Karl Burkheimer is an Associate Professor and the Wood Department Head at the Oregon College of Art and Craft. His work has been exhibited at Disjecta Contemporary Art Center and the Museum of Contemporary Craft in Portland, among others. Upcoming exhibitions include a solo project at Anderson Ranch Arts Center in Aspen. This summer Burkheimer was named as a finalist for the Contemporary NW Art Awards at the Portland Art Museum. Additionally, Burkheimer is the 2013 recipient of the prestigious U.S./Japan Creative Artist Fellowship.
Lauren Clay is a visual artist living and working in New York. She has had solo exhibitions at Tilt Gallery and Project Space, Portland, Larissa Goldston Gallery, NY, and Whitespace Gallery, ATL. Clay’s work has been reviewed in The Washington Post, Beautiful Decay, and Art Papers magazine. In 2008-09 she was an Artist-in-Residence at Henry Street Settlement in New York. Clay is represented by Larissa Goldston gallery.
Craig Drennen is the Dean of Skowhegan School of Painting and Sculpture. His work has been exhibited nationally and internationally including venues in New York, Boston, Toronto, and Beijing. Drennen has delivered talks and served on panels at academic institutions across the country. His work has been reviewed in Art Forum, the New York Times, Burnaway, and the Boston Globe. Drennen is represented by Saltworks gallery in Atlanta and Samon in Boston.
Heidi Schwegler explores a wide range of materials in the service of very depressing subject matter. Schwegler constructs artifacts and objects from resin, metal, wood, wax, found objects and digital media. She has participated in numerous group and solo shows, including exhibitions at the Tacoma Art Museum in Washington, the Hallie Ford Museum in Oregon and at Disjecta Contemporary Art Center in Portland as part of Portland2010: A Biennial of Contemporary Art. Schwegler is a recent recipient of a Hallie Ford Fellowship, a MacDowell Fellowship, and several RACC Individual Project Grants.
All The Love In The World Goes With You
Latex, Urethane, Steel and Pillow
Poised (top piece)
23" x 30 x 20"
wood and paint
Apropos (accompanying pillar)
38.5" x 4" x 10"
No side to fall in (Cubi XII)
Paper, acrylic, wooden armature, 18 1/2 x 7 x 3 inches
Rope Servant 2
graphite, acrylic, oil, alkyd on paper
25" x 25"
Road cone, enamel paint
24” x 30” x 8"
TILT Export: Imposter
Reception October 15th
Partnering with RAID projects of Los Angeles, Jenene Nagy and Josh Smith are pleased to announce the upcoming group exhibition TILT Export: Imposter featuring the work of Ben Buswell, Paula Rebsom and Heidi Schwegler.
Imposter. A rank, accusatory word that haunts. It sticks in the teeth and echoes in the strongest minds when they are secretly weak. It can ruin and wreck without cause. It makes us look twice, and the second time is often full of lasting doubt and distrust.
The cynical tendencies of contemporary work coupled with the postmodern practice of appropriation and sampling, make the idea of the imposter a far-reaching one. From Duchamp's farcical urinal to Sherrie Levine's deftly replicated photographs we are surrounded by that which is at once itself and the other. This duality calls into question that which is true. And if only one can be true than the other seems to require the label Imposter.
Each one of the artists represented in this exhibition is dealing in some way with this notion. Some are constructing the artifice knowingly while others have come to the conclusion almost subconsciously, as innocently as the viewer will. By this logic every piece is being forced into the role of the imposter by the viewer. We are the corruptors.
In each of the works, the contemporary human condition is examined. Are we imposters for protection? For manipulation? Or merely as a product of our environment? TILT Export: Imposter explores these questions with regard to content, material, and bias.
Artists to be included in the exhibition:
Paula Rebsom makes objects that are large-scale paintings posed as sculptures often documented and presented as photographs. Similar to how contemporary society experiences nature and the wild: through mediated experiences that disguise human intervention, Rebsom’s work forces viewers to navigate between real and staged environments. These slippery in-between places where reality and fiction collapse into the same plane challenge viewers to re-consider their relationships to the natural world and the built environment along with the documents that record those experiences.
Heidi Schwegler believes herself to be an imposter. Riddled with contradiction, Schwegler claims to have the capacity to hold two opposing thoughts and strongly believe in both - her private ambivalence is self-defining and destructive. The video Wrest 01 illustrates this moment of anguish. Colt Toombs (mixed martial artist and son of the famous World Wrestling Entertainer "Rowdy" Roddy Piper) stands in as the oppositional force. Filmed with green screen, Colt puts Schwegler in an endless variety of defensive holds as she fervently try to free herself.
With regard to Imposter, Ben Buswell writes the following:
These events are free and open to the public.
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