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4th Annual Art+Design Faculty Exhibition

August 12 – September 18, 2010

Imagine Everywhere

On the cover: Louise LeBourgeois, Water #422, oil on panel, 46 x 46 inches

Jennifer Murray, Director, A+D Gallery

The 4th annual Art + Design faculty exhibition, Imagine Everywhere, addresses concepts and meanings of globalization defined (by Wikipedia of course) as a process by which regional economies, societies, and cultures have become integrated through a global network of communication, transportation, and trade. The complexities inherent in our society’s ability to imagine, communicate, and reach everywhere are what this year’s group of faculty addresses in this diverse display of work with topics including the destruction of native species, human trafficking, and the American Dream. Imagine Everywhere includes Whitney Huber and David Follmer, Louise LeBourgeois, Marlene Lipinski, Marilyn Propp, Arti Sandhu, Miklos P. Simon, and essayist Corey Postiglione.

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The only way to determine the value of globalization is to analyze what has been gained and what has been lost. In order to challenge

and bring balance to this global reality, nations should only import what they cannot make or grow themselves. — Michael Royce

Every semester when I am teaching Critical Theory and come to

the point in the course that deals with globalization, I always give

the students an impromptu assignment: they are asked to draw a

map of the world from memory. Some representations are amaz-

ingly accurate (at least in a conventional cartographic sense); oth-

ers are interpretive, even fantastical. My feeling has always been

in order to interrogate global discourse we should have some vi-

sual sense of what we are imagining.

The conditions of globalization, which emerged in the late 20th

Century, are many faceted, embracing a myriad of complex in-

terconnected disciplines and technologies. These features of the

global discourse can include: the shrinking of the world through

commerce (outsourcing: Thomas Friedman’s “Flat World” thesis);

advances in communication and the rise of the Internet; the prolif-

eration of multinational corporations and the resultant dissolution

of national boundaries. A positive feature of this new global reality

is the dissemination of heretofore marginalized art through the

proliferation of International Biennials in newer venues such as

Dakar, Shanghai, as well as the more established Venice, Basel,

and Saõ Paolo exhibitions. We are now seeing contemporary work

from a more global perspective—from China, Africa, India, and

Southeast Asia. Some theorists, however, see many of the condi-

tions noted above as problematic. The point is simply that none

of these features of globalization are necessarily benign. Cultural

critics from many perspectives see this phenomenon as driven

and produced by ideology (I mean this in a larger more Althussar-

ian1 sense) and constructed by cultural, sociopolitical strategies.

By Corey Postiglione

Mapping Globalthe

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In this last sense of the global and its effect on cultural produc-

tion, Fredric Jameson, in his prophetic landmark essay of 1984,

“Postmodernism, Or, The Cultural Logic of Late Capitalism” (origi-

nally published in the New Left Review), proposed a global context

and critique of postmodern visual culture, one determined less

as a set of stylistic tics than by economic formations. Central to

his argument in “Cultural Logic,” is the rise of a global network

(remember this was written before the Internet) of multination-

al capital and all its attendant agencies of technology. If, as he

notes, modernism suggested (mythically, of course) that the artist

was somehow in control of her production as a centered subject,

then conversely the postmodern subject/cultural producer is pro-

foundly de-centered, lost in this labyrinth of a post industrial world

of enormous complexity. (This paradigm is similarly theorized by

such writers as Jean Baudrillard and his interrogation of the sim-

ulacra and the Hyperreal, and from a psychological perspective,

Jacques Lacan’s notions of the Other and the Real.)

Of course, since the writing of Jameson’s essay, the reality of the

global has only expanded and intensified. There doesn’t seem to

be any area of the life world that hasn’t been colonized by current

media and technology—from cloning to sexual transformation,

from global information systems (the Internet) to the saturation

of surveillance apparatuses that would include satellite imaging

to street cameras (Chicago is one of the most surveilled cities in

the world presently). Certainly artists have correspondingly ex-

panded their use of media to critique and problematize many of

these new global formations. Today, artists use many of the same

technologies that they are critiquing such as video, computers,

the internet, digital photography, organic growth systems, sound

works, language based media, the physical body, and genetic

codes (DNA).

So, according to the above, the nagging question for the postmod-

ern artist is: How does one make any claim to creating work that

honestly reveals the present human condition, if we still believe in

art’s capacity for some kind of truth or a critique of absolutes? In

the last paragraph of “Cultural Logic,” Jameson sets a challenge

for the contemporary artist—he calls for “An aesthetic of cognitive

mapping....” He explains further his meaning here: “…a pedagog-

ical political culture which seeks to endow the individual subject

with some new heightened sense of its place in the global sys-

tem—will necessarily have to respect this now enormously com-

plex representational dialectic and invent radically new forms in

order to do it justice (emphasis mine).”2

The current exhibition Imagine Everywhere represents a response

by six Columbia College Chicago faculty to this “complex repre-

sentational dialectic” of globalization and all its attendant mean-

ings. The artists exhibited here (Whitney Huber and David Follmer,

Louise LeBourgeois, Marlene Lipinski, Marilyn Propp, Arti Sand-

hu, and Miklos Simon) collectively map the Global through a wide

range of media and conceptual strategies.

Whitney Huber and David Follmer focus their multi-media proj-

ect on the explosion of human trafficking exacerbated by global-

ization’s increasing disparity of wealth, especially in developing

countries, and the subsequent vulnerability of those populations,

mainly women and children. The artists state: “The sale of human

beings remains one of the top three forms of international crime.”

Their visual strategy is to clarify the blizzard of information vis-à-

vis the Global Technology on this disturbing subject.

Louise LeBourgeois’s paintings of sea and sky recall a sense of

the sublime, an apt metaphor for this sense of postmodern dis-

location and de-centeredness that Jameson refers to. In these

pictures, which are beautifully crafted, there is no sense of a par-

ticular place, only a horizon which can be anywhere (and “every-

where”). We have lost our bearings—we are at sea.

1 See Louis Althusser, “Ideology and Ideological State Apparatuses,”

from Lenin and Philosophy and Other Essays, translated by Ben Brewster

(New York and London: Monthly Review Press, 1971.)

2 “Postmodernism, or, The Cultural Logic of Late Capitalism,” (Durham, 1991) p.54.

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Marlene Lipinski’s multi-part painting of Douglas fir trees signi-

fies for her the importance of these giant trees in sustaining the

complex ecosystem that we, along with all living things, rely on.

Lipinski states, “Trees are the giants of the vegetational world,

the great sponges of carbon dioxide, the holders of the soil, the

habitat of wildlife, and nature’s original air conditioners.” For a

number of interconnected reasons ranging from population

growth to exploitation by energy corporations, forests globally are

being decimated.

Marilyn Propp references in her large globe-like sectional paint-

ing “interconnectedness, cross-pollination, a free interchange of

ideas, and instant transmission of news and events.” This is not

an uncritical display of images (machine parts, domestic objects,

exotic artifacts) but rather a critique of multi-national capital’s

commodification of everything and everywhere.

Through a series of intricately designed images in the style of

Madhubani folk art, Arti Sandhu foregrounds the rapid global in-

fluence of modernization on her native Indian culture, especially

in the area of fashion. “The status attached to luxury brands and

the influence of Western fashion and lifestyle magazines (like

Vogue and Cosmopolitan) in India, Sandhu says, are also central

themes in these illustrations.”

The quest for the mythical American Dream is central to Miklos P. Simon’s art. For this exhibition he employs three sculpture/in-

stallation/performance pieces from the series that deal themati-

cally with “the everyday reality of the migration of people into the

United States who are seeking a better life.” Ultimately, Simon’s

work allows the viewer to decide whether the “American Dream”

of success and upward mobility is really a possibility or a betrayal.

All the artists in the exhibition Imagine Everywhere approach the

controversial subject of globalization from many different and

complex perspectives, and through a wide range of media. How-

ever, they avoid simplistic reductive solutions to their art. Finally,

this is not agitprop, but rather, thoughtful poetic ruminations on

a very difficult and contentious subject leaving the viewer a poly-

semic experience.

Corey Postiglione is an Associate Professor in the

Department of Art and Design at Columbia College

Chicago where he currently teaches Art History and

Critical Theory as well as studio arts. His critical writ-

ing has been published in Artforum, The New Art Ex-

aminer, Dialogue, and C-Magazine (Toronto). He has

written numerous catalogue essays and continues

to curate exhibitions of artists’ work in all media.

Postiglione is also a practicing artist and is currently

represented by Thomas Masters Gallery in Chicago,

Il and the Brad Cooper Gallery in Tampa, Fl.

Marilyn Propp

Construction 1, 2009

found objects (metal, wood, rubber)

12⅝ x 11 x 3 ¾ inches

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Human trafficking -- defined as the trade, abduction, or coercion of people for the purpos-

es of forced or exploitative labor, including sexual exploitation -- is one of the oldest forms

of trade and abuse of power. Despite the United Nations Conventions Against Transna-

tional Organized Crime established in 2000, trafficking of people is a “widespread and

growing” global issue. Trafficking is perpetrated against the most vulnerable members of

the world community, particularly women and children.1

The sale of human beings remains one of the top three forms of international crime. Yet,

the issue seems largely invisible or remote within developed countries, even while it hap-

pens in those same countries. Strategies to educate the public, prevent trafficking and

rehabilitate victims are complicated by the lack of clarity and consistency in available

information.2

In our globalizing world, communication and information technologies can bring to light

undeniable realities. These technologies can also overwhelm, create paralysis, anxiety,

or a sense of futility. A Human Trafficking GeoTimeline serves as a visual timeline and in-

teractive housing of information on human trafficking from all kinds of sources. We are

gathering and picturing the activity of information, as well as absences and discrepan-

cies, alongside the most current information for what individuals can do. In presenting

this information in visually accessible and interactive forms adaptable to contexts within

and beyond the space of the gallery, we hope to reach new audiences and create new

avenues for discussion, action, and global responsibility.

Any proceeds made from the project will go to organizations promoting awareness and

prevention of human trafficking.

1 Kofi A. Annan, Secretary-General of the United Nations, United Nations Convention Against Transnational Organized Crime

and The Protocols Thereto, United Nations Office on Drugs and Crime, New York, 2004, p. iv. www.unodc.org/documents/trea-

ties/UNTOC/Publications/TOC%20Convention/TOCebook-e.pdf

Also, see the official website of the United Nations Office on Drugs and Crime (UNODC), part II:

www.unodc.org/unodc/en/treaties/CTOC

2 The UNESCO Trafficking Statistics Projects is currently addressing this problem by “conducting a literature review and

meta-analysis of existing statements on trafficking.” See www.unescobkk.org/index.php?id=1022.

Whitney Huber is a sculptor, spatial and perfor-

mance artist with a background in art history, film

theory and criticism. She teaches studio art/design,

art history, and interdisciplinary creative practice at

Columbia College Chicago. Her artistic and schol-

arly work addresses perception, iconography, and

performance of gender roles. Huber’s most recent

work presents symbolic conceptualism derived

largely from personal narrative and a contemporary

feministic approach.

David Follmer is a database developer and a musi-

cian with an academic background in sociology and

psychology. He is fluent in database design, data

analysis and manipulation. Working as a “data guru”

and observing the world through the lens of social sci-

ence, Follmer enjoys modes of analysis and curiosity

that are often underutilized in his work in information

technology.

Both parties find great motivation in the possibility

of promoting and provoking social awareness and

responsibility. Prior to embarking on this collab-

orative project, Huber and Follmer had numerous

discussions about the concept of “data as art” and

the intersections of information, aesthetics, social

engagement, and visual communication. These

conversations laid the foundation for A Human Traf-

ficking GeoTimeline, which is Follmer’s first venture

into the world of visual art. Follmer is interested in

the power inherent in the act of shaping data and the

social efficacy of informational tools that are crafted

with integrity, are accessible, vital and compelling.

For Huber, this collaboration facilitates involvement

with information technology as a new artistic mate-

rial, and is an opportunity to apply conceptual and

aesthetic concerns to design ideas that may reach

beyond typical exhibition venues.

Whitney Huber & David Follmer

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Whitney Huber and David Follmer

Human Trafficking GeoTimeline, 2010

screen capture of data point

dimensions variable

Louise LeBourgeois, Water #423, 201, oil on panel, 46 x 46 inches

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Louise LeBourgeois has taught in the Art + Design

Department at Columbia College Chicago since

1994. She attended the University of Wisconsin-

Madison (BS, 1985), the School of the Art Institute

of Chicago (BFA, 1990), and Northwestern University

(MFA, 1994). She has exhibited her work throughout

Europe and the United States, and is currently repre-

sented by Packer Schopf Gallery in Chicago, IL, Dolby

Chadwick Gallery in San Francisco, CA, and Gallatin

River Gallery in Big Sky, MN. She is an avid swim-

mer and has long been fascinated with the visual

phenomena of waves and water. Living in Florence,

Italy, where scientific innovations during the Renais-

sance revolutionized both art and global navigation,

stimulated her interest in pictorial space, perspective

and the horizon. Awards include Illinois Art Council

Grant, Artadia Grant, and a public commission from

the Chicago Department of Cultural Affairs to install

her work at the 17th District Police Station. Most

recently, she received a Columbia College Chicago

Faculty Development Grant to participate in the BAU

Institute’s artist’s residency program in Otranto, Italy

in June, 2010.

Globalization contains many paradoxes. It promises ever-increasing lightness and speed

to trade, travel and communication, which in turn can exact a heavy toll on people and

the environment. As with all change, we gain something and we lose something. It is not

always obvious which is which. There are arguments to be made on all sides.

The horizon is our imperfect perception of the edge of the globe. It is also a paradox, the

visible but non-existent straight line describing a curve, the imagined place where planet

and sky merge.

Sailors had to confront their own fears about the horizon as our human understanding of

the world blossomed from flat to round, from a place in which a ship could fall to oblivion

into a place where sailing in a single direction could mean arriving at the same point from

which one departed. Christopher Columbus’s 1492 voyage was certainly not the first

case of global exploration, but it was one of history’s most significant. Like globalization

today, Columbus’s voyage resulted in both discovery and tragedy, enriching some people

while destroying others.

My water/sky paintings explore the idea that we are in uncharted territory, propelled to-

wards the unknown by discovery and innovation. It is a philosophical connection rather

than a literal one. These works are based upon my ongoing relationship with Lake Michi-

gan, a tangible presence in my life as well as a metaphor, the fictive space where as far as

we can see there is yet more to come.

Louise LeBourgeois

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Trees are the giants of the vegetational world, the great sponges of carbon dioxide, the

holders of the soil, the habitat of wildlife, and nature’s original air conditioners. Trees

grow in valleys, mountains, jungles, deserts, and plains. In the beginning, the world was

covered with trees, and trees have been holding the world together ever since.

Humans have been taking the world apart. As world cultures moved from a hunt- and-forge

to an agriculture-and-settlement society, forested land had to be cleared. Over centuries,

as more land needed to be cleared, methods for felling trees became more efficient, and,

of course, trees became the number one provider of building material for homes, furnish-

ings, stores, and factories. When Europeans arrived in the Americas, opportunities for

trade, settlements, and growing economies via the vast amount of resources the land

held became evident. Europeans had already decimated their own forests and were in

need of a new source of lumber. One major source was the virgin forest covering New

England. It took only a few years before the white pine forests were completely decimated.

Once these forests disappeared, the lumber barons moved through the upper Midwest

where complete pine forests were razed within 3 years. Slowly but surely, forests were

decimated across the continent.

As other cultures compete for their share of the world market, more land is being cleared

for expanded agricultural and industrial economic opportunity. Indonesia, Mexico, Cen-

tral and South America and China are countries that have come under criticism for their

attempts to join the world economies by clearing large portions of rainforest for alterna-

tive land use. And yet this practice of economic development has been well established

in Western culture for centuries. The problem of expansionism versus containment of

land resources has become a global problem. Sustainability, replacing a twenty-ton tree

that maintains large amounts of carbon in its root system with a small seedling that will

not achieve the same growth for many decades, is not an even trade. Second generation

trees must be preserved if our air and land are to be preserved.

My recent work has investigated the trees that have fueled Western growth and expan-

sion: the white pine, the Douglas fir, and varieties of oaks. These trees have served hu-

man kind’s needs because of their strength, straightness, and durability, as well as ac-

cessibility. A few honorable champions, around 800 in all, are registered for their height,

Marlene Lipinski is an Associate Professor in the

Art + Design Department at Columbia College Chica-

go and served as the Coordinator of Graphic Design

and Advertising programs from 1978-2000. She

earned her MFA from the University of Wisconsin, Mil-

waukee, in Painting and Drawing and has published,

designed, illustrated and printed Memory Effects, a

limited edition set of Roald Hoffmann poems. Lipinski

has also published “Cowboy Heaven,” a short story in

Tomboys, amongst many other accomplishments.

Marlene Lipinski

weight and age and are preserved under

state or federal protection within the

United States. Interestingly enough, resi-

dential trees are often more protected

than trees in rural areas and forests.

These residential trees are often second-

generation trees, which have been delib-

erately planted or grew randomly around

50 years ago.

Marlene Lipinski, Douglas Fir: Olympic National Forest, Washington, 2009, oil on canvas over panel, six panels, 26 x 16 inches each

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Globalization has brought about interconnectedness, cross-pollination, a free inter-

change of ideas, and instant transmission of news and events. We can see the damage

caused by once hidden negligent multi-nationals who pilfer natural resources, destroying

both local commerce and indigenous communities.

One of the worst and least known ecological disasters is in the Niger Delta. For over fifty

years, with no government restraints, Dutch Shell Oil has turned this area into an envi-

ronmental horror. The Guardian, May 30, 2010 reads: “Nigeria’s agony dwarfs the Gulf oil

spill…The Deepwater Horizon disaster caused headlines around the world, yet [those] in

the Niger delta have . . . live[d] with environmental catastrophes for decades.” 1

An article from May 2009: “Clearance work [in the 1990’s] to make way for pipelines was

decimating the world’s third-largest mangrove forest. Oil spills were rife, polluting the land

at a rate . . . equivalent to an Exxon Valdez oil disaster every year. Oil flares only made the

pollution worse.”2 Ken Saro-Wiwa, a well-known journalist and activist, attempted to bring

Shell’s destruction of the environment to an international audience, and was hanged for it.

My paintings fit together like a puzzle. Merging the industrial and natural worlds, objects

reference machine parts, industrial tools, and domestic objects, which I transform into

animated biomorphic characters. I address interconnectedness, continuity, and the un-

remitting movement of time, seeking balance by tempering outrage with humor.

I begin with automatic writing, making gestural calligraphic marks that reflect the move-

ment of my arm/body as I move across the surface of the panels. The imagery results

from the rhythm and suggestions of the black marks on the white surface. Three-dimen-

sional tableaus, which I create from crushed tailpipes and other metal detritus found in

alleys and streets, assist in my visual thinking. An important resource is Crispin’s Diction-

ary of Technical Terms, rescued from the alley behind my studio.

1 Pilkington, Ed, “14 years after Ken Saro-Wiwa’s death, family points finger at Shell in court”. The Guardian, 27 May 2009;

online edition, www.guardian.co.uk/world/2010/may/30/oil-spills-nigeria-niger-delta-shell-oil

2 Vidal, John, “Nigeria’s agony dwarfs The Gulf oil spill. The US and Europe ignore it.” The Guardian, 30 May 2010; online edi-

tion, www.guardian.co.uk/business/2009/may/27/ken-saro-wiwa-shell-oil

Marilyn Propp

Post Industrial Reconstruction: The Dance Goes On, 2010

oil on wood panels, 63 x 66 inches

Marilyn Propp is adjunct faculty in the Art + Design

Department at Columbia College Chicago, and is also

co-founder of Anchor Graphics. Born in Upstate New

York, Propp received a BA from University of Penn-

sylvania, and MA from University of Missouri-Kansas

City. She has attended Skowhegan School of Painting

& Sculpture, Brooklyn Museum Art School, Provinc-

etown Workshop, and San Francisco Art Institute. In

her current work she merges the industrial and the

natural world, transforming objects derived from fa-

miliar machine parts or domestic tools into animated

biomorphic characters, traveling together. Propp

addresses issues of continuity, interconnectedness,

and the constant movement of time. Her work is in

the collections of the Mary and Leigh Block Museum

of Art, IL; Davis Museum and Cultural Center, Welles-

ley College; DePaul University Museum, Chicago, IL;

Summer Palace, Saudi Arabia; Amnesty Interna-

tional, NY, NY; Old St. Patrick’s Church, Chicago, IL;

Hallmark Collection and the AT&T Collection, Kansas

City, KS; and private collections throughout the US.

Marilyn Propp

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Arti Sandhu

New Bra, 2010

pen, color pencil and acrylic on paper

6 inch diameter

Mahila1 à la mode

Inspired by Madhubani2 folk art and my love for line, pattern and repetition, this series of

illustrations delves into the dilemmas of womanhood, tradition, modernity and fashion

in India.

I am further influenced by my research on contemporary Indian fashion, which is best

characterized by its vibrant confluence of local and global styles, as well as my own per-

sonal journey of growing up in a rapidly modernizing India where Punjabi aunties3 in poly-

ester suits4 and saris co-existed with designer handbags.

The central character who features in this series – an overweight, slightly morose Indian

woman - is seen negotiating her way through opposing tropes of modernity and tradi-

tion, new and old, local and global, and past and present constructs of Indian woman-

hood that come together, often in an explosive manner through the way she fashions

herself. In shaping this central character, I deliberately make reference to the popular

style of portraying Hindu goddesses in Indian art: as having multiple arms and a larg-

er-than-life and/or glowing head that not only draws the viewer’s attention, but also

alludes to her power and ability to “multi-task” – all attributes I believe are important

to the modern Indian woman as she balances her multiple roles as a homemaker and

career-woman, or as she simply attempts to negotiate a Louis Vuitton sale. The status

attached to luxury brands and the influence of Western fashion and lifestyle magazines

(like Vogue and Cosmopolitan) in India are also central themes in these illustrations.

1 Mahila means woman in Hindi.

2 Madhubani painting is a style of Indian painting, practiced in the Mithila region of Bihar, India, and Janakpur in Nepal.

Madhubani paintings mostly depict nature and Hindu religious motifs. Generally no space is left empty in the painting; the gaps

are filled by line drawings of flowers, animals, birds, and geometric designs.

3 Punjabi aunty is a satirical phrase often used to refer to portly middle-class women who appear loud or garish in their

mannerisms and clothing choices.

4 The use of the term “suit” here refers to Salwar Kameez - a woman’s outfit comprising of a long tunic, scarf and baggy

drawstring trousers worn traditionally in North India as well as by younger women throughout India.

Arti Sandhu currently holds a position of Assistant

Professor in Fashion Design at Columbia College

Chicago where she pursues research and creative

practice around Indian fashion plus global and local

identity. Growing up in an Army family meant Sandhu

covered a lot of ground in India from a young age. A

love of drawing and customizing of her Barbie doll led

her to study fashion at NIFT in Delhi (India) and later

in the UK. Since then she has taught Fashion Design

in New Zealand and the US with frequent lectures on

Indian fashion across the globe. Her artworks, which

explore identity and migration, have been exhibited

in Australia, New Zealand, Canada, USA, the Nether-

lands and India.

Arti Sandhu

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Miklos P. Simon

Alley Lady, 2010

mixed media drawing

11½ x 17 inches     

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Being disenfranchised, endangered, and the fear of losing one’s culture, as well as the

progression of being part of a larger, contemporary global world, are themes I have real-

ized through appropriation, creation, and developing art through craft and skill.

My current work explores identity and the complexities of a given and acquired culture.

The series of work entitled American Dream looks at the every day reality of the migration

of people into the United States who are seeking opportunity and a better life. The cur-

rent centerpiece of the collection is entitled Monument to the Illegal Immigrant Worker – a

sculpture constructed of a stainless-steel sink, chinawear, water, and wine glasses. The

piece is a celebration of the hope for American success – the desire of coming to the US

to be employed as a dishwasher (the bottom rung of the economic and corporate ladder),

yet achieving dreams by carefully constructing a life towards higher success and status.

Components from the American Dream series on display include Crushed, Alley Lady, and

Master’s Lower-Class. Crushed is a re-creation of an observed urban vignette that depicts

how an immigrant patriarch, with lack of language and employable skills, must scavenge

trash to make ends meet.

Alley Lady is an appropriation of the iconic 1961 work Supermarket Lady by Duane Han-

son. The shopping cart is the preferred transportation device by scavengers and also a

re-creation of a commonly observed urban survival-profession.

Master’s Lower-Class comments on how at airports, offices, and schools, the majority of

custodial work is performed by people with English as their second language. Yet many

have advanced degrees and have achieved professional successes in their home coun-

tries, but find an identity beyond their foreignness elusive in the United States.

In most of these works, the viewer is faced with deciding if it is an impossible truth or a

contradiction: Can a monument of washed dishes be erected for the “Illegals”? Is the

“American Dream” to be had? What does it feel like to give up oneself to create better

opportunity for the following generation?

Miklos P. Simon is a Hungarian-American, an artist

and educator born in Zalaegerszeg, Hungary. For the

last ten years, he has been a part-time faculty mem-

ber in Fine Art in the Art + Design Department and

a part-time advisor in the Columbia College Chicago

Advising Center. He earned a BFA in Sculpture from

the School of the Art Institute of Chicago and his MFA

in Sculpture from the University of Notre Dame.

Simon is the recipient of many awards and grants,

including the competitive Riley Fellowship and Illinois

Arts Council Fellowship Award and has participated

in numerous national, international, group and solo

exhibitions including a 20-year retrospective at the

University of Notre Dame.

Since 1991, he is the principal designer of Simon

Sculpture Studio, Inc., which has ongoing contracts

and a diverse client base that includes architectural

firms, cultural and educational institutions, and

private collectors. He has received frequent public

commissions including the United States Naval

Memorial in Washington, D.C. Through the company,

he actively directs, designs and produces both

sculptural and functional objects as well as public

and large-scale works including sculptures on the

Roosevelt Road viaduct, CTA Rockwell stop with

Tom Skomski, and the Garfield Park Conservatory,

Chicago, IL, among others.

Miklos P. Simon

AcknowledgementsMany thanks to our 2009-2010 A+D Gallery advisory

board for their contributions throughout the year and

their dedication to this exhibition: Ivan Brunetti, Eliza-

beth Burke-Dain, Julianna Cuevas, Michelle Grabner,

David Jones, Paul Klein, Duncan MacKenzie, Neysa

Page-Lieberman, and Raél Jero Salley. Thanks to

Jay Wolke, Chair of the Art + Design Department,

and Eliza Nichols, Dean of The School of Fine and

Performing Arts, for their support of this project. As

always, many thanks to Lara Wolff, Assistant to the

Chair, for her skillful editing.

Gallery MissionThe Averill and Bernard Leviton A + D Gallery is part of the Art + Design Department at

Columbia College Chicago. The gallery’s mission is to present professional exhibitions

and educational programming that encompasses the broadest possible definition of vi-

sual art and design. This is a direct reflection of the pedagogical diversity of the Art + De-

sign Department and the vast array of ideas, media, and techniques explored by artists

today. The gallery presents emerging and established artists whose work reflects any of

the seven disciplines taught in the department including Fine Art, Interior Architecture,

Illustration, Advertising Art, Product Design, Graphic Design, and Art History.

The gallery’s primary focus is on process and the development of ideas into art. Exhibitions

at A + D Gallery promote understanding of the artistic process by exhibiting works in prog-

ress side-by-side with finished pieces; these can be preliminary drafts and sketches, notes

and other generative materials an artist may use to process ideas into finished artwork.

Gallery StaffJennifer Murray, Director

Julianna Cuevas, Assistant Director

Megan Ross, Preparator

Gallery AssistantsCarla Caruso

EJ Hill

Nicole Kiruly

Nicolás Tiparescu

This exhibition is sponsored by the Art + Design Department and The School of Fine and Performing Arts at Columbia College Chicago. This exhibition is partially supported by a grant from the Illinois Arts Council, a state agency, and by the Efroymson Family Fund, a CICF Fund.

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Arti Sandhu, Red on Sale, 2009, pen and color pencil on paper, 11 x 16 inches

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