Gallery Reception: “Reiterate. Re: Iterate.” | 5-8 PM Gallery Reception: “Reiterate. Re: Iterate.” | 5-8 PM

Nancy Wolfe




Art Exhibit

Gallery Reception: “Reiterate. Re: Iterate.” | 5-8 PM

Exhibit showing October 8-November 8

This is a free event.

  • Michael Nagara
  • Sarah Rose Sharp
  • Andrew Thompson
  • Megan Heeres
  • Nancy Wolfe

Event Details

Artists' Statement: "Regarding iterate? Responding to iterate?"

“In actuality, the word ‘iterate’ already implies repetition. There is no need to ‘reiterate’, as when you ‘iterate’ you are already uttering over-and-over. We can iteratively respond to someone else’s iteration in a design process, and there is no need consider it a ‘reiteration’. It may not be wrong, but it may also be superfluous or hyper-redundant.

And yet in dealing with people, sometimes attempts to clarify through repetition do not get people’s attention (or comprehension). Do we, then, find ourselves iterating, and iterating, and yet our meaning still ignored, we attempt to hyper-correct. Thence, do we ‘reiterate’?

Artists iterate. What is the art of the artist, aside from the iteration of solutions to aesthetic problems? What is a sketchbook, other than an early version of an iterative design process? What are studies? What was Monet doing painting those same haystacks, over-and-over, anyway?

The construction of warp and weave, in fiber, is very iterative. The formation of paper, a common artistic substrate, has a repetition of fibrous formations, similar to fiber arts. Drawings often have a repetitive / iterative aspect, even within a single drawing, in the develop- ment of a stroke or mark-making vocabulary. Vast quantities of repetition and reiteration, over time, may turn drawings, to icons, to sym- bols, perhaps even to written words? When drawing becomes writing, we assign image to signify... thought? ...culture? ... sound? Sounds, especially perhaps those made by percussive strikes, when repeated, iterated, cycled over-and-over, can form rhythm and music. Be- cause of their gestalt, repeating iterations (material or performative) over-and-over in a space causes those iterations to assert a sense of meaning over a space. Do we ‘reiterate’ as we repeat iterations?

Or are the iterations the content, now? Are the process and content one and the same, with the dissolution of temporal and spatial dis- tance via technology? Are we just iteratively responding to the changing stimulus of social, economic, and political conditions? Or are we iteratively seeking “something other” through aesthetic exploration? Do we ‘reiterate’ as we re-assign meaning, the iteration of the moment of technical artistic expression, changing through repetition into something with an additional cultural, social, political, or aesthetic meaning?

As artists, are we really just small production businesses? Are we really librarians? Are we really junior academic administrators? Are we really art critics? Are we really arts administrators? Creative directors? Project managers? Or through the constant reiteration of aesthet- ic study, over time, are we just artists, no matter what else we may seem to be at the time?

Andrew Thompson, Megan Heeres, Michael Nagara, and Sarah Rose Sharp respond to the conundrum of iteration. Or was it “reiteration”? Iterating through repetitions of marks, materials, or even scales, we utter over-and-over again,

‘We are artists.’, ‘This is art.’”

Gallery Reception: Thursday, October 12th, 4 PM - 6 PM

Exhibit showing October 8th - November 8th

This exhibit will be available for viewing Monday – Friday, 9:30 am to 5 pm; during public concerts, and by appointment. For more information or to make an appointment, call 734-769-2999.

Michael Nagara

Michael Nagara has exhibited work in Japan, the Philippines, Finland, and the United States, since the mid-1990’s. He has a 2003 Master of Fine Arts from the University of Michigan Penny Stamps School of Art and Design, and a 2010 Master of Science in Information Studies from the University of Michigan School of Information. The artist also has a 1993 B.A. in East Asian Studies from Oberlin College. He has work in various private collections and the University of Michigan Ross School of Business’ art collection.

While having bodies of work in landscape imagery and Japanese calligraphy, his main conceptual work deals with visually expressing complex interactions of scale in time and space, on the flat plane of immobile, two-dimensional artwork. Through these interactions he visualizes many scales of problematic interrelation between multigenerational planetary time, and the roiling activity of bodies that tire and hunger daily, amidst 24-hour-a-day, planetary-scale supply lines and administrative activity.

Visual problematics in his work are intended to metaphorically map to the problematics of technologically driven life and culture: dreamed of for a century or more as a utopian panacea, but inescapably tied to the very human baggage that goes into its creation through its very human creators. Nagara's work re-visualizes issues created by the fact that technology, even if benevolently conceived, rarely manages to act as more than a catalyst. When technology is applied to destructive practices and intentions, it blindly amplifies and speeds up their potential negative effects, in the same way it can accelerate and spread positive effects of constructive efforts.

Of late, Nagara has also begun to challenge the third dimension, while maintaining reference to his two-dimensional drawing, painting, and printmaking foundations. Nagara achieves this by stacking or building with flat works in ways that try to maintain the visual identity of flat work, even as they (sometimes problematically) create a conglomerate body with meaning as objects with depth and volume in their materiality.

Sarah Rose Sharp

Sarah Rose Sharp is a Detroit-based writer, activist, photographer and multimedia artist. She writes about art and culture, online and in print, for Art in America, Hyperallergic, The Believer, Sculpture Magazine, Flash Art, ArtSlant and others. She was named a 2015 Kresge Literary Arts Fellow for Arts Criticism and was selected as a participant in the 2015 Art Writing Workshop facilitated by AICA/USA and the Art Writers Grant Program.

She has shown work in New York, Seattle, and Detroit—including participation in the 2014 Ofrenda group show at the Detroit Institute of Arts—with solo shows at Public Pool in November 2016, and another at Simone DeSousa Gallery in January of 2017. She is primarily concerned with artist and viewer experiences of making and engaging with art, and conducts ongoing research in the state of contemporary art in redeveloping cities, including a process blog called “Breakfast with the Artist.”

Andrew Thompson

Andrew Thompson is a sculptor and installation artist, educator, curator, musician, and gardener. Thompson grew up in Kansas City, MO and received his BFA in Sculpture from the Kansas City Art Institute. Thompson moved from Cowtown to Motown to receive his MFA in Sculpture from Cranbrook Academy of Art. He has been exhibiting his sculptures and installations throughout Southeast Michigan for over a decade and helps to curate and coordinate shows at a number of venues including as an exhibition committee member with Detroit Artists Market, Ann Arbor Art Center, and as a board member of Hatch: A Hamtramck Artist Collective. He currently teaches in the Stamps School of Art and Design at University of Michigan and College for Creative Studies in Detroit.

Thompson creates installations composed of long lasting, found materials that have a life cycle extending far before and far beyond the crystallized moment of the artwork. His artwork exists in a temporary state of being, a spatial intervention that later exists only in memory. These installations are a conduit for the audience to re-experience the physicality of the space, and to interpret materials in unfamiliar ways.

"I want the work to find its way into another place in the audience’s mind, as an experiential proposition for the viewer to digest according to their own personal narrative."

Megan Heeres

A native Michigander, Megan Heeres returned home from the West Coast in 2007 to study at Cranbrook Academy of Art where she earned her MFA. Megan has been involved in the local arts community for over nine years as an advocate, volunteer, and teacher, all roles she plays currently with her Invasive Paper Project. She participates in projects locally and nationally, most recently at the Center for the Book in New York City, Santa Fe Art Institute, and Salina Art Center in Kansas.

Megan creates, contemplates, and experiments with matters of tending, time, humor, chance and place. She begins each work by constructing controlled environments in which materials are able to act as they may. The materials - from plaster, ink, slip and latex paint, sound-
responsive lights to fabric, handmade paper pulp and found motors - perform actions specific to their physicality and leave marks or residues as they move. These actions and marks then inform the final work’s formal qualities and conceptual nature.

Nancy Wolfe

"Seduced by the color and richness of poetry, my work has a narrative connection, reflecting that love for the turns and tricks of language. My work comes from what is most fundamental to me:

shapes with 'color' in a relationship
with or without conflict
in search of connection
to you"

Nancy is an artist and educator and also is the Art Coordinator at Kerrytown Concert House. In conjunction with Edgefest, she exhibits her work yearly each October with invited guest artists. Nancy teaches a workshop: “Visual Journal, Image and Word” at Wayne State University’s Art Therapy Dept and at the Hannan Foundation in Detroit.

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