Each year Colby studio faculty invite artists to speak on the major media taught at the college: sculpture, painting, photography, and printmaking. All lectures are free and open to the public. They are sponsored by the Colby College Department of Art and the Arts Lecture Fund at Colby.

2016-17 Lectures

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ALISON STIGORA, Faculty Fellow in Sculpture, Thursday, November 3, 2016, 4:00pm, Museum Lobby

 

 

 

 

 

 

 

 

 

 

 

2015-16 Lectures

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SUSAN JANE WALP March 3, 2016, 5:30pm, Olin 1

Susan Jane Walp (b. Allentown, PA, 1948) received a BA from Mount Holyoke and went on to study at the NY Studio School and Skowhegan School of Painting and Sculpture. Ms. Walp also attended the MFA Program at Brooklyn College, where she studied with renowned teacher and painter Lennart Anderson.She has had solo exhibitions at Hackett Freedman Gallery, San Francisco; Fischbach Gallery, New York; ISA Gallery, Montecastello di Vibio, Italy; Victoria Munroe Fine Art, New York and Boston; and Tibor De Nagy Gallery, New York, where she is currently represented. Her many awards include an NEA grant, a Skowhegan School Purchase Prize, a CAPS Fellowship, a Guggenheim Fellowship, and the Academy Award in Art from the American Academy of Arts and Letters.Ms. Walp has served as a guest teacher, speaker, and critic at numerous collages in the US and abroad. Since 1998 she has held the position of Visiting Assistant Professor and Lecturer in the Studio Art Department at Dartmouth College in Hanover, NH. She resides and paints in Vermont.

Left: Susan Jane Walp, Doublemint, 2010, oil on linen, 8.5 x 8.75 in., Courtesy Tibor de Nagy Gallery, New York.

 

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JACKIE BROWN November 11, 2015, 6:00pm, Olin 1

Mutated Growth

Jackie Brown’s primary focus is sculpture installation. She works to create immersive environments that invite viewers into imagined biological systems, where it’s often ambiguous whether the forms are benign or toxic. An important undercurrent in the work is an interest in the human manipulation of living systems, particularly advances in bioengineering that are fraught with both exciting and frightening implications. With this in mind, she hopes to encourage viewers to consider the shifting nature of the world around them.Brown is an Assistant Professor of Art at Bowdoin College, where she runs the sculpture program and teaches a variety of courses as part of the Visual Arts Department. She received her BA from Hamilton College and her MFA from Virginia Commonwealth University.

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EMMET GOWIN September 30, 2015, 7:00pm, Olin 1

While earning his MFA at the Rhode Island School of Design, Emmet Gowin studied under photographer Harry Callahan, who became one of his mentors and greatest influences. Gowin’s first notable work was a series of intimate portraits of his wife, Edith, and her family in Virginia. Since then he has expanded his vision to include landscape photographs depicting the devastation and beauty of Mt. St. Helens, the ancient Jordanian city of Petra, and aerial views of man-altered landscapes. Most recently he has been photographing living moths in Ecuador, Panama, and Bolivia. In these photographs he is again including his lifelong muse and partner, Edith.Gowin’s work has earned him a Guggenheim Foundation Artist Fellowship, two National Endowment for the Arts Fellowships, the Governor’s Award for Excellence in the Arts from the State of Pennsylvania, and a Pew Fellowship in the Arts. His photographs have been exhibited extensively throughout this country and around the world and are included in the permanent collections of numerous museums, including the Metropolitan Museum of Art, the Museum of Modern Art, the Art Institute of Chicago, the Philadelphia Museum of Art and the Corcoran Gallery of Art. He recently retired from Princeton University, where he was a professor of art for many years.

Left: Emmet Gowin, Off-Road Traffic Pattern along the Northwest Shore of the Great Salt Lake, Utah, 1988

99 Series Part One

AIDA MULUNEH April 23, 2015, 6:30pm, Olin 1

Past/Forward: Photography in Ethiopia

Photography in Ethiopia has been around since the turn of the twentieth century; in fact, it is said that the first photographer of the land was Emperor Menelik II, who was keen on bringing new technologies into the country. When we look at image production and also the promotion of Ethiopia through images, however, we have to question the over-saturation of foreign photographers who have documented the country at different moments in its history. Looking at the growing photography market in Ethiopia that is based on studio and wedding photography has not correlated to increased visibility of photographers from Ethiopia. Therefore, this lecture is based on looking at trends of the past as well as future prospects regarding the development of photography in Ethiopia.

Aida Muluneh is an Ethiopian photographer and artist. Having studied both film and photography at Howard University, she founded two vital photographic institutions in Ethiopia: the Addis Foto Fest, a biannual photography festival focused on contemporary African and global photography, and DESTA (Developing and Educating Societies Through the Arts). Muluneh’s photographs have appeared in exhibitions in Cuba, Canada, England, Germany, Israel, Spain, Africa, and the US, recently at the Smithsonian’s National Museum of African Art. A book of her work, Ethiopia: Past/Forward (2009), was published in Belgium. She was the recipient of the European Union Prize in the Rencontres Africaines de la Photographie in 2007 and winner of the CRAF International Award of Photography in 2010. Muluneh’s talk will kick off the 2015 Photography and Migration Conference at Colby.

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BETSEY GARAND April 16, 2015, 4:30pm, Bixler 154

Betsey A. Garand is Senior Resident Artist in the Department of Art and the History of Art at Amherst College, where she is head of printmaking. Garand is a New Hampshire native where she grew up on a small, self-sufficient family farm. She received her BFA in Printmaking from the University of New Hampshire and an MFA in Printmaking from Tyler School of Art of Temple University. Her recent prints and drawings engage with the themes of continuum, balance, and growth, elements existent in physical and psychological life. Seemingly familiar objects are layered beneath and above biomorphic and geometric shapes.

Left: Betsey Garand, Notation IV, wood relief, stencil resist positive, walnut ink drawing and pochôir, 30″ x 22″ on Rives BFK

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DAVID CAMPBELL April 7, 2015, 4:30pm, Bixler 154

Born in the suburbs of Philadelphia in 1974, David Campbell received his Certificate in Painting from the Pennsylvania Academy of the Fine Arts in 1998. He returned to the academy to earn his MFA in 2007. Since graduating, Campbell cofounded the Perceptual Painters collective. He has had solo exhibitions at Eastern University in Wayne, PA, Foro Galeria in San Juan, Rosenfeld Gallery in Philadelphia, and Artists’ House Gallery in Philadelphia. Campbell currently resides in Williamsburg, VA, where he teaches in the Art Department of the College of William and Mary.”My paintings respond to visual discovery derived from looking or noticing. The painters that influence me the most exhibit a deeper and more mysterious narrative undercurrent in their work, rather than a nature of replication. I believe in a marriage between the perceptual response and the narrative. There is no recipe for combining the two, but rather a reaction to what I see. My deepest inspiration is the hope that my paintings originate from a point outside of myself.” — David Campbell

Left: David Campbell, The Process of Collecting Pig Urine, 2013, oil on panel

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AARON T. STEPHEN November 10, 2014, 5pm, Olin 1

Aaron T. Stephan made his home in Maine in 2000, graduating with an MFA from Maine College of Art in 2002. He was the 2002 Marguerite Zorach fellow at the Skowhegan School of Painting and Sculpture, the 2005 Louise Bourgeois fellow at YADDO in Saratoga Springs, NY, and an artist in residence in the Arts/Industry Program in Kohler, WI in 2008.Using a creative process that often challenges the rhetoric of display, the sculptural work of Aaron T. Stephan strikes a relationship between behavior and object hood. His work often questions the contents of the public realm, where a mastery in material craft emboldens the underlying, conceptual program.

Left: Aaron T. Stephens, 28 Columns, 2014, from the exhibition “To Borrow, Cut, Copy, and Steal,” Portland Museum of Art, mixed media, dimensions varied.