ART CHANTRY: jan 24 – feb 20

Next week an exhibition of Art Chantry’s posters opens in the Heuser Gallery. Chantry is a legendary designer  known best for his low-FI designs for rock bands, like Nirvana, Hole, the Cramps, and the Sonics. These bands epitomize the Seattle music scene of the 1990s, and Chantry’s designs have become the visual record of that same scene. When designing Chantry prefers to work with his hands using less technologically sophisticated processes. In a 2002 interview, Chantry explained that  he doesn’t “love the computer as a one-stop all-solution design tool.” He went on to say that, “there is no more direct a path to ideas than hardwired mind-to-fingers.” The plethora of ideas his manual manipulation has afforded will be represented at Bradley University Galleries by splash of over 100 posters.

On Thursday, January 27th at 5:00pm, Chantry will be giving a lecture about his design practice in the Horowitz Auditorium in the Caterpillar Global Communications Center. There will be a reception with the artist immediately following the lecture at 6:00pm in the Heuser Art Center Lobby.

See images from the opening reception.

Lecture by Susanne Slavick

Susanne Slavick is back at Bradley next week. On November 11th she will give a lecture about her work in the Horowitz Auditorium. 

Caterpillar Global Communications Center, room 126

Drawings by Claire Sherman

November 4 – December 12
Hartmann Gallery

Lecture by the artist: November 4, 5:00pm (horowitz auditorium)
Reception in the Hartmann Lobby immediately following the lecture, 6:00–7:30pm 

This exhibition will feature the work of Claire Sherman. Sherman is a painter from Chicago, who currently splits her time between Galesburg, IL and Brooklyn, NY. Her work is visceral and beautiful, vividly capturing the landscape in broad painterly strokes. To see more of her work visit her website, or to read about her process check out this interview


10/21/10 – 11/28/10
Heuser Art Gallery

GROUP SHOW is an exhibition about groups, specifically artist collectives. Four collectives have been invited to display the work they do as a team, which includes everything from producing a book, to creating models of entropy, to video installation. The groups included are: Temporary Services (Chicago, IL); Okay Mountain (Austin, TX); Carnal Torpor (Kansas City, MO); and The League of Imaginary Scientists (Los Angeles, CA). 

There will be a reception with some of the artists involved on October 21, from 5:00 – 7:00pm in the Heuser Center Lobby.

Process | Progress | Procrastination

In the Hartmann Center Art Gallery nine MFA students will be showing work from their time at Bradley University.  Join us for the opening reception on October 7th at 5:00pm – 7:00pm with artists’ talks beginning at 6:30pm.  The exhibition will be up from October 7 – 28.

Artists: Joshua Bindewald, Mary Beth Koszut, Don Mason, Anastasia Samoylova, Darren Jackson, Kris Meyers, Cassandra Lawlor , Sarah Zaleski, and Sara Shinn.

From the Lab: Recent Creative Research by BU Art Faculty

August 30th through September 26th work from Shannon Benine, Heather Brammeier, Randy Carlson, Oscar Gillespie, Elizabeth Kauffman, Paul Krainak, John Mosher, Jerry Phillips, Robert Rowe, Fisher Stolz, and Jacqueline Willis will be on display in the Hartmann Center Art Gallery.

Reception: September 16, 5:00 – 7:00pm

I feel fine.

In the artworld’s often cynical climate, claiming that a work of art is some form of “personal expression” can be a clichéd descriptor at best and a hostile put-down at worst. Despite the prevailing negative connotations, this show re-opens the topic of personal expression in art, specifically how artistic practice can serve as a coping method for both the artist and the audience. Each artist in this show acts in response to some bodily or emotional issue and makes art that serves as catharsis for these issues. Yes despite the personal nature of their source material, the methods for coping are designed as “objective” solutions.


In Wound/Wound by Joel Ross (above), an extrapolated bit of text fills a roadside sign. To those who initially encountered this unlikely sign an image is formed by the story the words tell themselves, while later in the gallery the sign itself and its placement become the image in the form a photographic record. Ross’s work simultaneously plays with the semiotics of the roadside sign and the poetry of fragmented stories, to create an unexpected amalgamation of both. The pace of art is also in question with his work. Happening in at least two locales, the site of the sign as well as the record of it in the gallery bring context into question, mush in the same way that artists like Robert Smithson did in the 1960s.

Ryan Mulligan “combines education, entertainment and invention in drawings, sculpture and performances designed as objective solutions to real and imagined problems,” wrote Maiza Hixson. Mulligan’s work (below) is culled from memories and experiences, in an earnest attempt to solve personal problems and conquer internal demons. Despite the seemingly dark starting place, his Disney-like style and pastel palette make the whole endeavor funnier than it is sad, leading to the conclusion that laughter might be the real panacea at work.


Sarah Blyth-Stephens makes sculpture out of plaster, plastic, and rubber. The forms her work takes are reminiscent of minimalist sculpture, yet refreshingly less serious. Made primarily out a desire to work with her hands and have a haptic relationship with material, her work often feels like a three-dimensional abstract expressionist painting. Instead of past avant-garde styles of artwork, Allyson Mitchel’s work refers to a less institutional vernacular: knitting. Using materials usually relegated to the world of craft, Mitchell uses yarn and fabric to spell out her feminist discontent. In her “Fat Craft” series (below) body issues are worked out with needlework.


Another artist working from a feminist perspective is Kate Gilmore. Gilmore uses endurance performance as a means to unleash her frustrations. Gilmore uses sets that refer to formalist art, like Blyth-Stephens she calls to mind minimalist sculpture, and from this clean starting point she physically destroys her surroundings. In “Walk this Way”, dressed in heels, a dress, and gloves, she busts through dry wall with her not-quite-bare hands to reveal a hot pink paint.

Building on what Isabelle Graw terms “conceptual expressionism” this exhibition posits that despite how immaterial, ephemeral, or cold conceptual works of art might seem, they are often grounded by an awareness of the physical body and a direct emotional response to the plight, limitations, and realities of that body. In this context, language is not simply a system to be deconstructed but a basic means of communicating; and it is first and foremost an utterance of the physical body. Each artist’s work responds in some way to the influential minimal, conceptual, and feminist artwork produced in the 1960s and 1970s In this sense, their work copes with conceptual art as a tour de force in the history of the discipline, just as most artists today must come to terms with this lineage. The work is at once serious and ridiculous, lovingly referring back to the promise of conceptual art while simultaneously recognizing its failures.

The exhibition will be on view through September 24th in the Heuser Gallery.
There will be a performance and lecture on September 2nd, at 5:00pm in the Horowitz Auditorium in the GCC. There will also be a reception immediately following the performance/lecture in the Heuser Art Center lobby.