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Exhibitions


Standing Rock Cultural Arts presents

GLIDE

A Virtual Art Exhibit featuring Paintings
and Photographs by Ian Marshall

Opening June 5th, 2020

Work is large scale and ranges from 28"x28" to 42"x60"

Ian Marshall is a Kent, Ohio-based painter and photographer.
Originally from this small Cuyahoga River town of Kent,
Marshall spent many years carefully observing the town and
watching many changes which unfolded. Along with the changes
included a rebirth of elements; the discarding of withering materials
and their replacement, the neo-genesis of industrialization.

Ian has received numerous awards throughout Northeast Ohio
such as acceptance into the GAR Foundation in Akron along with
Best of Show at Art in the Park in Kent. Ian has also shown work
at 78th Street Studios in Cleveland. Marshall completed his
bachelor's in Fine Arts program with a concentration in painting
from Kent State University in May 2017.

  


To Commemorate the 50th Anniversary of the May 4th Tragedy
Standing Rock Cultural Arts is honored to present
the words and film of KSU professor emeritus, Drew Tiene.

The Story of the Kent State Shootings Part One

The Story of the Kent State Shootings Part Two

Lessons to be Learned from the Kent State Shooting Incident

Dr. Drew Tiene
Professor Emeritus: Kent State University

How does the shooting of student protestors at Kent State fifty years ago relate to our lives today as American citizens? Clearly there are a number of important lessons to be learned. First of all, it was an instance of what would now be called political spin. The facts of the case were misreported, misinterpreted, and manipulated by both the media and government officials. At first, it was inaccurately reported in some newspapers that guardsmen had been shot. Then there were false claims that a sniper's presence on campus had prompted the shootings. Guard commanders insisted that their soldiers had been attacked by the demonstrators and fired in self-defense. These misleading claims ultimately became the basis of their legal defense in the courts. The contentious and questionable public discourse that followed the shootings helped confuse Americans about the nature of the incident for the ensuing decades, right up until the present day.

The gunning down of political protestors has been practiced by autocratic regimes throughout history. Recent examples can be seen in countries like Iraq, Venezuela, Hong Kong, Chile, Iran, and Ecuador. Those of us in the Kent State community appreciate the official recommendation to "Learn, Inquire, & Reflect" that is etched into the memorial built to honor those who were shot. Many of us feel that an equally important message should be "Never Again." Such practices should have no place in the United States.

The incident at Kent State University in 1970 was a violation of Constitutional rights cherished by American citizens. The campus protest on May 4th was an exercise of the First Amendment right "peaceably to assemble and to petition the government for a redress of grievances." Students were practicing their freedom of speech guaranteed by the Bill of Rights. If the United States is going to uphold these traditions, it needs to allow political dissent without interference or intimidation on the part of law enforcement. The shooting of anti-war demonstrators at Kent State will hopefully be remembered in American history as both an aberration and an anomaly.

None of the Ohio National Guardsmen who fired their weaponry at unarmed students were ever held legally accountable. Their self-defense argument is sadly still with us today, having been used repeatedly in similar types of cases over the ensuing decades. Police who face charges for shooting civilians have repeatedly claimed they thought their victim was reaching for a gun, even when there was no weapon. The Black Lives Matter movement has hopefully raised the nation's awareness about these issues and the need for accountability. An often underappreciated legacy of the Kent State shootings was the manner in which the justice system failed afterwards.

The Kent State shootings were a result of opposition to an unpopular, unsuccessful war conducted in Asia. Unfortunately, over the course of the past half century we have witnessed a number of similar overseas military misadventures, wherein we have lost many American lives, killed thousands and spent huge sums in the process. The famous quote by historian George Santayana that "those who do not remember the past are condemned to repeat it" surely applies here. Another lesson associated with the Kent State shooting incident might be that war not continue to be waged in other countries whose citizens prefer to determine their own destiny.

Finally, the Kent State shootings took place in a political context wherein a president sought to enhance his power, silence the media, and punish his enemies. That president, Richard Nixon, ultimately had to resign during impeachment proceedings against him. The parallels to today’s Trump administration are difficult to miss. It is clear that, like Nixon before him, Trump intends to disrupt the traditional balance of power between the executive, legislative and judicial branches. The enormous powers of the U.S. presidency have been abused in the past, and they can be abused again.

Hopefully the Kent State shootings will never become an obscure footnote in American history. The incident represents an inappropriate use of deadly weaponry to silence dissent, followed by misrepresentations of facts and a miscarriage of justice. Such challenges to our democratic values seem particularly relevant in today’s post-truth political era. Commemorating the 50th anniversary of the Kent State shootings can serve to preserve the heritage of freedom that the United States of America represents, both for its own people and as an example to the rest of the world.


Standing Rock Cultural Arts
welcomes you to enjoy a Virtual Tour of the
20th Annual Environmental Art Show!


Love your Mother!

 

Chuck Slonaker Art Statement

 

After the death of my sweet mom last year, I tried to return to painting landscapes and cityscapes, but I quickly found out that it was unfulfilling and meaningless to me. I came across a statement by animal rights activist, Bradley Trevor Grieve, and decided to embrace this statement as a direction for my art. Mr. Grieve said, and I paraphrase, that animals will not fight or argue for their survival. They will just disappear without our interventions. As species go extinct on a daily basis due to our overconsumption, I will join the other conversationists to be a champion for these fellow creatures.

 

Fred Pierre Art Statement

 

Fred Pierre creates optical art, or op-art, through a computerized compositing technique. Digital compositing is done by layering multiple images, one on top of the other. At the base of these images is a collage. To create depth in the image, Fred leverages the power of optical illusions. Color is important to his work, and Fred incorporates nature into every piece. Contemplate these pieces and you will see dozens of animals and plants. By sharing his love of nature, Fred hopes to inspire others to revere our planet and its ecology. We don't want to lose these beautiful creatures.

Fred Pierre hopes you will find joy in the playful and colorful nature of this environmental art, and encourages you to be inspired by nature to conserve and preserve the flora and fauna of this dynamic and interconnected world.

 

Joshua Bentley Artist Statement

 

Joshua Bentley is a multi-disciplined artist and Kent native. He has exhibited works in Ohio, Texas, and New York. Painting is his primary focus though he also works in commercial photography and illustration (including label art for local brewer Crafted Artisan Meadery in Mogadore).

These selected paintings invoke thoughts of the life, love, and beauty that make our earth such an abundantly unique planet and a limitless canvas for co-creation.

 

Nikki Puccini Artist Statement

 

Multidisciplinary artist Nikki Puccini finds inspiration from a plethora of imagery references, from music lyrics and song titles to pop culture and nostalgia to growing up in an abandoned city, animals and nature. Her collage work, photography and videography has been featured in galleries around NE Ohio as well as by music videos and promotional material for local and nationally touring bands.

 

Shura Skaya

 

Shura Skaya (AKA Chernozatonskaya Skaya) is a multi media artist. She has studied classical music, then painting, and now combines the two, while also making films and performances. Chernozatonskaya has exhibited internationally. Her solo shows include, among others, the “Signals” in the Brooklyn Museum, Brooklyn (2012) and G.R.O.U.N.D (2016, 2018), Open Gallery (2015), Roza Azora Gallery (2011, 2016), in Moscow. She has been living and working in New York since 2000.

MOBY DICK, THE RAFT OF THE MEDUSA AND POPEYE: A story was told that sometime in the 1950s, one of my grandmothers received a free trip from the Soviet state to go to some retreat on the sea. She, knowing her motherly duties but not knowing how to swim, bought a book. Every night after the family dinner was over, she would clear the table, cover it with a blanket and lay on top of it with the manual "How to swim" right in front of her. She followed the instructions and moved her arms and legs according to the diagrams. She persisted to do so every day until it was time to travel. Later, when she and her son came to the sea, she went into the water confidently, and swam.

 

Trey Berry

 

I recognized at an early age that my passion in life was to create beautiful objects. My work expresses a connection with a higher consciousness. Nothing exists that does not touch the other. I believe, the more we become aware of our inner world, the more our relationship changes with our outer world or reality. The understanding of the subconscious and discovering super conscious symbols that speak to all is the objective. My paintings imagine mystic and symbolic worlds that express wonder not fear of the unknown.

I spend many of my days painting. The experience carries me to places far into my imagination, places that seem to exist more and more closely to reality than the day before. Dreams and visions give me great faith in humanity and a greater knowledge of the immensity of the universe of the inner mind. Creating gives great power to the artist; it allows one to explore all possibilities and have vision of what can be. Remembering those on this path that have gone before us, listening for secrets, seeing visions, smelling the spirits, mixing the medium is a history and ritual as old as man. Magic never evades us. It is all around us, a great river forever flowing through time. With every brushstroke and thought that passes we create our own destiny. I seek experience that not only changes my personal and spiritual views but experiences that rock the very foundations of the soul. Nothing of great value comes without sacrifice. Personal discovery and the resulting destruction of the ego is a calling of the highest order. Let the revolution begin.

 

Cindy Penter

 

For this show at Standing Rock Cultural Arts, I chose a number of photographs that illustrate my interest, as a documentary photographer, in the beauty of nature and its changing aspects in our contemporary life. I observe and record what I see in my own locality. My photographs are my my response to what I see and what I feel about the natural world.

I see family farms long abandoned or being sold off, as farmers can no longer afford to make a living on the land. I see larger farms who allow corporations to place cell towers over their homes so they can keep going. I see wild animals who no longer live in forests and meadows but now exist in cities in suburbs as their natural habitats disappear. Wolves domesticated behind fences. I see trees dying. And other signs of devastating change.

I also see signs of hope, companies setting up arrays of solar cells, people gathering to honor the solstice as a way of reconnecting with nature. People stopping to appreciate the flowers. Dancers dancing about the earth. I see beauty and the hope.

 

Vince Packard

 

We border the most dubious of the Great Lakes to the north, Lake Erie, and the Ohio River isn't really considered more than an industrial alley and toxic sewer, as are most our waterways. Our most famous river, the Cuyahoga, earned infamy by catching fire and burning for days in the 60's. We can brag of the smallest and most fragmented National Forest in the country, the Wayne. It is timbered, drilled for gas, and routinely strip-mined.I love Ohio.

But honestly, this is mostly from the history I've learned on my own. I wasn’t taught much of this in school. I suspect this history of the denigrations of the natives and the land might be too subversive to the ever exploitative/consumptive status quo. Suppose we are ever to teach the grand bounty of our original flora, fauna, and human culture that the Europeans first glimpsed in this the "Northwest Territories." Well, we might suspect something is wrong with a culture that leaves such devastation for the temporary benefit of a few.
I also see signs of hope, companies setting up arrays of solar cells, people gathering to honor the solstice as a way of reconnecting with nature. People stopping to appreciate the flowers. Dancers dancing about the earth. I see beauty and the hope.

It wasn’t until I was in my 20's when I learned that Ohio was once home to wood bison, cougar, wolf, elk, wolverine, fisher, lynx, etc., etc. Along with giant trees, wild clean waterways, and the epic drama of the Native Americans yielding and suffering the European conquest.

There is a Hopi prophesy,

"At this time in history, we are to take nothing personally,
Least of all ourselves.
For the moment we do,
Our spiritual growth and journey come to a halt.
The way of the lone wolf is over.
Gather yourselves.
Banish the word "struggle ' from your attitude and vocabulary.
All that we do now must be done in a sacred manner
And in celebration.
We are the ones we have been waiting for."

 


  

Standing Rock Cultural Arts presents a
A Robert Wood Virtual Exhibition and Guided Tour

 

 

This documentary video tells the story of Robert Wood's artistic development. This lovely tribute to his life and work is also a virtual tour of the Fenruary 2020 Standing Rock Cultural Arts gallery exhibit. We hope to provide more virtual exhibits in the next month.

Special thanks to The Robert E. Wood Legacy Committee. Learn more about their work below.


Standing Rock Cultural Arts with the cooperation of The FJ Kluth
Gallery and The Robert E. Wood Legacy Committee presents

4th Annual Robert E. Wood
Legacy Project Art Exhibition
Drawings, Paintings, Prints
by Robert E. Wood.
(July 20, 1943-February 4,2012)

Work will be for sale with proceeds
going into a Robert E. Wood Legacy
Fund. The purpose will be to construct
a cultural art center, in Kent,
that will house a Robert E. Wood
Gallery in the future.


Saturday, February 22, 2020. 7-9pm.
Opening Reception

Exhibit runs through March 28, 2020

300 North Water Street Gallery
in Kent, Ohio


The Robert E. Wood Legacy Committee is proud to present a wide array of
artistic works by the late Robert E. (Bob) Wood. The Robert E. Wood
Legacy Committee was formed to commemorate the uniqueness which was
Robert E. Wood. Not only was Robert deeply entrenched in Kent culture,
but his art and philosophies struck a chord with many of the city's
residents. On the evening of February 23, 2019, we invite you to join us
at 300 North Water Street, Kent to share in the "Struggle and Risk" that
Robert experienced.


 

Daniel Johnston's Fever Dreams


  "Fever Dreams: The Early Drawings of Daniel Johnston." features never-before exhibited sketches from Daniel Johnston's youth, prior to relocating to Texas. Powerful images reflect a beautiful and tormented mind.

PRINTS AVAILABLE! 8.5" x 11"

Prints of the Daniel Johnston Early Drawings
$20 Unframed
Inquiries to info at standingrock.net 330-673-4970.

  Daniel Dale Johnston (January 22, 1961 - c. September 11, 2019) was an American singer-songwriter and visual artist regarded as a significant figure in outsider, lo-fi, and alternative music scenes. Most of his work consisted of cassettes recorded alone in his home, and his music was frequently cited for its "pure" and "childlike" qualities

  Johnston spent extended periods in psychiatric institutions and was diagnosed with schizophrenia, and bipolar disorder. He gathered a local following in the 1980s by passing out tapes of his music while working at a McDonald's in Austin, Texas. His cult status was propelled when Nirvana's Kurt Cobain was seen wearing a T-shirt that featured artwork from Johnston's 1983 album Hi, How Are You.

Beyond music, Johnston was accomplished as a visual artist, with his illustrations exhibited at various galleries around the world. In 2005, his struggles with mental illness was the subject of the documentary The Devil and Daniel Johnston. He died in 2019 of what is suspected to have been a heart attack.

 


Standing Rock Cultural Arts presents

Expressive Abilities
An Art Exhibition of work by people with disabilities
who particpate in the
Creative Arts Program of Hattie Larlham

7:00 to 10:00 pm, Saturday, January 4th, 2020

Exhibit runs through February 8, 2020

300 North Water Street Gallery
in Kent, Ohio


Join us for the exhibition of new works created by people with
disabilities who participate in Hattie Larlham's Creative Arts program.
Each piece is a unique expression of the individual artists and brought
to the public with enthusiasm. Gain a better understanding of the
Creative Arts program and even meet some of the artists!

Hattie Larlham is a nonprofit organization that provides medical,
residential, recreational and work training services to 1,600 children
and adults with developmental disabilities. The organization provides
services to children and young adults at the Hattie Larlham Center for
Children with Disabilities in Mantua, Ohio, and to adults at
community-based homes throughout Ohio.

Hattie's Creative Arts assists artists with developmental disabilities
to create compelling works of art. Dialogues of 'yes or no' questions
are used to uncover each artist's choice. Hattie's Creative Arts
participants work in disciplines including painting, ceramics, and music.




ROBERT E. WOOD EXHIBIT DESCRIPTION

Excerpted from an article written by Elaine Hullihen - September 1, 2011

The show is a retrospective of works by Kent artist Robert Wood.

Wood lived in Kent since the 1960s and had been active in the art scene
since he stepped foot on this black squirrel soil.

If you ever went to an art event, lecture or performance, while he was
alive, it's likely saw him examining the work or asking in-depth
questions of his fellow practitioners.

He could be found on most Saturdays at the Haymaker Farmers Market
manning a table covered with binders upon binders of his own art for
sale — at a reasonable price.

If, instead, you were a late-night bar enthusiast, perhaps you saw him
working, bent over a darkened table in the corner of your favorite
watering hole, glancing up periodically to memorize another part of the
scene before bending down to record his findings.

What most people don't know, however, is the full breadth of his
lifetime of diligent study in the theory and production of art.

Wood moved to Kent from his hometown of Struthers, OH, and earned his
bachelor's degree in studio art in 1968. That was followed by a master's
degree in painting in 1973 from KSU.

Over the years, he won numerous awards in juried regional exhibitions in
Akron and Youngstown. In 2003 he received an Ohio Arts Council
Individual Artist Fellowship Grant. He was also recognized in The 2nd
Annual May Show at Lakeland Juried Art Exhibition for a digital print.

Recognition aside, Wood was more interested in the cultural critique and
philosophical ideas in his art than anything else. After a brief stint
in the 1970s working "menial" jobs, he firmly decided to be a full-time
artist and dedicate his life to these endlessly interesting topics.

When asked about this decision in 2011, 6 months before his passing, he
said "It's such a major concern it's hard to answer. Art is all I really
wanted to do. I never wanted a real job anyway — and still don't."

The human figure has been central to Wood's artwork for many years. From
paint to watercolor to marker, Wood was always interested in drawing
from the model and has, it seems, thousands upon thousands of 8
1/2-inch-by-11-inch drawings in his collection. They are "more than just
studies to me," Wood said.

In one work, done in the 1980s, Wood used markers to boldly hash out two
figures that are both glaring and keen. The figure on the left peers at
you over a full hand of cards while the figure on the right is cutting
off his own head with a handsaw.

In the 1990s, Wood found a new art-making medium — the Xerox machine. In
the old days of the 1990s, Xerox machines printed in black and one other
color. That color varied depending on the machine. The Riddle, the sole
piece in the show that was made using this method, was printed on up to
15 times.

With the Xerox machine Wood used the same process an artist would use to
make a traditional print. "The artwork is built up one layer, one image,
one color at a time," he said.

Since each machine had only one color, Wood traveled from machine to
machine searching for new colors to print over his work. Oftentimes he
found himself meandering back and forth between Kinko's (now ) and to
slowly build these pieces.

Wood was also interested in how these machines could corrupt his images.
Sometimes a machine would be "out of order" and Wood just took the sign
off to see what kind of partial, striated or faint image he would get.

The prints made this way are now limited edition because that type of
machine is no longer carried by either copy place.

Wood then began to use computer files to experiment with image
corruption. These large computer prints are sometimes striated and look
like some sort of file error. The original image is still visible, but
through a type of screwed-up technological lens.

Other times the computer prints are a collage of symbols and images that
are layered upon each other, transparent, fleeting and seemingly chaotic.

Not wanting to give away all of his secrets, Wood divulged that the way
he creates these works is dependent upon the file extension. Exactly
what he did or which programs he used, however, will remain a mystery.

Wood approached technology, which many see as a pinnacle of our modern
life, like a child with fingerpaints: smearing codes, disorganizing
visual order, and compressing data to discover new ways to communicate.

The exhibit will be up through March 27, 2019.

LINKS TO ARTICLES:

OBITUARY LINK:
http://patch.com/ohio/kent/kent-bids-farewell-to-tragic-hero-who-overcame-labels

https://ksuasne.org/2013/07/30/soul-splitter-the-artist-robert-e-wood/