Carmen Vendelin | School of the Art Institute of Chicago (original) (raw)

Books by Carmen Vendelin

Kate Krasin (1943-2010) was a master of the silkscreen print. Her highly refined work proved that... more Kate Krasin (1943-2010) was a master of the silkscreen print. Her highly refined work proved that silkscreen, or serigraphy, was not just a medium for photo-transfer T-shirts or simple graphic designs in flat colors. For a single print she might use as many as forty screens, all cut by hand, to create a detailed, textured work of art that could be described as photo-realistic.

Early in her artistic career, Krasin studied the work of Japanese woodblock print artists and fellow Santa Fe woodcut artist Gustave Baumann. She, however, preferred the "dance" of silkscreen: the process of making the sketches, cutting the stencils, formulating the colors, printing by hand. She was a perfectionist who loved working through the details in creating her art.

Krasin discovered that with successive screens, she could create highly detailed imagery. By diluting her inks, she could layer colors on top of one another to achieve still further levels of detail. Her technical feat produced an unusual level of subtlety and refinement, and a transparent, ethereal beauty.

Kate Krasin: Luminous Prints reproduces in full color more than sixty of the artist's prints from the Collection of the New Mexico Museum of Art. Author Carmen Vendelin brings forth the voices of Krasin's lifelong friends; her former husband, artist Peter W. Rogers; and the pair who so appreciated Krasin's technical abilities and aesthetics that they chose to represent her in their photography gallery.

The American Scene was a vibrant artistic movement during the WPA era, a period framed by the cra... more The American Scene was a vibrant artistic movement during the WPA era, a period framed by the crash of the stock market in 1929 and the escalation of American involvement in World War II around 1943. To address the crisis of mass unemployment, the U.S. government instituted a series of public works programs which aimed to put Americans back to work.

The exhibition catalogue presents an overview of American Scenes produced by WPA-era graphic artists – the major issues facing American artists during this period, the hardships endured and the opportunities gained through creating artworks which were relevant to, and appreciated by, a new audience of average American people. Featuring 47 artworks from La Salle University Art Museum and the WPA Collection of the Free Library of Philadelphia Print and Picture Department, this catalogue includes scholarly essays, label text and reproductions of all of the artworks included in the exhibition.

Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strate... more Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strategies that obscure form as well as content. Focusing on the ways artists experimented with print media and explored technical means of suggesting formal ambiguity(i.e. flattening, abstracting, obscuring) both to better match form and content and to push the boundaries of figurative art, this exhibition places Symbolist art in the context of Modernism. Included are prints by artists Odilon Redon, Jan Toorop, Paul Gauguin, Maurice Denis, Édouard Vuillard, Félix Vallotton, Henri Ibels, Pierre Bonnard, Félix Buhot, Pierre Roche, Henri Martin, Armand Point, Maurice Dumont, Jeanne Jacquemin, Georges de Feure, François-Marius Valère Bernard, Carlos Schwabe and others. The exhibition catalogue features essays by the curator, Carmen Vendelin, and La Salle University faculty Siobhan Conaty and Marc Moreau. Edited by Carmen Vendelin. Foreword by LSUAM Director Klare Scarborough.

Papers by Carmen Vendelin

Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strate... more Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strategies that obscure form as well as content. Focusing on the ways artists experimented with print media and explored technical means of suggesting formal ambiguity(i.e. flattening, abstracting, obscuring) both to better match form and content and to push the boundaries of figurative art, this exhibition places Symbolist art in the context of Modernism. Included are prints by artists Odilon Redon, Jan Toorop, Paul Gauguin, Maurice Denis, Édouard Vuillard, Félix Vallotton, Henri Ibels, Pierre Bonnard, Félix Buhot, Pierre Roche, Henri Martin, Armand Point, Maurice Dumont, Jeanne Jacquemin, Georges de Feure, François-Marius Valère Bernard, Carlos Schwabe and others. The exhibition catalogue features essays by the curator, Carmen Vendelin, and La Salle University faculty Siobhan Conaty and Marc Moreau. Edited by Carmen Vendelin. Foreword by LSUAM Director Klare Scarborough.

El Palacio, Spring 2016 Taking a Fritz Scholder group portrait of the faculty at the Institute o... more El Palacio, Spring 2016

Taking a Fritz Scholder group portrait of the faculty at the Institute of American Indian Arts and the legacy of the it’s cofounder Lloyd Kiva New as starting points, this exhibition includes work by IAIA faculty and alumni from the 1960s to the present such as Scholder, Neil Parsons, T.C. Cannon, Melanie Yazzie, Hulleah Tsinhnahjinnie, and Will Wilson. New encouraged looking at new techniques and forms as a path to creating contemporary Indian art. The founding of the Institute of American Indian Arts in Santa Fe in 1962 intersects with a significant moment in the history of Western Art. Ethnicity and culture, political ideology, feminism, and the inclusion of personal narratives became legitimate forms of expression in mainstream contemporary art. The early years of IAIA were also an era of consciousness raising and civil rights movements in the United States. Native American self-determination was a major issue for many indigenous artists.

Enough time has passed that the early days of IAIA, looking back half a century now, can be historicized and examined in greater context. The institution was founded during a period of great change and spurred shifts in how indigenous artists viewed themselves and their art, paving the way for Native American artists to take their place in the global contemporary art field. Looking at the issues of identity still being raised in contemporary Native American art, it is clear that the artwork of the 1960s and 70s began a conversation that continues to this day.
May 2016 – Oct 2016

El Palacio, Spring 2016 This exhibition examines the formal means artists employ to impart a sens... more El Palacio, Spring 2016
This exhibition examines the formal means artists employ to impart a sense of drama and setting in their compositions.

In the performing arts, “stage, setting and mood” refer to the evocative and emotional experiences that can be created in the physical space of the theater with the use of backdrops, props, lighting, sound and the work of the performers. In the visual arts, artists employ theatrical pictorial means to appeal to the senses. Colors, bold forms, and compelling subjects can be called on to elicit an emotional connection between viewer and artwork. In this exhibition, artworks that feature high drama, theatrical presentation, and narrative storytelling, demonstrate the connection between sensation and spectacle.

The townscapes and landscapes demonstrate a theatrical approach to non-performance subjects employing stage-like arrangements of landscape and architectural features, dramatic lighting to intensify mood, and narrative interaction.

The exhibition comprises close to 50 artworks dating from the late 18th century to the present including paintings, drawings, photography, prints, book illustrations, ceramics, bronzes and glass. The diverse range of artists with work in the exhibition include Augustus Leopold Egg, Trude Fleischmann, Francisco de Goya, Gene Kloss, Eli Levin, Virgil Ortiz, Julius Rolshoven, Utagawa Kunisada, and Beatrice Wood.
Feb 2016 – May 2016

Summer 2015, Vol. 120, No. 2, pp. 62-65 El Palacio Attention to color and light is a hallmark of... more Summer 2015, Vol. 120, No. 2, pp. 62-65
El Palacio

Attention to color and light is a hallmark of artwork created in the lower Pacific Coast and Mountain States. For over a century, artists in the Southwest have been challenged by its open landscapes bathed in a broad spectrum of color and light. Artists have set themselves the task of capturing these unique light effects across wide-ranging media and styles. Primarily a landscape exhibition, the majority of the artworks depict gorgeous scenery in varied palettes and offer highlights from the New Mexico Museum of Art’s collection.

The exhibition will encompass an array of art created from the early 20th century to the present and will include paintings, photographs, prints, watercolors, and ceramics. Included are iconic work by artists such as Gustave Baumann, Louise Crow, Andrew Dasburg, Robert Daughters, Eddie Dominguez, Fremont F. Ellis, William Penhallow Henderson, Victor HigginsKate Krasin, Dorothy Morang, Helmuth Naumer, Sheldon Parsons, Warren E. Rollins, T.C. Cannon, and Hulleah J. Tsinhnahjinnie.
Mar 2015 – Sep 2015

Kate Krasin (1943-2010) was a master of the silkscreen print. Her highly refined work proved that... more Kate Krasin (1943-2010) was a master of the silkscreen print. Her highly refined work proved that silkscreen, or serigraphy, was not just a medium for photo-transfer T-shirts or simple graphic designs in flat colors. For a single print she might use as many as forty screens, all cut by hand, to create a detailed, textured work of art that could be described as photo-realistic.

Early in her artistic career, Krasin studied the work of Japanese woodblock print artists and fellow Santa Fe woodcut artist Gustave Baumann. She, however, preferred the "dance" of silkscreen: the process of making the sketches, cutting the stencils, formulating the colors, printing by hand. She was a perfectionist who loved working through the details in creating her art.

Krasin discovered that with successive screens, she could create highly detailed imagery. By diluting her inks, she could layer colors on top of one another to achieve still further levels of detail. Her technical feat produced an unusual level of subtlety and refinement, and a transparent, ethereal beauty.

Kate Krasin: Luminous Prints reproduces in full color more than sixty of the artist's prints from the Collection of the New Mexico Museum of Art. Author Carmen Vendelin brings forth the voices of Krasin's lifelong friends; her former husband, artist Peter W. Rogers; and the pair who so appreciated Krasin's technical abilities and aesthetics that they chose to represent her in their photography gallery.

The American Scene was a vibrant artistic movement during the WPA era, a period framed by the cra... more The American Scene was a vibrant artistic movement during the WPA era, a period framed by the crash of the stock market in 1929 and the escalation of American involvement in World War II around 1943. To address the crisis of mass unemployment, the U.S. government instituted a series of public works programs which aimed to put Americans back to work.

The exhibition catalogue presents an overview of American Scenes produced by WPA-era graphic artists – the major issues facing American artists during this period, the hardships endured and the opportunities gained through creating artworks which were relevant to, and appreciated by, a new audience of average American people. Featuring 47 artworks from La Salle University Art Museum and the WPA Collection of the Free Library of Philadelphia Print and Picture Department, this catalogue includes scholarly essays, label text and reproductions of all of the artworks included in the exhibition.

Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strate... more Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strategies that obscure form as well as content. Focusing on the ways artists experimented with print media and explored technical means of suggesting formal ambiguity(i.e. flattening, abstracting, obscuring) both to better match form and content and to push the boundaries of figurative art, this exhibition places Symbolist art in the context of Modernism. Included are prints by artists Odilon Redon, Jan Toorop, Paul Gauguin, Maurice Denis, Édouard Vuillard, Félix Vallotton, Henri Ibels, Pierre Bonnard, Félix Buhot, Pierre Roche, Henri Martin, Armand Point, Maurice Dumont, Jeanne Jacquemin, Georges de Feure, François-Marius Valère Bernard, Carlos Schwabe and others. The exhibition catalogue features essays by the curator, Carmen Vendelin, and La Salle University faculty Siobhan Conaty and Marc Moreau. Edited by Carmen Vendelin. Foreword by LSUAM Director Klare Scarborough.

Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strate... more Symbolist artists’ employment of ambiguity in choices of subject matter extended to formal strategies that obscure form as well as content. Focusing on the ways artists experimented with print media and explored technical means of suggesting formal ambiguity(i.e. flattening, abstracting, obscuring) both to better match form and content and to push the boundaries of figurative art, this exhibition places Symbolist art in the context of Modernism. Included are prints by artists Odilon Redon, Jan Toorop, Paul Gauguin, Maurice Denis, Édouard Vuillard, Félix Vallotton, Henri Ibels, Pierre Bonnard, Félix Buhot, Pierre Roche, Henri Martin, Armand Point, Maurice Dumont, Jeanne Jacquemin, Georges de Feure, François-Marius Valère Bernard, Carlos Schwabe and others. The exhibition catalogue features essays by the curator, Carmen Vendelin, and La Salle University faculty Siobhan Conaty and Marc Moreau. Edited by Carmen Vendelin. Foreword by LSUAM Director Klare Scarborough.

El Palacio, Spring 2016 Taking a Fritz Scholder group portrait of the faculty at the Institute o... more El Palacio, Spring 2016

Taking a Fritz Scholder group portrait of the faculty at the Institute of American Indian Arts and the legacy of the it’s cofounder Lloyd Kiva New as starting points, this exhibition includes work by IAIA faculty and alumni from the 1960s to the present such as Scholder, Neil Parsons, T.C. Cannon, Melanie Yazzie, Hulleah Tsinhnahjinnie, and Will Wilson. New encouraged looking at new techniques and forms as a path to creating contemporary Indian art. The founding of the Institute of American Indian Arts in Santa Fe in 1962 intersects with a significant moment in the history of Western Art. Ethnicity and culture, political ideology, feminism, and the inclusion of personal narratives became legitimate forms of expression in mainstream contemporary art. The early years of IAIA were also an era of consciousness raising and civil rights movements in the United States. Native American self-determination was a major issue for many indigenous artists.

Enough time has passed that the early days of IAIA, looking back half a century now, can be historicized and examined in greater context. The institution was founded during a period of great change and spurred shifts in how indigenous artists viewed themselves and their art, paving the way for Native American artists to take their place in the global contemporary art field. Looking at the issues of identity still being raised in contemporary Native American art, it is clear that the artwork of the 1960s and 70s began a conversation that continues to this day.
May 2016 – Oct 2016

El Palacio, Spring 2016 This exhibition examines the formal means artists employ to impart a sens... more El Palacio, Spring 2016
This exhibition examines the formal means artists employ to impart a sense of drama and setting in their compositions.

In the performing arts, “stage, setting and mood” refer to the evocative and emotional experiences that can be created in the physical space of the theater with the use of backdrops, props, lighting, sound and the work of the performers. In the visual arts, artists employ theatrical pictorial means to appeal to the senses. Colors, bold forms, and compelling subjects can be called on to elicit an emotional connection between viewer and artwork. In this exhibition, artworks that feature high drama, theatrical presentation, and narrative storytelling, demonstrate the connection between sensation and spectacle.

The townscapes and landscapes demonstrate a theatrical approach to non-performance subjects employing stage-like arrangements of landscape and architectural features, dramatic lighting to intensify mood, and narrative interaction.

The exhibition comprises close to 50 artworks dating from the late 18th century to the present including paintings, drawings, photography, prints, book illustrations, ceramics, bronzes and glass. The diverse range of artists with work in the exhibition include Augustus Leopold Egg, Trude Fleischmann, Francisco de Goya, Gene Kloss, Eli Levin, Virgil Ortiz, Julius Rolshoven, Utagawa Kunisada, and Beatrice Wood.
Feb 2016 – May 2016

Summer 2015, Vol. 120, No. 2, pp. 62-65 El Palacio Attention to color and light is a hallmark of... more Summer 2015, Vol. 120, No. 2, pp. 62-65
El Palacio

Attention to color and light is a hallmark of artwork created in the lower Pacific Coast and Mountain States. For over a century, artists in the Southwest have been challenged by its open landscapes bathed in a broad spectrum of color and light. Artists have set themselves the task of capturing these unique light effects across wide-ranging media and styles. Primarily a landscape exhibition, the majority of the artworks depict gorgeous scenery in varied palettes and offer highlights from the New Mexico Museum of Art’s collection.

The exhibition will encompass an array of art created from the early 20th century to the present and will include paintings, photographs, prints, watercolors, and ceramics. Included are iconic work by artists such as Gustave Baumann, Louise Crow, Andrew Dasburg, Robert Daughters, Eddie Dominguez, Fremont F. Ellis, William Penhallow Henderson, Victor HigginsKate Krasin, Dorothy Morang, Helmuth Naumer, Sheldon Parsons, Warren E. Rollins, T.C. Cannon, and Hulleah J. Tsinhnahjinnie.
Mar 2015 – Sep 2015