Keys to the Koop: Humor and Satire in Contemporary Printmaking
August 23 - October 9, 2005

Mark Bennett The Effects of Fords on Barbara #20, 2001 Cibachrome Collection of the Jordan Schnitzer Family Foundation

Keys to the Koop: Humor and Satire in Contemporary Printmaking” features 60 works by 16 contemporary American and British artists from the collections of Jordan D. Schnitzer and his family foundation. The artists use wit and provocation to comment on contemporary art, fashion, food, religion, politics, and other aspects of popular culture. Some of the artists are amused by what they see, others are disturbed by it. Some direct their commentary at social issues, while others lampoon art itself.

Artists include: Mark Bennett, Enrique Chagoya, Roy DeForest, Tony Fitzpatrick, Ellen Gallagher, David Gilhooly, Red Grooms, Damien Hirst, Jeff Koons, Roy Lichtenstein, Gene Gentry McMahon, Claes Oldenburg, Tad Savinar, Lorna Simpson, Kara Walker, and William Wegman. The exhibition includes work in a variety of printmaking media—etching, aquatint, drypoint, lithography, photolithograph, woodcut, and screenprint.

The exhibition is organized by Terri M. Hopkins, director and curator at the Art Gym at Marylhurst University, and John Olbrantz, The Maribeth Collins Director at the Hallie Ford Museum of Art, Willamette University, in consultation with the Schnitzer Family Foundation. 

Roy De Forest History of Flight, 1994 Lithograph Collection of Jordan D.Schnitzer		Kara Walker The Keys to the Coop, 1997 Linocut Collection of Jordan D.Schnitzer

Project Series 27: Kaz Oshiro
August 23 - October 9, 2005

Kaz Oshiro Trash Bin #5 (Orange),  2003-04 39 1/2 x 20 1/8 x 20 1/4 inches Courtesy Rosamund Felsen Gallery Photograph © Douglas M. Parker Studio

Now in its eighth year, the Project Series is the Museum’s program of focused exhibitions of work by Southern California artists. Its purpose is to bring to the Pomona College community art that is experimental and that introduces new forms, techniques, and concepts. This series is supported in part by the Pasadena Art Alliance and Sarah Miller Meigs, and is organized by Rebecca McGrew. A catalogue accompanies each exhibition. More...














 

David Maisel The Lake Project, #9798-3, 2003 Chromogenic Print

“The Lake Project” presents large scale aerial photographs and video projection/soundscape by David Maisel. The photographs, made between 2000 and 2004, are complex, abstracted maps of the Owens Valley, a terrain created by the diversion of the waters of Lake Owens to the municipal water system of Los Angeles and by subsequent EPA amelioration. The photographs, taken from a small plane, combine geography, geology, cartography, and industrial archaeology. The presentation—large scale color prints and video projection—offers a majestic, almost horrifyingly beautiful, vision of destruction and intervention. “The Lake Project” is at once an archive of geographical transformation and a vision of the sublime.

History/Science/Technology: The Hoover Collection of Mining and Metallurgy, a selection of early illustrated scientific and technical treatises, is presented as a compliment to “The Lake Project.” The superb collection formed by Herbert and Lou Henry Hoover and held by Honnold/Mudd Library of the Claremont Colleges, enshrines the Hoovers’ intellectual interest in the history of extractive sciences and technologies. The emphasis mirrors the high esteem in which geography, geology, mining, hydrology, and associated earth sciences were held, an amalgam of science and technology which would reconfigure the American West.

The two exhibitions are presented in conjunction with the 2005/06 Hart Institute for American History lecture series, “American Science.”

Project Series 28: Jared Pankin
October 22 - December 18
Opening Reception: Thursday, October 27, 6-8 p.m.
Artist’s Lecture: Wednesday, November 2, 4:15 p.m.

Jared Pankin "Satan's Sixpack," 2005 Mixed media 79 x 103 x 10" The West Collection, Oaks, PA

Jared Pankin’s installation, Long in the Tooth (Snaggleteeth), reflects his provocative take on art, architecture, landscape, and nature. Over the last ten years, Pankin has mined a terrain of political and ecological urgency. His early work suggested apocalyptic clashes between natural and cultural forces in installations of meticulously crafted animals or plants engulfed in natural or man-made disasters. Subsequent work evolved into intimate natural history dioramas, followed by, most recently, sculptures that merged a lone hand-crafted tree to massive accumulations of chunks of wood. Shifting from representational imagery in the earlier work to more abstract in the recent, Pankin’s work stems from the tradition of assemblage, in which found or fabricated forms are combined to underscore a social commentary—in Pankin’s case, the fragility of the earth and the tenuous position of nature in today’s world. More...