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MakeReady - Zoom Link
Sun, Apr 11 12:00 pm - 1:30 pm
At MakeReady, join us in celebrating the work of Karin Broker Sean Caulfield, Juana Estrada Hernandez, and Lu Colby. This will be our first-ever Awardee Panel, and will be chaired by Louise Fisher, SGCI’s Awards Coordinator.
Karin Broker: The Honorary Member of the Council Award
Karin Broker received her B.F.A. from the University of Iowa in 1972 and her M.F.A. from the University of Wisconsin in 1980. She studied under Stanley Hayter and Krishna Reddy at the Atelier 17 in Paris, France during the Fall of 1973 and studied at the University of Pittsburgh and Carnegie Mellon University. Broker began teaching at Rice University in Houston Texas in 1980 and is a Professor of Drawing & Printmaking in the Department of Visual & Dramatic Arts. Robert McClain Gallery in Houston Texas represents her work. She was named the 1994 Texas Artist of the Year and received two National endowment for the Arts Grants. Broker was the first female SGC president from 1984-1986 and co-hosted the 1985 SGC Conference at Rice University and the University of Houston.
Broker has exhibited her prints in Russia, Taiwan, Korea, Brazil, Germany, Iceland, England, South Africa, Italy, Cuba and the United States. Her drawings have been included in numerous books such as The Art of Found Objects: Interviews with Texas Artists, by Robert Bunch, Texas A&M Univ. Press, 2016, Drawing & Painting: Materials and Techniques for Contemporary Artists, by Kate Wilson, Thames & Hudson Ltd.(International) 2015, and NATURE MORTE Contemporary artists reinvigorate the Still-Life tradition, by Michael Petry, Thames Hudson, 2013. Broker’s most recent solo exhibition was “Love Me Love Me Not” at McClain Gallery in Houston, Texas in 2018.
Sean Caulfield: The Excellence in Teaching Printmaking Award
Sean Caulfield was named a Canada Research Chair in Fine Arts (Tier 2) from 2000 – 2010, and is a Centennial Professor in the Department of Art and Design at the University of Alberta, living and working in Treaty Six territory. He has exhibited his prints, drawings, installations and artist’s books extensively throughout Canada, the United States, Europe, and Japan. Recent exhibitions include: Dyscorpia, Enterprise Square Gallery, University of Alberta; The Flood, Art Gallery of Alberta, Edmonton; Firedamp, dc3 Art Projects, Edmonton; The Body in Question(s), UQAM Gallery, Montreal; Perceptions of Promise, Chelsea Art Museum, New York, USA/Glenbow Museum, Calgary, Alberta.
Caulfield has received numerous grants and awards for his work including: The Special Award of the Rector of the Academy of Fine Arts in Warsaw, Krakow Triennial, 2015; SSHRC Dissemination Grant: Canadian Stem Cell Network Impact Grant; SSHRC Fine Arts Creation Grant; Canada Council Travel Grant; and a Visual Arts Fellowship, Illinois Arts Council, Illinois, USA. Caulfield’s work is in various public and private collections including: Houghton Library, Harvard University, USA; Fitzwilliam Museum, Cambridge, England; Blanton Museum of Art, University of Texas, Austin, Texas, USA. In 2017 Caulfield was elected to the Arts Division of the Academy of the Arts and Humanities of the Royal Society of Canada.
Juana Estrada Hernandez: Graduate Fellowship Award
My artwork deals with social and political problems surrounding the DACA community along with the inherent negative identity stigma of undocumented immigrants. Deferred Action for Childhood Arrivals is an administrative relief from deportation along with providing work permits for those who arrived illegally as minors. I believe that anti-immigrant sentiments prevail in many parts of the country due to lack of insight on the realities of being labeled an “illegal immigrant”. I immigrated to the United States at the age of seven with my family from Zacatecas, Mexico. My early childhood experiences growing up in the United States as a young immigrant served as inspiration for this current work. My art practice stems from my love of drawing, my Hispanic culture, Mexican folklore, and my family’s migration stories. My motivation has always been to raise awareness about immigrants and their realities. These prints attempt to emotionally impact people in ways that invoke independent thought and understanding for those that used to live in the shadows.
Lu Colby: Undergraduate Fellowship Award
Today, women make up almost half of the labor force in the United States at 46.5%. Yet statistics show that compared to men, women spent more than twice as much time preparing food, and doing interior cleaning, and over three times as much time doing laundry as men did on an average day. Even with these domestic obligations, women are still pressured to pursue a higher education, advance in their careers, and be self sustaining. With these Second Shift expectations, women in American society today feel more pressure than ever to find the balance between domestic roles and progressive philosophy of feminine positions. As I navigate my own roles with domesticity, I find myself falling into these same dynamics much like generations before me.
I dissect and experiment with these gender stereotypes by adding characteristics of traditional woman’s work such as needle work, and household cleaning tools in attempt to question these given roles to women in American society. While incorporating new technology such as laser cutters, I take site specific materials such as dust and sweepings from my home with household objects to create a narrative within my work for people to find a correlation between their own experiences with domestic gender roles and my own.
My pieces have varied in mediums such as sculpture, printmaking, installations, and performance pieces but all have common characteristics of multiplicity and repetition. The use of repetition and multiplicity throughout my work speaks to these individual moments and experiences as a whole while also reflecting on the methodical and repetitive ways women conduct tasks in their own home such as daily chores and personal hygiene.