Innovative Art Paves the Way for Skate Park

SHOVE IT!

Polk County Heritage Gallery

Silent Auction and Exhibition on view until June 20th, 2013

James, age 8, posing in front of custom skate decks on view at Shove It! (Photo: Heath Hardage Lee)

Review from guest contributor Heath Hardage Lee

June 12, 2013

Friday night my eight-year-old son James and I were on our own for the evening.  Dad/husband was out of town, and tween daughter was at a spend-the-night party.  What cool and creative night out could a cartoon and skateboard-loving boy and art-obsessed mom both enjoy?

Shove It! was IT….

The Baykid Army Amasses!! (Photo: Source)

This extensive paper toy/custom skateboard exhibition opened Friday night at the Polk Country Heritage Gallery in downtown Des Moines.  The show is the brainchild of photographer and artist Beau Scott who grew up the Newport Beach, California, (remember the T.V. show the O.C.?), skateboarding.  Scott enlisted the aid and expertise of Ian Miller, owner of the Thee Eye Gallery, to put together the show.  The co-curators created a laid-back, So-Cal vibe where everyone ages eight to eighty was warmly welcomed. 

Curator Beau Scott with Shove It mascot (Photo: Heath Hardage Lee)

The goal of the exhibition and related silent auction Friday is to generate funds to build a Des Moines Regional Skatepark.  Scott and Miller used Kickstarter, an online funding tool to raise money to create the show.  90 percent of the proceeds from the event will go towards funding the proposed Skatepark. 

Now to the art…

Artists from twenty-nine different cities and five continents contributed pieces to the show.  The artists’ charge:  create two works of art:  a custom skateboard deck and a coordinating paper toy.  The results were dazzling.  Our favorites: 

Sacred Diamond Tattoo Mike Diamond’s Great Gatsby-flavored flapper image. (Photo: Heath Hardage Lee)

Beau Scott’s black crow silhouettes, inspired by one of his photographs.  The stylish Penny Knox is posed next to her son’s work here. (Photo: Heath Hardage Lee)

James’s pick:  the Dan-Flavin-esque light sculpture skateboard by Neon Specialties. (Photo: Heath Hardage Lee)

Scott hopes that Des Moines will continue its ascent from flyover zone to stop-over-and stay-zone through original art and attractions like the proposed Skatepark comments Scott.  “The civic openness and creativity we have here is what makes Des Moines a great city.  If the park is built, it will be like a jewel in our crown.”

Heath comes from a museum education, historic preservation, and writing background.  She started her museum career at the Levine Museum of the New South in Charlotte, North Carolina, as the Program and Education Director.  Heath has since worked as a consultant for significant southern historical museums such as Stratford Hall, Robert E. Lee’s birthplace, and Menokin Plantation, home to Francis Lightfoot Lee.  She has written for numerous magazines, newspapers and blogs. Heath is currently under contract for her first book, Winnie Davis:  Daughter of the Lost Cause, abiography of Varina Anne “Winnie” Davis, daughter of Confederate President, Jefferson Davis.  Heath holds a B.A. in History from Davidson College, and an M.A. in French Language and Literature from the University of Virginia.  She lives in Des Moines, Iowa and loves being a docent at the Des Moines Art Center.  Her favorite pastime is exploring all the super cool art museums and galleries across the Midwest. 

12 June Permalink

What’s in a word?

Bart Vargas, Moberg Gallery

May 24th - July 6th

Installation of work by Bart Vargas

Review by Rachel Buse

May 28, 2013

Words. They mean things. We got a dictionary to remind us of those meanings. We also learn meanings from hearing a word in context, attached to a string of others. Depending on how many times we see them printed, written or hear ‘em spoken, their meaning and impact evolves. What’s your favorite word right now? What’s the worst word you can think of?

A year ago, Bart Vargas started painting patterns of dots into shapes we recognize as capitalized letters. The first letters built the words BIG TIME. This piece was on view at Moberg’s 10^th Anniversary show.  After a general positive response, he decided to continue with these paintings. Some of his words are sourced from asking friends for a “word of the day”. From the pool of suggestions, he’ll select which of them should be painted. 

Vargas’s MAYBE FOREVER

MAYBE FOREVER was a request from someone wanting a word painting in honor of getting hitched. When Vargas asked them for which he should paint, they suggested “maybe forever.” And this is what was painted. Vargas said he liked it cause the phrase sounds both “doubtful yet hopeful”. The bride did not find it so charming. The miscommunication in this exchange can be challenged in each word painting. Every word having the opportunity to be interpreted differently, for better or worse. 

Installation of work by Bart Vargas

Vargas’s paint is thick. It’s rubbery. Or like modeling clay. Each and every dot has a bit of body. Vargas got both his BFA and MFA in sculpture, which explains his beefy surface and the physicality of each word. I forgot to ask about his process as we were busy wrestling with the significance of words. The choices he offers in scale and color allows you to be choosy in selecting which word’s meaning associates the most with you.  Which fuck is your favorite? The gold and red one?  Do you wanna small one, a big one, or a repeat fuck? 

Also on view at Moberg, Travis Rices’s three multi-colored shredded paper towers. Walk through this mini forest to the back left to find the word installation.

Travis Rice’s “ACCUMULATION”

28 May 5 Permalink

Elegance in the Ordinary

Tilly Woodward at Olson-Larsen

April 12 - June 1, 2013

NEST SPOON Oil on archival mat board 11 x 9

Review by Alissa Sheldon

April 29, 2013

April 12, Spring Gallery Night in Valley Junction, found another well-hosted opening at Olson-Larsen Galleries.  The Snacks were playing, the wine was pouring, and the crudités were abundant.  The show, featuring new work from Scott Charles Ross, Sarah Grant, and Tilly Woodward was clearly a success.  As the crowd wandered through the pleasantly meandering gallery, a quiet bottleneck began to form at the first curve.  Here was the work of Tilly Woodward, and it was stopping people in their tracks.

There is something quietly meditative about the work of Woodward.  She takes subjects that the typical viewer may be inclined to dismiss and makes them treasured icons of simpler times - times free of multitasking, text messaging, and racing from one don’t-miss activity to the next.  Everyday subjects – a fish, a spoon, a bird’s nest – are taken out of the hustle and bustle of context and placed elegantly against a vast black field.  In doing so, Woodward calms the eye and gives the viewer an opportunity to focus on the intricacy of each item.  It is easy to fall into a peaceful contemplation of what our eyes and minds often take for granted.

EGGS X2, RUBBER BAND BALL Oil on archival mat board 11 x 9

Woodward cites the Northern Renaissance as an influence, and indeed her treatment of a baseball or a cicada exudes the same reverence as portraits of kings and queens did centuries ago.  The mundane is elevated to nobility.  Of course, Woodward’s use of oil aids in this effect, and she is incredibly adept with the medium.

The petite scale of her work adds to this feeling as well.  That the subjects themselves occupy such a small space gives the impression of gazing at a treasure inside a jewel box, and viewers may be surprised to find themselves seriously considering the symbolic relation of a rubber band ball to an egg.

Whether it is Woodward’s intent or not, perhaps the world needs more of these opportunities to pause, reflect, and just plain breathe.  For the gift of that moment, the crowd at Olson-Larsen thanks her.

29 April 1 Permalink

Apocalypse Maybe

Curtis Poortinga’s “Apocalypse Maybe”, Mars Cafe

April 2013

Ganesh, (Hindu master and remover of obstacles.)

Review by guest contributor Rua Arnold

April 26, 2013

Curtis Poortinga, of Des Moines, is currently exhibiting a colorful and surreal series at Mars Cafe. A modern take on religious and mythical stories, the pieces are a beautifully interesting take on life and death.

The movement, colors and shapes have a very midcentury modern feel, which is very appealing.

My favorite was Apis (perhaps because of sitting below it I got to spend the most time with it). In Egyptian mythology, Apis was a bull deity who represented a king who became a deity after death. The way the bull stares at the viewer almost feels like he’s challenging you — daring you to look away first.

Apis, (egyptian god of fertility, harvest, etc.)

Hades and Persephone, another beautiful piece, shows a modern take on the Greek myth where Persephone was abducted by Hades and taken to the underworld. In this instance, they are shown riding a motorcycle with Hades portrayed as a skeleton. Persephone seems unhappy and aware of her fate.

Hades and Persephone

Despite the dark themes in this show, there is joy in each piece. Go to Mars Cafe soon to take joy in these pieces before the exhibit is over.

 —

Rua Arnold is a graphic designer living in downtown Des Moines whose opinions have previously been published on trailerhomepodcast.com. Her work can be found at ruaarnold.com and her blog is at ruaarnold.tumblr.com. Follow her on Twitter at @ruaarnold.

26 April 3 Permalink

A small yellow painting wears a bra.

Holly Wist’s Interjections, Scottish Rite Park

April 2 - 30, 2013

Wist’s “Interjection with Monogram” Photo: Jon Pearson

Review by Rachel Buse

April 12, 2013

In a small art gallery in the belly of Scottish Rite Park senior living, Holly Wist hosted a tea party and revealed her latest series of paintings, “Interjections”. The journey to this tiny room is littered in muted tones. In the gallery, Wist’s paintings are small and loud. Her colors are bright. The use of acidic yellow is particularly arresting. I asked Wist about the choice of color and she directed me to this video:

Many of the canvases are “wearing” bras. They are painted on. Some are of the backside, where you see the hook and eye closures. One is composed under the armpit, exposing a bit of hand embroidery. Flesh is implied through a plane of bright color being held by the structural personality of each brazier.

Wist’s “Interjection with lace” Photo: Jon Pearson

I saw these bras as having a caring and supportive relationship with the body they are intended to hold. Floral accents direct subtle attention and thoughtfulness to the individual bras. At the tea party, Wist recalled when her mother surprised her with a bit of embroidery on the cuff of her jacket. A simple gesture motivated by a powerful intention of caring. 

Wist’s statement Photo: Rachel Buse

Wist’s “Interjections” is both defiant and compassionate.  Her statement both acknowledges and reacts to assumed expectations tied to being an artist, a lady and a person. Even though you’ve missed the tea party, you can still have your interjection with the bras.

“Interjections” run through April 30th. Visit the Scottish Rite Park Art Gallery which is open Monday thru Friday 8 AM - 5 PM. Go in the front door walk down the hallway to the right, the gallery will be on your left hand side.

12 April 1 Permalink

CUT AND PASTE ZEN AT ZANZIBARS

Deb Anders-Bond, Zanzibars

March 2013

“Trees” by Deb Anders-Bond (image courtesy of the artist)

Review by Jon

Deb Anders-Bond is a collage maestro. From drawers and drawers of magazine snips, carefully chosen and archived, this wizard of the art of collage spins stories. For this showing at Zanzibars, the artist chose to hang exclusively digital collage work. Deb makes collages with narrative based imagery which are often infused with personal memories and inside jokes. Asking the artist about any one of the pieces yields a patient, and smiling account of the tales behind the work, and how the stories and careful selection of images were merged.

“Birds” by Deb Anders-Bond (image courtesy of the artist)

In “Birds” the artist is hearkening back to a childhood of wonder, color, and mystery. Many of the works evoke those feelings of childhood wonderment and play. The love of the matriarchs in the artist’s life are displayed in this piece, where a culture of reading and investigation of the natural world melded into a wonderful soup.

“Proved by the Highest Scientific Authority!” by Deborah Des Moines (image courtesy of the artist)

The image above has an almost fauvist sensibility in it’s color melange. The primary colors are all represented in strength and tertiary colors bind the piece together. One added bonus of this piece is in how it is presented and hung with brass holes in each corner and mounted on double-thick foam core, almost posing as a tongue-in-cheek nod to the circus posters of yesterday. An audacious claim in grammatically incorrect language travels around the border; the text serving to frame the work and supplying context for the spectacle taking place.

“In the grand spectacle of Charlemagne!” by Deb Anders-Bond(image courtesy of the artist)

The picture above seems to dwell in the land of twilight. We see the “lifer,” the entertainer, dwelling in the right handed portion of the composition. The face is skeletal, eyes hollowed; “The circus life aint easy,” could be tattooed across his chest. The totemic presence to the left of the composition relays a sense of separation between the performer and stage life which may allude to the consumptive nature of performance; the audience always demanding more of the spectacle and the spectacular.

I am struck by the fluidity of Deb’s collage work achieved by the computer. The digital realm allows for much freedom making the re-sizing of imagery and playing with text, color, and opacity much easier. The result yields a much more “painterly” use of space, where blending can supplant the hard edges and 100% opacity of traditional collage methods. I think it works for this artist in ways that the old exacto and glue stick can’t.

This show will be on display at Zanzibar’s coffee shop on Ingersoll Ave. and 28th through April 7th.

2 April 1 Permalink

Images and Things

Emily Newman’s Sightings, FLUXX Gallery 

February 2013

“Visible and mobile, my body is a thing among things; it’s caught in the fabric of the world, and its cohesion is that of a thing. But, because it moves itself and sees, it holds things in a circle around itself.”

― Maurice Merleau-Ponty

Close up of “The Misperception of Objects On Carpet” Photo: FLUXX

Review by guest contributor Benjamin Gardner

March 5, 2013

My first experience with Emily Newman’s exhibition at FLUXX could be taken as a simplistic read, though I think that it is actually a poignant one; it feels like Newman is invested in making work about what predominantly happens in our peripheral vision—the fleeting moment that you think a brown paper bag is actually a small mammal, the perceptual mixing of images (what is reported to our brain), objects (the three dimensional-ness of that image in how we can navigate within it), and meaning.  If there is a rabbit in my periphery, I might walk more slowly as to not scare it away.  If there is a brown paper bag, my reaction is obviously much different, and hopefully I walk over to it and pick it up for proper disposal or reuse. 

Close up of “I Thought It Was a Bunny’ Photo: FLUXX

The way that Newman’s work does this, however, is by asking the viewer to look on an instinctive level that is counter-intuitive in the gallery setting.  More often than not, we are forcing meaning and understanding upon work in a gallery.  Newman’s work in the exhibition unfolds infinitely when one can look at them with normal cognition—the looking and thinking that we (within Merleau-Ponty’s “fabric of the world”) accomplish while driving, walking, and multi-tasking.  This unfolding is found in the meaning located within the context of the ways that we see objects and assign meaning to their form.  In the piece Misperception of Objects on Carpet, for example, not only do the three sculptural forms sticking up from the carpet have their own image/objectness, but their cast shadows also create an additional image of each; were the viewer looking only at the shadows, those shadow-images could reference an entirely different form.   What we anticipate would make a shadow on a carpet (which is domestic and familiar) is undoubtedly different than the crab claw or jawbone and teeth that are actually casting the shadow.  The piece is both familiar and out of place; quite stunning and ephemeral, and creates a sort of loop of perception and interpretation. 

Installation shot Photo: FLUXX

Photography, too, is an added complexity to the relationship between image and object; the camera pretends that it understands the three dimensional space which we inhabit but it only does so by an averaging of light and shadow.  In the installation of photographs titled Pilgrimage and the single image Mistakes on Salt Lake Newman is working with the image as a signifier of reality in a physical manifestation.  It smoothly takes some of the cognition required for the three-dimensional work and applies it to the material of photography.  Additional image-reality relationships are formed in Pilgrimage by using two images, separated by a border, of the same scene and different manifestations of symmetry throughout the piece.  In most places the gold and silver leaf work perfectly—snapping the viewer out of a believable space, but in a few areas it was more difficult for me to make the leap and see it as more than material addition. 

“Beauty In The Daily Pick-up” Photo: FLUXX

Newman’s exhibition is incredibly well thought out and transforms the gallery space in a way that many artists yearn for—by asking us to be cognizant of the work in a different manner.  The pure ephemerality of the exhibition is incredibly fitting; we don’t always see Beauty in the Daily Pickup of dog feces, but aesthetic moments, images, and objects are a standard structure of our understanding of reality.  

Benjamin Gardner is an artist living and working in Des Moines, Iowa.  He is also an Assistant Professor of Art + Design at Drake University where he teaches drawing classes as well as courses that explore personal identity theories, existentialism, and ideas of place, space, and living.  Additionally, Ben spends a lot of time growing food, looking at the sky, and reading about folklore and superstition.  He maintains a website that collects artist’s writings (Methodsofbeing.com).  You can see Ben’s studio work at benjaminagardner.com. 

5 March 1 Permalink

David Byrne spilled the beans.

Playing the Building, Minneapolis, MN

December 1, 2012

Response by Rachel

February 26, 2013

Yesterday, it was discovered that David Byrne & St. Vincent will be performing this year at 80/35. In honor of this news, I want to share with you some recent documentation of an installation by David Byrne called Playing the Building. In various locations, Byrne temporarily attaches an organ to a large building in ways to make it sing, gyrate and whistle. At the Aria building in Minneapolis, Byrne transformed this event space into an interactive instrument. The installation invites you to play the building.

Byrne: …nobody is better at playing it than anyone else.  A six-year-old kid is as good as a trained composer or a trained musician.  So people sometimes get the mistaken idea that “Oh, oh, I can’t do this because I’m not a musician and it’s a keyboard” but then they see kids jumping down on it and people who are obviously not trained musicians and pretty soon everybody realizes that really no one’s any better at it.  It’s this leveling thing where everybody, all of a sudden, becomes a musician, of sorts anyway. Read more.

Hear a bit of the sound of Aria.

Byrne: All the super structure of the building is kind of hidden in most modern buildings.  But in these older buildings, some of that is sort of visible and especially these older buildings that have been kind of renovated or gone through a number of life cycles, various parts of that stuff tends to be exposed.  And the piece kind of makes it evident what those things are.  And I find it exciting for people.  They hit a key and they hear a sound coming from part of a building that’s thirty yards away and then the next sound comes from over on the right and the next sound is over on the left and the next one’s here and one’s far away.  And the things that they’re playing are all around them.  Read more.

Photos and Video by Rachel

Sitting at the organ was like taking the seat on a throne. You could play for as long as you like. You can experiment with the highs and lows of the building. Pound on it. Attempt to make sense of the sounds you are making. I particularly liked the hammer-pounding keys. It was the most visual reaction of sound making. The installation of wires spewing out the back of the organ lead you to the edges of the room, exploring what they were attached to. It was glorious.

26 February 4 Permalink

Under Control and Measured

Tatiana Klusak’s Under Control, Fluxx Gallery

January 2013

Gallery view of “Hardworking Mechanism” and “The mustard lover’s mustard.” Photo Jon Pearson.

Review by Jon

January 10, 2013

In the sculpture and video work of Tatiana Klusak we are given the chance to confront questions relating to identity, work, and valuation measurement. The work is cerebral but deeply rooted in a physical manifestation of the concepts through the creation of devices whose purposes, though wholly relative to a need, are ridiculously unwieldy. The work affords us the opportunity to dialogue about our relationship with work, and  socially acceptable, or productive norms. 

The piece “Hardworking Mechanism” from the series “Forcing Devices” explores not only a societal need for production and the faceless worker to complete mundane tasks, but the restrictive and sometimes painful labor which is derivative of such practices. The piece was labeled with the notice to “please touch, handle with care,” so I strapped myself in. The immediate sensation of immobility as I did so was followed shortly by a testing of my limitations. I was able to make small jerky motions with my feet as the leg armatures were built to swivel and step, albeit slightly. I was also aware of the pieces of metal that I was strapped to digging into the backs of my legs as if they were ill suited to a person of my stature. The discomfort and sense of immobility that I experienced seemed to be a physical manifestation of the psychological discomfort I sometimes feel in carrying out my day to day tasks as a worker bee.

“Mustard cake” Photo Jon Pearson.

“The mustard lover’s mustard,” is another meditation on the mundanity of labor with a twist. In this piece Klusak is exploring the notion of being both the worker and the overseer. The artist is seen deliberately and measuredly portioning and subdividing slices of bread with a pair of scissors. From time to time the measurement of the labor is insinuated by referring to a stopwatch and penciling down results. The pieces are given squirts from a mustard container and eventually end up being pounded into a cake form. Apparently mustard makes great cake glue, as the cake is on display in the gallery as well. The tongue in cheek use of silly materials used in the creation of a silly product are balanced by the overall seriousness and intensity with which the worker/overseer produce the product.

“RFM (Rod For Measurement)” modeled by Isaac Ewart Photo Jon Pearson.

The “Rod For Measurement” Is coyly intended to be a tool with which a person can measure and compare traits in another person. The piece addresses and makes a case for the need for such measurements of arbitrary skills and character traits, stating that it “resolves mankind’s inability thus far to thoroughly and accurately measure humans. The writing that accompanies this tool adds to the complexity of the ideas by inventively creating acronyms synonymous with the use of the device. The artist is taking liberties here by dictating important characteristics that could potentially become the total sum of a person. The writing also alludes to a method of notation that was developed to sort the data measurements of the RFM. See the text below for a good read.

Writing piece “RFM” Photo Jon Pearson.

In sum, this show presents a depth of substance and an integrity that deepens when the artist’s statements and the work are explored thoroughly. The pieces themselves contain many didactic elements. One element of the show that seemed unnecessary was the inclusion of two lithographic prints which slightly pertained to the sculpture but seemed an after thought. See more of Tatiana’s work and writing here.

10 January 1 Permalink

Grand View Universities’ Faculty Free-For-All

Faculty Show 2012, Grand View’s Rasmussen Center, The Prairie Meadows Gallery 

November 19 2012 - January 11, 2013

Detail of Josh Ryther’s “Private Eyes.” Photo Rachel Buse.

Review by Jon

January 8, 2013

The current exhibition at the Rasmussen Center on Grand View’s campus is a scattered mix of current work by the Grand View faculty. Many major Universities host an art faculty show on a yearly basis as a way of promoting the program and the “research” being done by their teachers. By definition, these shows tend to display an array of work that run the gamut of media, from metal smithing to interactive design. Grand View touts a very strong Art and Design program for its relatively small size and much of its success can be seen in the strong work exhibited by graduates who have come out of the program. Recent Exhibition successes by past students such as Jeremiah Elbel and Jolynn Reigeluth have served to strengthen the art scene in Des Moines and beyond.

Detail from Aaron Tinder’s, “I have no memory of learning any of these things.” Photo Jon Pearson.

In this work by drawing and painting professor Aaron Tinder we see a tight, grid-based painting with a simulacrum of varying perspectives. The color theory in this piece is strong and balanced, and the tied ropes and ribbons serve to lead the eye through the composition and bring some excitement to an otherwise meticulous, structured work. The use of shadow cast by the ropes and ribbons allude to a depth of field which is only implied by the lines and shapes of the rest of the piece. 

Detail from Mary Jones’, “Discomfiture.” Photo Jon Pearson.

Bendy legs and giant-like stature, along with uncomfortably crossed arms and a garish grin lend an air of discomfort to the main character of this collage by Mary Jones. The subject matter, as far as I can ascertain, has something to do with dislocation or relocation from an urban setting to more suburban or rural environs. The figure is flanked by two smaller figures, potentially children. The space inhabited by blue text seems to contain some jargon pertaining to the sale or purchase of a home, but is left relatively vague, as many of the lines are cut of in mid-sentence. Many of the structures in the foreground seem to resemble more urban dwellings, while the structures deeper in the background look like single stand-alone houses. The addition of disembodied heads with hats may resemble the bureaucratic intricacies of relocation. Overall, the piece is balanced in composition and color and has much detail to keep the eyes and mind engaged. Jones’ other work in the show is also very strong and rewards a long look (read what they say).

Detail from Larrison Seidle’s “Untitled (from the new ether series)” Photo Jon Pearson.

This image from Larrison Seidle’s “New Ether,” series seems to depict a dream scape in which two figures are walking across a vast expanse. The viewer’s eye is brought into the landscape by winding path-like color trails. The piece suggests a departure, or a flight, both because the figures seem to be moving away from building structures in the lower right corner, and because one of the figures seems to be carrying baggage. The piece in its use of color and space is very inviting, and the small size (I would guess about 6”by 6”) availed a sense of intimacy between viewer and subject.

Installation view of Josh Ryther’s “Private Eyes.” Photo Jon Pearson.

“Private Eyes” is one of the more striking pieces in the show. The piece commands a portion of floorspace and is composed of the same image of a face crumpled and formed into mask-like forms. I was impressed by the piece’s activation of an otherwise “dead” area of floor and its ability to heighten the experience of viewing the work on the walls. The images of the face are all directed outwards so that any angle you are viewing the piece from results in confrontation. The work evokes consensus and the togetherness, or sameness in the gaze of the multiplied face.

There are many more strong works in the show, and the gallery is hung with deliberation and skill making it a very clean show. The work by graphic design professor James Ewald employs the clear grid-based “Swiss-Style” to stunning effect in his poster design, while Jon Schwestka produced images of kinetic ambiguity. There is a giant, tiered wedding cake with rotating dolls at the base of it, and beautiful images of a “Herd of Brides,” created by Rachel Schwaller.

Detail of the bottom of the giant cake. Created by Rachel Schwaller. Video by Rachel Buse.

All-in-all, the show exhibits the strength of talent amongst the professorship at one of Des Moines’ best art schools, and leads me to believe that more talented and well trained students will continue to emerge from Grand View’s art program.

8 January Permalink