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items tagged with Kristin Quinn

Cuddly Monsters, Captivating Portraits, and Juicy, Gross Textures: The 36th-Annual Rock Island Fine Arts Exhibition, through April 22
Written By: Jeff Ignatius
Section: Art

Category: Reviews

2012-03-22 12:01:35

Jessica Teckemeyer, 'Fawn or Foe'

Jessica Teckemeyer’s Fawn or Foe is both a cuddly creature and a disturbing monster, with a lifelike aura that defies the porcelain from which it’s formed. In this year’s Rock Island Fine Arts Exhibition, the piece stands out as a strong marriage of technique and subtext.

Similarly, Kristin Quinn’s Flyway offers a modern sensibility and expression that differentiate it from an exhibition full of technical skill yet often lacking stylistic flair, nuance, and ambiguity.

While those two works are exceptional, there’s also a strong vein of realism in the show, and several artists conjure meaning through an abstract approach – but without quite reaching the resonant standard set by Teckemeyer and Quinn.

Featuring 51 pieces by 40 artists within a 150-mile radius of the Quad Cities, the 36th-annual exhibit is on display in Centennial Hall at Augustana College through April 22. Juror Joseph Mella, the director of the Vanderbilt University Fine Arts Gallery in Nashville, Tennessee, awarded prizes sponsored by the Rock Island Art Guild and Augustana College.


Read More About Cuddly Monsters, Captivating Portraits, And Juicy, Gross Textures: The 36th-Annual Rock Island Fine Arts Exhibition, Through April 22...


“A Real Renaissance Man”: St. Ambrose Art Professor Leslie Bell (Sort of) Retires After 38 Years
Written By: Jeff Ignatius
Section: Art

Category: Feature Stories

2012-03-15 12:34:02

Leslie Bell in his office. Photo Corey Wieckhorst.

One minute, St. Ambrose art professor Leslie Bell is talking about his paintings – mostly allegorical scenes featuring women and girls. The next minute he’s talking about his students – especially the female ones – without having shifted gears.

“On a really basic level, I’m trying to kindle a spark of quirky individuality in each person I paint,” he said in an interview last week. “I don’t want them to come across as generic. And ... through body language, environment, to a lesser extent facial expression – because my characters tend to be a little bit on the deadpan side – even fashion or dress ... I want to communicate a kind of self-made-ness.”

He then says he doesn’t want to be cheesy – the simplistic idea that girls can be carpenters or play chess: “I want it to be more what we deal with everyday in the studio, which is following what you’re interested in, sort out the ‘should’ voice in you ... , acknowledge that there is peer pressure and that there are societal pressures and that there are laws, but then make as much use of the freedoms that you have to cultivate your interests, develop your interests, don’t be ashamed to be an intellectual, fight me as a professor ... .”

One can see that shift happening even more quickly here, in a single sentence: “I want my work to be really affirmative of women’s and girls’ abilities to create themselves, to stick to their own ideals, to find ways of proving to whoever might be skeptical of what it is to be a woman artist or just a woman that there are as many paths to maturity as there are people attempting to mature.”

This conflation is illuminating, as Bell’s artistic interest in female experience and identity seems inseparable from his teaching responsibility to help young artists develop their own voices. He notes that well over half of the students in the St. Ambrose art department are women, and it’s easy to infer that his painting is akin to homework, a way to develop empathy and connections with his female students. They’re also a way of leading by example, of showing through art a path to authenticity.


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