katzen Arts Center in Washington, DC and at the EMP Collective in Baltimore, MD. Her work is in the collections of PNC Bank in Washington, DC and on the set of The Good Wife, which airs on CBS. The home furnishings company West Elm recently featured Hardy’s work in their catalog and blog, titled Front and Main.
I am interested in how people communicate: effectively and ineffectively. Communication is the one thing that binds us all together, the one common thread that must continue. Without communication what else do we have? When making work I am interested in the certain moments that communication or lack of communication occur and interpreting those moments through mark. What interests me most is when the marks that emerge on the page overlap and meld with the marks below or on top and create their own type of mark, something that I had not planned. My work is a mix of intuitive and deliberate mark making paired with the spontaneity that occurs when these marks overlap.
March 28 to April 22
Student Art Exhibition
This exhibit will feature student works from both the Communication Design and Fine Arts programs. Examples of Graphic Design, Visual Imagery, Multimedia Design, Animation, and Web Design from the Communication Design program. Ceramics, Design, Drawing, Painting, Printmaking, and sculpture from the Fine Art program. A must see show! Below are two works from the 2015 exhibit.
May 16 to June 17
Kyle Hackett is a visual artist primarily working in oil painting. Manipulating the authority of representational portraiture, his work deconstructs historical ideas of secure identity and fixed-painting techniques in an attempt to clarify his contemporary insecurities about racial and socioeconomic conditions. Hackett examines concepts of double consciousness, highlighting the tension between the self and the construction of the image.
Kyle Hackett earned his MFA in Painting from the LeRoy E. Hoffberger School of Painting at Maryland Institute College of Art and his BFA in Fine Arts, as a McNair Scholar from the University of Delaware. He has completed multiple residencies including: The League Residency at VYT as recipient of the Ruth Katzman Scholarship, A.I.R. Studio Paducah, KY, Contemporary Artists Center, NY and Vermont Studio Center, as recipient of the Civil Society Institute Fellowship.
Hackett has received numerous honors and awards, including Best in Show Award at the 2014 Bethesda Painting Awards Exhibition, making him the youngest winner in the contest's history. His work has been featured and written about in the Washington Post and distinguished in the Huffington Post as "Ten Memorable Paintings of 2014". Additionally, his work is featured as part of the African American Museum and Library in Oakland, CA.
Hackett’s work is notably supported and collected by Ethan Cohen New York, Wangechi Mutu and University of Delaware’s Paul R. Jones Collection of African American Art. He has exhibited work in Maryland, Delaware, Virginia, Massachusetts, Florida (Miami Art Fair) Washington, DC and New York.
August 15 to September 16
September 26 to October 28
Sondra N. Arkin
Viable Patterns: Mixed media paintings
My central series since 2011 (Permutations Toward Infinity) offer a Mandelbrot fractal-like beauty. To explain the permutations: for example, each group of nine images presents a virtually infinite potential of visual patterns. Each grid of nine, not just interchangeable but rotatable to all four orientations, can be rearranged into a vast number of aesthetically viable patterns—with the absolute permutations from any single grid being over 95 billion (N!*4N = 95,126,814,720). Why is this cool to me? Because it means there are other solutions, other viewpoints than the one I might present, which is one of my tenets of life. Reality has interpretations. It also means that you could rearrange this grid every hour of every day of your life without repeating. It means that our ways of observing are infinitely beautiful.