Cafe at Prairie Lights

  • Grief Bonnets

    work by Allison Honeycutt

    On view August 5 - September 8

    Allison Honeycutt is a fine artist based in Los Angeles, California.She graduated from NSCAD University with a BFA  as well as a Post-Baccalaureate in studio art from Maharishi University in her home town of Fairfield, Iowa.

    Allison works in a variety of media most notably works on paper, fiber sculpture and installation. Her work is defined by taking pleasure in the imperfect; raw edges, tactility, a measure of levity and of the absurd.

    Working with fabric is a wonderful way to play with form and emptiness simultaneously and when creating wearable art you have the opportunity to fill your piece and let it move, or let it live as only an object like a discarded shell, beautiful and empty but telling the story of a life lived inside of it. 

    Origin Story of the Grief Bonnets:

        The first Grief Bonnet was one that I purchased on my way to the memorial service for my husband. I found it at the Lincoln Homestead State Park gift shop, and to me it was the perfect symbol of trying to experience grief while simultaneously trying to move through one's public life.

         I grew up and lived in a fairly small town in Southeastern Iowa. The best AND worst thing about this is that, when you walk through town, do your errands, shopping, go to work, etc.  you are constantly running into people who know you and who you know ( sometimes these are not the same people). Folks in small towns have less boundaries than folks in big cities, they’ve seen you grow up, or simply have seen you around and know your name and it gives a feeling of closeness and familiarity whether that feeling is mutual or even true. I couldn’t leave my house without someone coming up to console me, give me a sad  glance, or worst of all trap me in a one sided conversation about all the people they have known who have died the way my husband did and how terrible it was. Because of this I learned 2 main things: 

    1. Everyone grieves differently (some people really appreciate public consoling and engagement about their departed loved one, I do not). 

    2. People in our society have no idea how to deal with the grief of someone else, let alone their personal grief.

    So I started wearing my bonnet on the days when I had to go into town and I was barely holding it together and had no more energy left to engage in any sort of acknowledgement that someone I loved dearly had died. And it worked. The bonnet shielded me from making any accidental eye contact, my close friends knew if they saw me in my Grief Bonnet I needed my space, and everyone else probably just thought it was a bit weird and left me alone.

         I started making my own Grief Bonnets as part of my art practice quite recently in order to mull over this ever changing experience of grieving*, as well as to give form to this symbol of safety, protection, personal boundaries, an individual needs. I think a lot about how we grieve and how little we are taught about grieving until the death of a loved one is thrust upon us, and how lonely that can be. I now live in a large city and I no longer need my Grief Bonnet because city folks tend to keep to themselves more,  it is rare to run into someone you know unexpectedly, and I get overwhelmed by my grief much less than I used to. Although, since I have started to make the Grief Bonnets I have on occasion put them on in the privacy of my home and sat with the feeling of grief and felt safe and protected in my home-made prairie hat.

    * another thing I learned is, “moving on” does not have a timeline and honestly isn’t even a real thing… you just learn to live with your grief in different, hopefully less painful, ways.

    For inquiries and sales, please contact

    Hilary Nelson, Gallery Curator at TIMESCLUBGALLERY@PRAIRIELIGHTS.COM

    Please join us for a reception with the artist on Saturday September 7th in the cafe from 5pm - 7pm.

     

  • Side Mouth

    works by Susan Metrican

    On view July 8 - August 4

    As a Thai American raised mostly in the midwest, I’m drawn to images and objects that resonate across disparate cultures and time periods. I’m interested in imagery that is “culturally familiar” through its connection to folktales and shared traditions, particularly imagery that evokes a reverence for rural life. Though my work is created outside these traditions, it attempts to engage with them through the depiction of nameable things and scenarios that have the appearance of being “well-worn” or “inherited.” 

    My process involves incorporating painted and sewn canvas to create imagery through three-dimensional forms. I am interested in canvas’ ability to act as a container for the painted image and as a flat material with sculptural potential. Theater references are apparent in the work through a visual correlation to backdrops and costumes, but also as the paint, canvas, and the stretcher are required to perform simultaneously as flat and three-dimensional. 

    Susan Metrican currently lives and works between Fairfield, IA and Boston, MA. Metrican received an MFA from the Massachusetts College of Art and Design, her BFA from the Kansas City Art Institute, and attended Skowhegan School of Painting and Sculpture in 2014. Metrican’s work has been included in exhibitions nationally including: Able Baker Contemporary (ME), GRIN Contemporary (RI), Proof Gallery (MA), Boston Center for the Arts (MA), Field Projects (NY), Knockdown Center (NY), and Gallery Protocol (FL). Metrican is one of four founding members of kijidome, an experimental project space and collaborative in Boston.

    For inquiries and sales, please contact

    Hilary Nelson, Gallery Curator at TIMESCLUBGALLERY@PRAIRIELIGHTS.COM

    Please join us for a closing reception with the artist on Sunday, July 21 in the cafe from 3pm - 5pm.

     

  • The Silent Treatment

    works by Jane Gilmor

    On view June 10 - July 7

                            I am so sorry

                            to Leave

    so many weeds

                I had a stroke right the wrong time

                            I wanted to leave it

                               nice.

                                             Jack   (found note circa 1985)

    In my studio mining forty years of unfinished work and collected materials, I’ve set out to re-purpose the sluggish build-up.     

    I have many piles. One is a stack of old found notes and drawings transferred to soft metal. Some are drawings by the disenfranchised people I work with in my socially engaged practice, some are domestic, didactic signs and directions found in the abandoned buildings or given to me.

    A decade ago a biology professor friend retired and after cleaning out his office, left eight boxes of approximately 2000 educational transparencies on the floor outside my office. Two months later he died of a heart attack while fishing his favorite trout stream in Yellowstone.

    I keep those transparencies close by on a table where I fiddle with my stacks and piles. Gradually I came to intuitively layering the transparencies over the metal notes creating a sort of investigation of those slippages and entanglements of language and visual experience through which we try to locate meaning. These layered worlds seem to explore the dualities and fluidity of identity, dislocation and border crossings: presence/ absence, public/private, poverty/privilege, female/male.

    The search here is for some unspoken connection in these random collisions.

    For me they embody the peculiar, ridiculous, and meaningful (less) qualities of most things human.

    Jane Gilmor has exhibited nationally and internationally for four decades. Her career monograph Jane Gilmor: I’ll Be Back For The Cat by art historian Joy Sperling was published by A.I.R. Gallery in New York Her in 2013. Last year she was the George A. Miller Endowed Scholar at The Center for Advanced Studies, The University of Illinois, Champaign-Urbana. One of five artists selected nationally, Gilmor received a 2011 Tanne Foundation Award for her career achievements in visual arts. She is currently involved in a two-year socially engaged project, Shifting Ground - Outro Chão, working with East African Immigrants living in both Iowa and Portugal.  

    Her work has been reviewed in The New York Times, The Chicago Tribune, and The New Art Examiner among others and is included in several books including Lucy Lippard’s OVERLAY: Contemporary Art and the Art of Prehistory; and Broude and Gerrard’s The Power of Feminist Art: The American Movement of the 1970’s History and Impact, Abrams, 1993; and Pioneer Feminists: Women Who Changed America, 1963-1976, B. Love, University of Illinois Press, 2006. More recently Gilmor has been a contributor to Cabinet magazine, to the Portuguese journal Ascensor and published numerous articles on social practice in recent books on the topic, including Cross Media Arts: Transdisciplinarity and Social Arts. Casal de Cambra, Lisbon, Portugal, 2019.

    Gilmor has received NEA Visual Artist's Fellowships and Project Grants, a McKnight Interdisciplinary Fellowship, and residency fellowships in Ireland, Italy, London, and at The MacDowell Colony among others. In 2003-04 she was a Fulbright Scholar in Portugal. She has also curated exhibitions for individual artists including Priscilla Sage, Brunnier Museum, Iowa State University and thematic exhibits such as Where are You From? Contemporary Portuguese Art, Faulconer Gallery, Grinnell College and Strategies of Belonging: A Social Art Practice, Antonio Gorgel Pinto and Paula Reaes Pinto, CSPS Hall, Cedar Rapids, Iowa, 2019.

    Gilmor’s recent solo exhibitions include The Architecture of Migration: I’ll be back for the cat, at Long Island University in Brooklyn, Bed Shoe Home: Poverty and Homelessness in Middle America, University of Ill. Champaign, 2017, and Blind at A.I.R. Gallery in New York.

    Jane Gilmor attended The School of The Art Institute of Chicago after receiving a B.S. in Textiles from Iowa State University in Ames. Later she received an MFA and MA from The University of Iowa in Iowa City. She is an Emerita Professor of Art at Mount Mercy University in Cedar Rapids, Iowa where she taught from 1974-2012. She is affiliated with A.I.R Gallery in New York since 1985 and maintains a studio in Cedar Rapids, Iowa.

    For inquiries and sales, please contact

    Hilary Nelson, Gallery Curator at TIMESCLUBGALLERY@PRAIRIELIGHTS.COM

    Please join us for a reception with the artist on Sunday, July 7th in the cafe from 4pm - 6pm.

     

  • Past Times

    a group show of works by former Times Club curators: Mary F. Coats, Douglas Degges, Lauren Frances Evans, R. Kauff, Mary Laube, Pete Schulte, Sarika Sugla

    On view May 6-  June 9 2019

    This exhibition is made up of recent work by all of the former curators of The Times Club. Please join us for a reception with two of the artists, Mary F. Coats and Douglas Degges, and catalog release on Friday May 31st from 5-7 in the cafe.

    Born in London, England, but raised in Evanston, Illinois, Mary F. Coats is currently based in Iowa City, Iowa. She received an M.F.A from the University of Iowa in 2013 where she was awarded the Mildred Pelzer Lynch Fellowship in Painting. Recent exhibitions include Fiction (With Only Daylight Between Us) v.2, an international curatorial project by Jeffrey Cortland Jones, Funkytown at Urbano Cellars Art Space in Berkeley, CA, Retrieval of the Beautiful at The Painting Center in New York, NY, and Grinnell Studio Faculty Exhibition at the Faulconer Gallery in Grinnell, IA. She was awarded an Artist Grant from the Vermont Studio Center in Johnson, VT, and has taught at the University of Iowa, Grinnell College, and Kirkwood Community College.

    Douglas Degges is an artist and educator currently based in Chicago where he teaches as a Visiting Assistant Professor in Painting and Drawing at North Central College. His work has been exhibited in various group and solo exhibitions throughout the United States and abroad. Most recently his work was exhibited at Night Light Gallery in Chicago, IL, Vanderbilt University and Zeitgeist Gallery in Nashville, TN, The Yellow Door Gallery in Des Moines, IA, The Factory in Seattle, WA, Loveland Artspace in Loveland, CO, Organ Kritischer Kunst in Berlin, Germany, and Galleria Huuto in Helsinki, Finland. He was also an artist-in-residence at the Josef & Anni Albers Foundation during summer 2018. Douglas received his BA in Studio Art from Rhodes College in Memphis, TN and his MA and MFA from the University of Iowa.

    Lauren Frances Evans currently lives and works in Birmingham, Alabama, where she is an Assistant Professor of Art at Samford University. Evans received an MFA from the University of Maryland and has participated in residencies at Franconia Sculpture Park, Elsewhere Living Museum, and the Vermont Studio Center. Prior to moving to Birmingham this past fall, Evans spent four years in Iowa City, IA. During that time, she was the Visual Arts Coordinator for Project Art at the University of Iowa Hospitals and Clinics, she was a Ginsberg Artist in Residence for the Iowa City Community School District, she was a recipient of an Iowa Arts Council Project Grant, she served on the board at Public Space One, she taught at the University of Iowa and Grinnell College, and was the Curator of the Times Club Gallery from May 2016 - October 2017. Additionally, in 2016 she became mother to Agnes Prairie. Evans’s work, which ranges from meticulously layered collage to large mixed-media structures, addresses the body as a site of irresistible paradox. In her research, she investigates the meaning of the creative act, matters of origin, symbolic centers, and the significance of the maternal experience.

    R. Kauff is a visual artist trained in: drawing, printmaking, sculpture, and book arts; R makes: images & objects & words. R is interested in 19th century visual culture, American history, radical utopian communities, letter-writing, regionalism, queer history, ecological ethics, climate change, Wikipedia, and poetics. R is from the Midwest, but lives & works in Los Angeles.

    Mary Laube was born in Seoul, South Korea. She received her M.F.A. from the University of Iowa in 2012. Recent exhibitions and residencies include the Spring Break Art Show, Tiger Strikes Asteroid (NYC),  Coop Gallery (Nashville), the Virginia Center for Creative Arts, and Stiwdeo Maelor in Wales. Laube is a co-collaborator of the Warp Whistle Project, an on-going cross-disciplinary project with composer Paul Schuette. She is an Assistant Professor at the University of Tennessee Knoxville.

    Pete Schulte received an MFA in painting and drawing from The University of Iowa in 2008. He has presented recent solo exhibitions at Jeff Bailey Gallery, Hudson New York; Whitespace Gallery, Atlanta; Luise Ross Gallery, New York City; and The Woskob Family Gallery at Penn State University. His work has been included in recent group exhibitions at McKenzie Fine Art, New York City; Hemphill Fine Art, Washington D.C; Art on Paper with Rutger Brandt Gallery, Amsterdam, NE; The Spring/Break Art Show, New York City; The Schick Art Gallery at Skidmore College, Saratoga Springs, New York; Zeitgeist Gallery, Nashville; The Museum of Contemporary Art of Georgia, Atlanta; Transmitter Gallery, Brooklyn; Looke&Listen, Saint-Chamas, France; and at Jeff Bailey Gallery. Art in America, World Sculpture News, Burnaway, and The New Art Examiner have reviewed his work, among other publications. Schulte received the 2017 Southern Art Prize Fellowship for the state of Alabama. Pete Schulte lives in Birmingham, Alabama and is Associate Professor of Art at The University of Alabama in Tuscaloosa.  In 2013 he co-founded, with Amy Pleasant, The Fuel and Lumber Company curatorial initiative. In 2019 he will be artist-in-residence at the Chinati Foundation in Marfa, Texas.

    Sarika Sugla is an artist and printmaker currently living in central New Jersey. She received her MFA in Printmaking in 2014 and her MA as an Iowa Arts Fellowship recipient in 2013 from the University of Iowa in Iowa City, IA. She also received a BFA in Printmaking, minor in Art History, and a Book Arts Concentration from the Maryland Institute College of Art in Baltimore, MD in 2011. Sarika has been an artist in residence at La Ceiba Gráfica in La Orduña, Mexico in 2016, and has exhibited widely throughout the US.

    Sarika currently works as a studio assistant at Dieu Donne and as a studio assistant to Duke Riley. She has previously worked as an Assistant Printer at the Brodsky Center at the Mason Gross School of the Arts at Rutgers University in New Brunswick, NJ in 2016. She has also worked as an Assistant Curator at the University of Iowa Museum of Art for the Legacies for Iowa Collections-Sharing Project from 2014-2016 and as a curatorial research assistant for prints, drawings, and photographs at the UIMA from 2012-2014.  Previous to her graduate studies, she interned at places such as Johns Hopkins University's Heritage Science for Conservation.

    For inquiries and sales, please contact

    Hilary Nelson, Gallery Curator at TIMESCLUBGALLERY@PRAIRIELIGHTS.COM