SEASON 20
EXHIBITIONS
September 2023 - August 2024
This exhibition season is financially assisted by a grant from the Josephine S. Russell Charitable Trust,
and many individual donations, large and small, from across 40 states and three countries.
You can donate here to help keep our nonprofit programming growing!
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Download to save or print the entire See Grand Jury Award finalists and winners here. |
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PREVIOUS SEASON 20 EXHIBITS:
| Season 20 Launch! September 29 - October 27, 2023 |
Ticketed Preview - Annual Fund Benefit |
main gallery + central gallery + north gallery
PAINTED 2023 At some point many generations ago society reached a level where ordinary people could spend a lifetime perfecting their ability to mix and apply paint in extraordinary ways. Manifest established this exhibit as a permanent biennial project ten years ago in 2013 to inaugurate our expanded gallery. PAINTED 2023 is the sixth biennial presentation of this survey of contemporary painting. PAINTED joins Drawn as a recurring gallery exhibition designed to complement our recurring INDA and INPA (drawing and painting) publications. Every two years it launches our exhibition season by presenting a competitive group exhibition focused exclusively on painting. For this exhibit, 174 artists submitted 702 works from 35 states and 9 countries, including Austria, Canada, China, England, Japan, Russia, Taiwan, Turkey, and the United States. Thirty works by the following 23 artists from 14 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. We are pleased to present works by: Edgar Cano-Lopez Yulia Gasio Glen Hansen David Heshmatpour Susan Hoffer Lynne Jones Rob Kolomyski Paul Loehle Perin Mahler Monika Malewska Andrew Martin Michael McCaffrey Justin McIntosh Marcus Michels Kenneth Millington RD Mitchell Joe Morzuch Mihee Nahm Lucy Kay Plowe Sandy Rice Marc Ross Benjamin Shamback Gabriel Zea
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Edgar Cano-Lopez
Lynne Jones
Rob Kolomyski
Lucy Kay Plowe
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drawing room + parallel space
AQUACHROME Quite possibly the oldest form of painting, watercolor persists today, defying narrow categorization and broad stereotype. Practiced for centuries in concept development preliminary to 'finished' paintings made in oil or other scale-worthy durable media, watercolor also found favor with botanists, illustrators, and portraitists, and was applied to varied and countless surfaces. The nature of the media itself represents a delicate and dictatorial transparency, fluidity, and a potential for expressive spontaneity. This not only makes it an ideal vehicle for contemporary art, but also one of training, intensity, philosophy, and play for any who practice it. Where an artist can easily dominate other painting media, forcing a will through viscous layers into a work of art like taming a wild horse, with watercolor there is dialog, compromise, and undeniable forthrightness. In this way the artist practicing watercolor works with a tiger in the room. *Along with watercolor, works in gouache, ink wash, and other similar media were accepted for consideration as a subset of the broader Manifest painting biennial. For this exhibit 53 artists submitted 193 works from 22 states and 4 countries, Belgium, Canada, France, and the United States. Nineteen works by the following 13 artists from 12 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Gary Barton Shawn Edrington Ed Ferszt Antonio Gonzalez-Garcia Janet Gorzegno Melissa Gwyn Mikey Hernandez Olga Kosheleva Sophie McVicar Tanya Pirasteh Scott Teplin Ripley Whiteside Dalton Zheng
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Gary Barton
Tanya Pirasteh
Ed Ferszt
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| November 10 - December 8, 2023 |
Ticketed Preview - Annual Fund Benefit (GET TICKETS HERE): |
main gallery + drawing room
SELF Making a self-portrait requires you to have a sense of self, a sense of identity, a sense of what you look like—both how you are perceived by others and how you perceive yourself. That sense of self needn’t be fixed (and it may not even be accurate) but it is the starting point for both reflection and communication. More importantly, making a self-portrait requires that you examine your self-perception. What are the things that make you, You? How do you look at yourself? How do you imagine yourself? How much of your identity is flattery, how much is overly-critical? What expression of you comes from your actions, and what comes from your appearance? How well do you understand the ways your body shapes and is shaped by the world? SELF is an exhibit works of self-reflection, and about self-image. For this exhibit, 157 artists submitted 545 works from 32 states and 3 countries, Iran, Japan, and the United States. Twenty-three works by the following 20 artists from 11 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.
We are pleased to present works by: Penny Cagney Marge Cameron Sally Clegg Isabella Covert Daniel Dallmann Dara Engler Shannon Fody Ollie Froelich Cyrus Glance Marcella Hackbardt Ethan Humrichouser Todd Kunkler Julio Labra Ellen Starr Lyon Amelia Morris Shaena Neal Anna Pellicone Kirk Prudenciano Hez Sumner Kerra Taylor
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Sally Clegg
Shannon Fody
Kirk Prudenciano
Daniel Dallmann
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parallel space
HORIZON Born in New Brunswick, NJ, Kasey Ramirez received an MFA in Printmaking from Indiana University and a BFA in Illustration from Rhode Island School of Design. She currently lives and works in West Hartford, Connecticut, where she serves as Assistant Professor and Head of Printmaking at the Hartford Art School. Her work has been exhibited at the International Print Center New York, The Morgan Conservatory in Cleveland, OH, 21C Museum in Bentonville, AR, Rosewood Arts Centre Gallery in Kettering, OH, and the Center for Contemporary Art in Bedminster, NJ. She is a recipient of an Artists 360 Grant from the Mid America Art Alliance, for which she is pursuing research on climate change and hazard mitigation efforts to inform her work. She has participated in artist residencies at Arquetopia in Urubamba, Peru, Collar Works Elizabeth Murray Artist Residency in Granville, New York, Vermont Studio Center, as well as Guanlan Printmaking Base in Shenzhen, China. Of her work the artist states: "My work explores the tension between stability and impermanence by placing architectural structures in consuming environments. In the wake of increasingly frequent severe storms, and having direct experience with Superstorm Sandy, my personal sense of vulnerability connects with the impending tipping point of climate change. In my drawings and prints, buildings become a stand-in for human efforts for protection that are ultimately vulnerable to environmental extremes. I enjoy the alchemical properties of printmaking—how the surface of wood can become air, to be at once an assertively flat surface and a spatial, breathing image. I find the processes of physical erosion or destruction resonate with the features of these disasters. Drawing also allows me to explore this sense of devastation and looming atmosphere. By using charcoal, soot, ink, and other organic residue in these works, the drawings reference their subjects—oppressive air, water, or destructive fire. I seek to create a sense of time and turmoil through repeated gestures of accumulation and removal.” This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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central gallery + north gallery
MOMENTUM Imagine that you are on a bus. Momentum raises the stakes. Travel, the process of being in one place and then next in another, is change — things happening. Everything is always in motion, from electrons to planets, all barreling through vastness. Things spin, whirl, and tick in circles like clockwork. They move in waves, gently ebbing and flowing, or blasting buildings and eardrums, and with intense percussive force. Time moves somewhat reliably in one direction. People move, and carry things with them. The myriad of ways in which matter, energy, ideas, and creatures move is the stuff that shapes the entirety of our physical world. Stillness is just the illusion that we believe in long enough to catch our breath. Nothing is still, and everything is changing. MOMENTUM is an exhibit of works about, depicting, mapping, describing, or using movement—a show about the one universal constant, change. For this exhibit, 72 artists submitted 251 works from 25 states and 5 countries, Australia, Canada, Israel, Spain, and the United States. Fifteen works by the following 11 artists from 9 states and Spain were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Bob Bruch Gabe Drueke John Francis Steven Gray Gretchen Durst Jacobs Patti Jordan M. Lohrum Randolph Melick Jodi O'Hara Amy Salomone Rohini Sen
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M. Lohrum
Randolph Melick
Gabe Drueke
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| December 15, 2023 - January 12, 2024 |
Ticketed Preview - Annual Fund Benefit (GET TICKETS HERE): |
main gallery + drawing room
DISQUIET What are the signs that something is wrong? There is a moment before we react to danger where we register, subconsciously, that something is off. That we have reason to be afraid. The source of our disquiet can be obvious: teeth, viscera, a body open in unnatural ways. When the image lacks obvious violence but instead depicts something familiar made unfamiliar/untrustworthy, or vice versa, our horror simmers before exploding because the fear is harder to name—a room where the edges don't come together correctly, a face held in an expression incongruous to the moment, a chemical sheen glistening on the surface of a comforting meal. When unsettled, our sense of being “okay”, our certitude of continued cleanliness or wholeness, is challenged, and we experience the frisson, the arousal, the fascination that comes with being under threat. We are primed for a reaction in this moment. We can run, fight, reject, or else succumb to the disquieting thing and be changed by it. What do we see at the border between life as we know it, and the unknown? DISQUIET is an exhibit about the strange, the uncanny, the abject, the revolting, the unsettling, and the things that frighten us. For this exhibit, 111 artists submitted 397 works from 30 states, Washington D.C., and 3 countries, Canada, Germany, and the United States. Twenty-six works by the following 15 artists from 11 states and Canada were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.
Presenting works by: Chelsea Bonham Cole Carothers Dara Engler Misty Findley Tanja Gant Michel Guy Ann Harwell Kent Krugh Amelia Morris Steve Novick Molly Otremba Amy Salomone Joseph Skinner Ericka Sobrack Erik Waterkotte
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Steve Novick
Cole Carothers
Ericka Sobrack
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parallel space
ILLUSTRATED How much do you want to be understood? Clarity of meaning is a question, rather than an essential quality of art. We can explore ideas while holding space for uncertainty and mystery, leaving some questions open-ended. But when is there no room for ambiguity? Visual work is sometimes tasked with answering questions rather than raising them, with conveying information rather than emotion—think of technical manuals explaining which-part-goes-where, books full of images that work in union with text to tell a story (or tell a story without any text at all), advertisements where images are calibrated, targeted, to market products to you, courtroom drawings, maps, and so much more. Before the advent of photography, visual art and design were practically synonymous with 'illustration'. Before the advent of movable type, visual illustration was the primary means of education and non-audible communication. When communication is the goal, the artist looks beyond their own self expression or self-satisfaction, considering more carefully the audience and the message they are conveying—and when words, even direct words, result in confusion or delay, an image shows us the way. ILLUSTRATED is an exhibit works of art (including fine art, design, and illustration) that depict, represent, explain, clarify, relate, illuminate, detail, or communicate. For this exhibit, 20 artists submitted 70 works from 14 states and 2 countries, Germany and the United States. Ten works by the following 7 artists from 6 states and Germany were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.
Presenting works by: Matthew Bailey Sharon Dundee Fuko Ito Clayton Lewis Andrei Mocanu Hyunjee Clara Ryu Christopher Troutman
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Matthew Bailey
Fuko Ito
Hyunjee Clara Ryu
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central gallery
ONE 14
Michael Reedy
Of his work the artist states: "The nature and process of death has been a central concern for most religious traditions, philosophical schools, medical practitioners, and artists for millennia. Regardless of one’s belief in an afterlife or a soul, nothing shapes and conveys that physicality in a more direct and morally complex way than medical imaging. Anatomical illustration was at one time a highly collaborative endeavor by anatomists and artists to reveal the secrets of the body with a showmanship not only intended to amaze onlookers, but also to morally instruct. However, as medical imaging practices and anatomical illustration have evolved, we increasingly nd ourselves viewing the body through a set of pictorial conventions governed by the principal desire to escape the body’s harsh reality via the gross reduction of visual information. In an era where virtual corpses can be summoned from cyberspace anytime/anywhere, our understanding of the moral lessons once conveyed by anatomical images is only being further and further diminished. It has been my goal to reengage and explore medical imaging within the framework of memento mori by employing anatomical models to serve as warnings or reminders of death."
Michael Reedy currently lives in Ann Arbor, Michigan, and teaches drawing at Eastern Michigan University’s School of Art & Design. His work has been included in over 250 national and international exhibitions and can be viewed in numerous private and institutional collections, including Clatsop Community College, Minot State University, Shippensburg University, Penn College of Technology, and the Hoffman Trust National Collection in association with the San Diego Art Institute. His work has also been featured in over 30 books and journals, including Hi-Fructose, Juxtapoze, Spectrum, and Fresh Paint. Notable recent creative activities include a two-person exhibition at 111 Minna Gallery in San Francisco and solo exhibitions at Helikon Gallery in Denver, The Scarab Club in Detroit, Arch Enemy Arts In Philadelphia, Revolution Gallery in Buffalo NY, and BeinArt Gallery in Brunswick, Australia. His work was also recently featured in Create Magazine, Creative Quarterly, The Moleskine Project Vol. 2 (Spoke Art), and Manifest Gallery’s 14th International Drawing Annual.
ABOUT THE MANIFEST PRIZE We respect the creative principle of reduction (the blind jury process) as it is employed to achieve an essential conclusive statement for each exhibit we produce. This is what has led to the high caliber of each Manifest exhibit, and to the gallery's notable following. We believe competition inspires excellence. Therefore we determined over a decade ago to launch the Manifest Prize in order to push the process to the ultimate limit—from among many to select just ONE work. Manifest's jury process for the 14th Annual Manifest Prize included multiple levels of jury review of 856 works of all shapes, sizes, and media made by 200 artists from around the world. The jury consisted of a total of 18 different volunteer jurors from across the U.S. Each level of the process resulted in fewer works passing on to the next, until a winner was reached. The size and physical nature of the works considered was not a factor in the jury scoring and selection. It should be noted that the one winner and four finalists, 5 works, represent roughly the top scoring .5% of the jury pool. The winner represents the top one-tenth of 1% of the jury pool. The winning work will be presented in Manifest's Central Gallery from December 15, 2023 through January 12, 2024. It will be accompanied by excerpts from juror statements and the artist's statement. The Finalists: Four finalist works by two artists (runners up to the winner) will also be featured in the season-documenting Manifest Exhibition Annual publication (MEAs20). These are works by Justin Archer (Atlanta, Georgia) and Patricia Bellan-Gillen (Burgettstown, Pennsylvania).
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north gallery
14th Annual TAPPED The relationship between artists and their current or former instructors can be a powerful one. Even when this bond is left unstated, we carry our professors' voices forward in time as we mature as artists and people. We eventually realize that the instruction given by our teachers during our relatively brief careers as students continues to expand within us. We realize that the learning they inspired (or insisted upon) is a chain-reaction process that develops across our lifetime. All of us who have been students carry forward our teachers' legacy in one form or another. And those who are, or have been teachers, bear witness to the potency of studenthood. Out of respect for this artist-teacher bond, and in honor of teachers working hard to help artists tap into a higher mind relative to art and life, Manifest is proud to present TAPPED, an annual exhibit that presents paired works of art by current or former artist/teacher pairs. For this exhibit, 57 artists submitted 197 works from 24 states. Twelve works by the following 12 artists from 8 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. The artists are listed in pairings to illustrate their teacher/student relationship (past or present). Works on view will include paintings, drawings, prints, sculptures, and photographs. The exhibition layout is planned so that each pair of artists' works will be shown side-by-side or in close proximity. Visitors will be able to enjoy the variety of types of works while also considering the nature of influence between professor and student. It is worth noting also that at least one of the artists in the 'former student' category are now themselves working as a professor.
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| January 26 - February 23, 2024 |
Ticketed Preview - Annual Fund Benefit: |
main gallery + drawing room
PAPERWORK Paper is one of the first areas of creative possibility that we encounter. It is a surface made of pulped cellulose, created to take on marks, incisions, and material. It carries between us our messages, sketches, lists, and sums—all forms of externalized memory, thoughts, emotions and knowledge. It is bound into books and packed into clean sheaves. Stacks of paper clutters desks, fill spiral journals crammed into backpacks. Wads of tissue-thin paper napkins wait at the bottom of fast food bags to wipe away crumbs and be thrown away. Beautiful paper, special paper, waits in files and drawers for the right project. With the right marks adorning its face, paper can become precious. Duplicated enough, it becomes essentially, and importantly, disposable. Beyond its use as a surface, it can be folded, molded, out of its flatness into an object, a something in its own right, and not just a vehicle. Great satisfaction is found in pressing paper’s folded edge into a crease. There is beauty in the sound of it slicing. Paper exists in extremes, as the most disposable of trash to something exquisite, preserved, and sacred. We enrich and destroy paper, and it allows us to shape it into many things. PAPERWORK is an exhibit of works on paper, of paper, and about paper in all of its uses. For this exhibit, 137 artists submitted 521 works from 33 states and 5 countries, Brazil, Canada, Germany, Mexico, and the United States. Seventeen works by the following 15 artists from 12 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Briana Babani Jane Barrow Jessica Beels Jenny Challa Colleen Couch Paula Damm Katharine DeLamater Rebecca Hutchinson Laura Makar Michele Heather Pollock Jennifer Seo Emily Sheehan Kathleen Thum Jacob Watts Cassie White
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Briana Babani
Paula Damm
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parallel space
PRINTED LANDSCAPES Kathy L. McGhee is a professor in fine arts, and Area Coordinator of Printmaking at the Columbus College of Art & Design where she teaches introductory, intermediate and advanced printmaking. McGhee is a practicing printmaker who has shown her work both nationally and internationally. She received the Greater Columbus Arts Council’s International Residency Award in 2005 and traveled to Germany. In 2010, she was a participant in the Xi’an International Printmaking Workshop held at Xi’an Academy of Fine Arts in China, and in 2012, she received an international residency through the Ohio Arts Council. In 2019, she was an artist in residence at the Great Smoky Mountains National Park, Tennessee and also at the Badlands National Park, South Dakota. She holds a BS in plant biology from Ohio State University, 1997; a BFA in drawing and painting from Ohio State University, 1997; and an MFA in printmaking from Ohio State University, 2000. Of her work the artist states: "My printmaking practice is inspired by the natural world. I create work inspired by my observations. These images are not necessarily of vast vistas but often will consist of small moments of beauty and of relationships existing between plants as well as the earth. I am intrigued not only by the experience of being in nature but also of the visual patterns created as organisms coexist. This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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central gallery
FOODSTUFFS Food is intertwined with cycles of life and death, creation and destruction. Originating with energy from our sun, food is cultivated, gathered, found, and then digested and decomposed. It is, in a real sense, a delivery method for getting the Sun into our bodies. Methods of preservation, pasteurization, and processing continue to define our eating. As food becomes more plentiful and convenient it not only serves to nourish us, but defines our social habits, our relationships with our bodies, and cultural practices. Food to some can mean scarcity and hunger. Food to others can mean gluttony and waste. Food as a subject of art begins with humanity itself. Our ancestors vigorously illustrated their aspirations and efforts to secure it in the form of cave paintings and drawings dating back tens of thousands of years. And surely the visual and symbolic encapsulation of food as a human imperative goes further back still. FOODSTUFFS is an exhibition of works that explore food, hunger, fulfillment, and food-related practices as subject, form, or content. For this exhibit, 92 artists submitted 312 works from 28 states and 4 countries, Canada, Germany, Ireland, and the United States. Twelve works by the following 7 artists from 6 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Briana Babani Jaquelee Chit Yu Chau Daniel Endicott Frank Melendez & Nancy Diniz Steve Novick Benjamin Shamback Shiya Zeng
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Jaquelee Chit Yu Chau
Benjamin Shamback
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north gallery
WAXWORKS Wax’s capacity to mimic the surface, sheen, and luminosity of living flesh lends its use to the uncanny. Life-like wax sculptures used to be sacrificed in lieu of material goods. Early anatomical instruction was performed using wax simulacra of human viscera. For this exhibit, 60 artists submitted 203 works from 20 states, Washington D.C., and 3 countries, Germany, North Macedonia, and the United States. Fourteen works by the following 11 artists from 6 states and Washington D.C. were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Calvin Cohen Jim Cotter Myles Dunigan David Evans Anne Feller Kim Flora Jon Hunt Rebekah Hurst Matthew Jones Kevin Milstead Michele Thrane
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Jon Hunt
Kim Flora
Anne Feller
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| March 8 - April 5, 2024 |
Ticketed Preview - Annual Fund Benefit: |
main gallery + drawing room
OHIO, KENTUCKY, INDIANA
In 20 seasons Manifest's projects have included works by artists representing 50 states and 48 countries. Beginning in our tenth season, we launched an ongoing series of exhibits focusing on works by artists in our three-state region. Nine years ago we added projects that also focused on other definable regions outside our own. These Regional Showcases were offered to complement the very wide geographical makeup of most Manifest exhibits with a closer look at art being made here in our own backyard, as well as provide a platform from which we could examine the trends, qualities, and idiosyncrasies of contemporary art within specific geographical areas and compare them to our own. As is the case every season, this exhibit had no specific requirement for type, media, or style of work to be submitted. This was an open call. Submissions ranged widely from traditional to very conceptual, abstract, and experimental work. Jury selections were made based on the overall quality of the works submitted. For this exhibit, 195 artists submitted 798 works from Indiana, Kentucky, and Ohio. Twenty-two works by the following 16 artists from our three-state region were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting Works by: Kristina Arnold Mary Fashbaugh-Bean Frederick Fochtman Frank Gwirtz Lee Heinen Uhma Janus Anna Kruse Renee McGinnis William Olsen Kathleen Pahl Jesse Payne Jinblossom Kim Plati Kyle Ragsdale Lisa River Schenkelberg Caitlin Talmage Travis Townsend
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Uhma Janus
Kyle Ragsdale
Jinblossom Kim Plati
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parallel space
CONDITIONAL EQUILIBRIUM Koichi Yamamoto, born in Japan in 1967, is an artist celebrated for fusion of traditional and contemporary printmaking techniques. Renowned for pushing the boundaries of 15th century traditional copper engraving intaglio works, Yamamoto continually explores new possibilities within the medium. Yamamoto earned his Bachelor of Fine Arts degree from the Pacific Northwest College of Art in Portland, Oregon. He pursued further studies in copper engraving intaglio at the Bratislava Academy of Fine Arts in the Slovak Republic and additional training at the Academy of Fine Arts in Poznan, Poland.
He completed his Master of Fine Arts degree at the University of Alberta, Canada. Additionally, he gained experience as a textile designer in Fredericia, Denmark. Of his work the artist states: “Just before dawn, there's a soft, indistinct light that seems just perfect—a tranquility I wish could linger. I strive to recreate this delicate light-filled space. In my quest for a delicate balance between light and darkness, hope and despair, I explore the interplay of opposing forces in nature, the fleeting sense of security in symmetry, and the acknowledgment of impermanence. I seek to capture moments where these elements coexist in dynamic tension. Through my art, I prompt viewers to ponder the dual nature of existence—the contrast between light and shadow, and the enduring struggle between optimism and uncertainty. Each piece is an amalgamation of opposing forces, presenting an illusion that defies clear definition. As we navigate life's complexities, I hope this Conditional Equilibrium offers insight into the profound unity underlying our varied experiences. Embracing both brightness and darkness, we find solace in the understanding that balance is ever-changing, guiding us towards clarity and enlightenment. The idea of ‘normalcy’ is an illusion; awareness is a miracle. This body is an unexpected gift, and every experience is unique and marvelous.” This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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central gallery
The Shape of Things to Come Ben Steele is an artist, educator, and community organizer living in Atlanta, Georgia. He studied at Washington University in St. Louis, Yale University, and Maryland Institute College of Art before moving to Atlanta to pursue a career in the arts. His oil paintings have been displayed at many galleries locally and nationally in addition to The Museum of Contemporary Art of Georgia (MOCAGA) and The High Museum. Steele is co-founder of SeekATL, an artist studio visit group that meets monthly with the goal of connecting Atlanta’s artists. He also coordinates The Working Artist Project studio visits with MOCAGA. Steele is Visual Art Department Chair at The Westminster Schools. Of his work the artist states: “The universe inhabited by my paintings is carefully balanced between optimism and ruin. All of time collapses combining both a sense of humanity’s greatest moments of ingenuity while simultaneously that we are subject to fate and a world which returns us to a state of entropy. My paintings address the greater questions in life, causing viewers to search for meaning while creating connections between otherwise disconnected objects, images, and events. I am drawn to the utopian ideals put forth in futuristic architecture and see this as a way humanity continually strives for a world that is just out of reach. The promised future is never here. Forms refer to futurism and invention in multiple times and places in our world’s history. They also at times appear to be in a state of ruin or construction. I am interested in how representing ideas of the future from the past creates a tension and feeling of displacement in time. Across multiple paintings a single form may appear more than once, seen at different scales, from diverse angles and in changing environments, as if in a shuffling of a giant deck of human history. Through many works there is a relationship drawn between earthly concerns and those visible above. Searchlights, rainbows, fireworks, and comets serve as backdrops indicating a quest for knowledge, redemption, disaster, or celebration. Contemporary concerns involving space exploration, rising water levels, and natural disasters feel of the moment, yet possess a deep reach back through human imagination. My work takes inspiration from the vast history of landscape painting, futuristic architecture, designs and inventions, science fiction literature, and special effect cinematography. In the studio, I employ a variety of media from which to inspire paintings: Projection, 3D printing, Mold making, Carvings, Laser-Cut Constructions, Mirrors, and Found Objects all form expansive installations which serve as subject matter for an ever-expanding universe of forms and juxtapositions. The Shape of Things to Come, is a title taken from H.G. Wells 1933 classic science-fiction novel. A vision of the future written in the far distant past is a perfect portal through which to enter this painterly universe.” This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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north gallery
IN SEARCH OF BLUE
It is easy to fall in love with a color. Studying color and understanding its facility requires devotion. Attention and generosity must be paid to making it, to directing the feelings it elicits, to anticipating and discovering its harmonies or discordances with other colors. Finding the right blue is a quest—the blue that has the depth of the ocean, that shocks like glacial ice, that reminds us of heaven. Using blue is also a search for blue, for the eternal, for the vast. Blue is a wide and boundless color, one we can easily get lost in. For this exhibit, 225 artists submitted 820 works from 37 states, Washington D.C., and 12 countries, including Australia, Brazil, Canada, Czech Republic, Germany, India, Italy, Latvia, Netherlands, Poland, Portugal, and the United States. Sixteen works by the following 12 artists from 8 states, Italy, and Portugal were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Madeline Bass Jan Burleson Summer Doll-Myers Meryl Engler John Greig Jr Melissa Haviland Willard Lustenader Alberto Repetti Luis Filipe Rodrigues Jill Stoll Annmarie Suglio Denis Wogan
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Madeline Bass
Alberto Repetti
Annmarie Suglio
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| April 19 - May 17, 2024 | Ticketed Preview - Annual Fund Benefit: |
main gallery + drawing room
DRAWN 2024 Manifest was founded in-part to stand for the importance of drawing as a process, skill, and discipline, and as a continuing viable product of the creative fine art and design fields. Since its inception our nonprofit organization has continued to incorporate drawing-based programming, including education (Drawing Center), publications (INDA), and gallery exhibits into the broader spectrum of its projects. The artists who formed Manifest in 2004 knew that despite their diverging career paths (architecture, art history, painting, industrial design, photography) they were brought together by their connection to drawing and their mutually intense but multi-faceted pursuit of this fundamental discipline. In honor of the original spirit of the founding ideals of Manifest, the gallery launched DRAWN over a decade ago as an annual exhibition. DRAWN seeks to survey and present the broad scope of drawing being made today. This gallery exhibit is completely separate from but nevertheless complements, and sometimes shares work in common with, the award-winning INDA publication project. DRAWN called for artists to submit works of drawing in any media relevant to the practice (including non-traditional approaches), any style, and any genre (fine art, illustration, design, conceptual, realism, etc.). For this exhibit, 218 artists submitted 836 works from 40 states and 10 countries, Canada, England, Finland, Italy, Kuwait, Malaysia, Mexico, Puerto Rico, Spain, and the United States. Twenty-three works by the following 19 artists from 14 states and Italy were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.
Presenting works by: Tamie Beldue Fred Birchman Mark Bischel Alejandro Borges Sophia Louise Goodpasture Gretchen Durst Jacobs Joseph Kameen Eileen Kennedy Alex Martinez Andrew Lincoln Nelson Isaiah Okongo Alexia Papavasilakis Jesse Payne Elena Peteva Alberto Repetti Shelby Shadwell Jessie Shinn Ciel Skal Caomin Xie
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Alex Martinez
Gretchen Durst Jacobs
Tamie Beldue
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parallel space
Recent Silver Drawings Painter and draftsman Carlton Nell lives and works in Opelika, Alabama. His work has been exhibited in museums and galleries across the country and is found in many public and private collections. He holds an MFA from Georgia State University and a BFA from Auburn University, where he is Professor Emeritus. Of his work the artist states: “These drawings are part of ongoing work intended to be straightforward expressions from observation of my surroundings. The attempt is to bring into equilibrium the formal visual properties of the picture (tone, depth, scale, etc.), the silver medium, and the subjects depicted. Hopefully, these drawings acknowledge a small portion of the mystery of the observed world and share the experience with others.” This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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central gallery
SOFT Soft is a comfortable word. Soft like a blanket. Soft like broken-in clothing, soft like carpet, like moss. Soft invites touch, and importantly it gives way beneath touch. Soft does not resist. A soft image both reveals and it hides; a soft light on a surface exposes intricacies of form, yet soft focus blurs that form into ambiguous shapes of light and dark. In both cases, softness is about impressions and sensitivity, a gentle read of information. Soft is vulnerable. Soft allows for you to be soft. SOFT called to artists around the world for works exploring visual, tactile, emotional, or material softness. For this exhibit, 109 artists submitted 379 works from 31 states and 11 countries, Australia, Austria, Canada, Czech Republic, England, Ireland, Italy, Poland, Puerto Rico, South Korea, and the United States. Eleven works by the following 9 artists from 7 states and 3 countries, Canada, South Korea, and the United States were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Jodi Brewer Tom Eckert Stacy Isenbarger Gretchen Jankowski An Lam June Lee Dominic Lippillo Jesse Payne Hannah Zimmerman
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Gretchen Jankowski
June Lee |
north gallery
MODULAR Modules are discreet objects that can be assembled into a larger body. This same body can be broken down into its parts, re-configured, re-assembled, broken down again, made whole again. A module can be a mass-produced part, a building block, an amino acid, an atom. Modular construction allows for streamlined assembly, easy repairs, iterative outcomes. There is comfort to be found in the uniformity of repeated design, in the even aisles of the supermarket, in the ease of exchanging a burnt-out fuse, the simplicity of sliding customized part B into slot A. Modules are configurable into a myriad of possible forms, but to be effective they need to be iconic, repeatable, replaceable. To a degree, they must conform to a structure to be a successful puzzle piece. How different is that piece allowed to be before it wreaks havoc, like a misfolded protein? Can variety be found within standardization? How many parts can be exchanged before the body is different? What relationship does the body have to its parts? Can’t everything be broken down into pieces? MODULAR is an exhibit of works of art made of or about individual components, about reconfiguration, about building blocks, about the parts of the whole. For this exhibit, 46 artists submitted 152 works from 24 states and 5 countries, Armenia, Georgia, Germany, Netherlands, and the United States. Eight works by the following 8 artists from 8 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Vibrata Chromodoris Kyle Cottier Andrew Martin Maggie Nowinski Evelyn Politzer Shasti O’Leary Soudant Catherine Wetzel Leah Woods
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Kyle Cottier
Shasti O’Leary Soudant
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| May 31 - June 28, 2024 |
Ticketed Preview - Annual Fund Benefit: |
main gallery
RITES OF PASSAGE
Initiated in 2005, The Rites of Passage exhibits were developed to support student excellence by offering a public venue for the display of advanced creative research, to promote young artists as they transition into their professional careers, and to bring the positive creative energies of national institutions together in one place. With this 20th annual installment of the Rites series, Manifest offers a $500 best of show prize to reward excellence at this early career level, as well as a non-monetary Director's Choice Award. The highest scoring work from the jury also moves on to be considered for the $1,000 Grand Jury Award for this exhibition period. The Rites call for submissions was open to students graduating or expecting to graduate in 2023, 2024, or 2025 (undergraduate juniors, seniors, and those who graduated last year). For this exhibit 67 artists representing 44 academic institutions in 22 states and the United Arab Emirates submitted 220 works for consideration. Fourteen works by the following 12 artists from 8 states representing 9 different academic institutions are featured in the 20th annual Rites of Passage exhibit.* Artists are listed with their academic status as of the dates of their entry into this competition. Why is this important? The nine early exhibit catalogs for Rites, and now the award-winning Manifest Exhibition Annuals, have over time become a compelling document framing a view into the state of art in academia, and quite possibly the launching place for future notable artists of the world. In 20 years of exhibits Rites of Passage has presented a total of 306 works by 204 emerging artists representing 117 different academic institutions in 40 states and 3 countries. Featuring works by: Connor Chan Anna Foro Alison Heverly Maury Johnston Desmond Killian Michael King Jr. Dani Mays Zoe Nielsen Alyssa Parr Charlotte Puttock Gabrielle Schenck Kim Wayman
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Gabrielle Schenck
Zoe Nielsen
Connor Chan
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drawing room + parallel space
MAGNITUDE SEVEN An exhibit of works from across the U.S., each no larger than about 7" in size. Two decades ago we launched the Magnitude Seven project with the idea that small works would be easier and more practical for artists to send to Manifest in Cincinnati from anywhere in the world. This proved true, and right off it was this exhibit that lead to Manifest earning a reputation as 'the neighborhood gallery for the world.' Inevitably MAG 7 is a wild and varied mix of works, including an extreme range of media, styles, and artist intents. The exhibit always gains unity from the common scale, so even disparate works seem to engage in playful and tolerant conversation across the gallery or side by side. We have found that having a gallery full of hand-sized works is a joyful experience of small things well made, a menagerie of creativity, and a poignant reminder that bigger is not always better. We are happy to offer this 20th annual exhibit of works no larger than about seven inches in any dimension! For this exhibit 171 artists submitted 641 works from 37 states, Washington D.C., and 4 countries including Brazil, Canada, Germany, and the United States. Twenty-four works by the following 14 artists from 9 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Across 20 years MAGNITUDE SEVEN has presented a total of 624 works by 353 artists in 41 states and 19 countries.
Presenting works by: Lisa Bryson Brooks Cashbaugh Lauren Davis Amy Erickson Laura Grossett Deborah Karpman Carole Kunstadt Steven Leahy Mario F. Bocanegra Martinez Victoria McKenzie Sandy Rice Nathan Sullivan Larry Zdeb Shiyu Zhang
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Lisa Bryson
Steven Leahy
Shiyu Zhang
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central gallery
MAR 2023/24 Recent Works by Kitty Schroeder The year-long Manifest Artist Residency was launched in 2012 with the goal to provide artists with a combination of free studio space, supportive resources such as teaching opportunities and free access to life drawing and other programs at the Manifest Drawing Center, the compelling creative culture that permeates all Manifest programs, and routine engagement with the visiting public during each of our nine exhibit periods across the season. To cement their year of development each artist receives another benefit of the program—a MAR Showcase solo exhibition. This solo exhibit features works made by our 2023/24 Artist in Residence, Kitty Schroeder. This marks the culmination of Kitty's residency at Manifest which officially concludes in June. The exhibit serves as a celebration of her achievements and adoption into the growing list of Manifest residency alumni.
Kitty Schroeder's education includes a BA and MA from the University of Arkansas at Little Rock. For the period in between receiving these degrees, Kitty was also able to attend workshops offered at the Arkansas Arts Center by Jerome Witkin and Sigmund Ables. Her MA was completed over several years while a single mom and working full time. Throughout this process she received several tuition scholarships along with multiple awards including consecutive Jack Diner Drawing Awards (1989-1990) and top award in the 3rd Annual Invitational Exhibition at Hendrix College, juried by D. Kuspit (1991). In 1992 she was invited to exhibit her work Reciprocal Energies at UNC, Charlotte, College of Architecture Gallery. This same year, Kitty received a full scholarship along with an assistantship to pursue an MFA in drawing from the University of Cincinnati. After receiving her MFA, she taught a beginning figure drawing class and worked for two semesters as an adjunct professor at Northern Kentucky University teaching beginning drawing.
Of her work the artist states:
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north gallery
UNINHABITED Nathan Perry was born in 1986 in South Jordan, Utah. He holds a BFA in Painting from Lyme Academy College of Fine Arts and an MFA in Painting from Indiana University Bloomington. His work has been shown nationally and internationally in solo and group exhibitions. Nathan currently lives and works in Clyde, North Carolina and teaches drawing and painting at Western Carolina University. Of his work the artist states: “I generate alien landscapes that exist outside of time. My paintings have become a record of the creation and destruction of an unknown land. I scour initial abstractions for space and atmosphere. Naming these features is the first step to creating this other world. This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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| July 12 - August 9, 2024 |
Ticketed Preview - Annual Fund Benefit: |
main gallery
Where the Light Comes In Melanie Johnson is an artist and an educator. Born in Kansas City, Missouri, Melanie earned a BFA in Painting from Missouri State University (2003) and an MFA in Painting from the Henry Radford School of Art at Indiana University, Bloomington (2006). She is currently Professor of Painting and Drawing and Chair of the Division of Art & Design at the University of Central Missouri. Her large-scale charcoal drawings recall sensory and emotional connections to animals and the natural landscape. She lives in Prairie Village, Kansas. Of her work the artist states: “My drawings recall the sensory and emotional connections inherent in my bonds with animals and the natural landscape, and the ways in which animals provide some of my earliest empathetic relationships and routine caregiving experiences. Examining these formative bonds has caused me to return to the physical and psychological landscapes connected to the life cycles of animals, and has made me increasingly aware of the existential parallels and patterns in human behavior. Mining the imagery of familiar landscapes gives form to a dissonant accrual of lived experiences, personal iconography, loss, and sense of place. I think about the relationship of time and narrative selection when making drawings, both in terms of constructing a story through representational imagery, and in the tactile manipulation of materials to communicate an idea. My drawings serve simultaneously as narrative vehicles and as physical artifacts that reference the history of their own manifestation, giving agency to narrative conceit and suspension of disbelief, but also providing a connection to haptic and emotional experience. Surface palimpsest, the layering of marks over time, and indexical mark-making are active metaphors in my work. I want to be present through the physicality of the drawing as both storyteller and protagonist.” This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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drawing room + parallel space
KINGDOM Images of animals in art have existed parallel to those of humans for as long as images (and objects) have been made by people. Our social, creative, and psychological evolution is inextricably tied to our relationships with animals. Whether it be the taming of the wolf, resulting in 'man's best friend', the tethering of the horse which magnified the power and geographic reach of humans, or the domestication of herd animals which contributed to the establishment of cities and large concentrations of people and therefore the growth of culture, they are all part of the trajectory of humanity to the present day. All have been documented, explored, and deified throughout the long process by images and objects featuring animals. But this isn't just history (and pre-history). The animal remains a powerful subject in current art. We last surveyed the animal subject six years ago, so Manifest has chosen once again to feature an exhibit which will reveal the state of the animal in contemporary art. With this we called for artists working in any media to submit works that in some way feature or address animals, real or imagined. For this exhibit 227 artists submitted 808 works from 36 states, Puerto Rico, Canada, France, and Germany. Nineteen works by the following 14 artists from 12 states and Canada were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Jeremiah Birnbaum Irene Clark Debra Couch Michael Johnson Peggy Johnston Mike Libby Sophie McVicar RD Mitchell Zoe Nielsen William Olsen Eva Polzer Adrian Rhodes Kerry Thompson Adriana Torres Cruz
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Zoe Nielsen
William Olsen
Eva Polzer
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central gallery + north gallery
MASTER PIECES Building upon the philosophy of the Rites of Passage exhibits for undergrads, each year Manifest offers a similar opportunity to current and recent graduate students for exhibiting at Manifest. This 18th installment of the Master Pieces project continues to reveal the intensity and professionalism of students working towards their terminal academic degree in the field of visual arts. As do our annual Rites of Passage and TAPPED exhibits, Master Pieces reflects our organization's commitment to surveying, documenting, and presenting the state of arts in academia on an ongoing basis. We believe this is important to artists, the public, students, and teachers. Often the most exceptional work comes out of graduate students' immersion in their culture of study and intellectual pursuit. Manifest’s goal, therefore, has been to select and document works that in the truest sense of the word are contemporary masterpieces—works that represent the standard of quality that the artist is expected to maintain throughout their professional career as a degreed Master. The exhibit catalogs for the earliest Master Pieces exhibits, and now the award-winning Manifest Exhibition Annual, will serve as a visual documentation of these artists’ own benchmarks for years to come. For this 18th annual exhibit 77 artists representing 49 academic institutions submitted 253 works from 25 states and Spain. Seventeen works by the following 13 artists from 9 states and Spain, representing 11 academic institutions, were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication.
Featuring works by: Brigit Ciskowski Katie Freeman Danny Houk Anthony TungNing Huang Oliver Kalan M. Lohrum Zeph Luck Keenan O’Toole Tryst Red Anne Rogers Emma Ryan Megan Wolfkill Fengyi Xu
Artists are listed with their academic status as of the dates of their entry into this competitive exhibit.
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Anthony TungNing Huang
M. Lohrum
Fengyi Xu
Megan Wolfkill
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| August 16 - September 13, 2024 SEASON 20 FINALÉ! |
Ticketed Preview - Annual Fund Benefit: |
main gallery + drawing room
16th Annual NUDE Manifest exhibits many kinds of works, from more conceptual and experimental art to the traditional. In fact we think it's important to have such a range in our repertoire. It is something that Manifest is known for. Every year our annual projects allow us to track how artists around the world address a consistent theme, subject, or media over time, or allow us to document the state of art in a particular strata of professional creative activity, and to study and preserve our findings in a meaningful way through our exhibitions, publications, and website. NUDE is one such project. The human body is a popular subject for many reasons, the most obvious being that it is us. Throughout history (and prehistory) the representation of the human form has been charged with tremendous energy. Whether it be a religious edict that one should not depict the human form—a taboo, or the glorious opposite—a revelation of mastery over form in the crafting of sensuous and life-like physical human beauty, the art of the body has moved us through time. Through all the permutations art has experienced across history, work of the body persists. We use the human nude to master skill, understand ourselves, and push social and psychological buttons for the sake of expression (sensual, delicate, political, social, narrative, spiritual, and so on). We intend for Manifest's ongoing annual NUDE project, now in its 16th year, to explore how our collective body is used today in art to achieve these goals and more This year we are happy to present Manifest's 16th annual NUDE, an international competitive exhibit exploring the uncovered human form in current art. For this exhibit 149 artists submitted 583 works from 36 states and 5 countries, Australia, Brazil, France, Israel, and the United States. Twenty-three works by the following 17 artists from 13 states and Israel were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Featuring works by: Dana Ben Nun Matthew Alfonso Durante Erin Feller (Airy Waters) Andrea Geller Dennis Gordon Katie Hogan Linda Jacobs Luke Jordan Taehyub Lee Miller Lyle Perin Mahler Irene Delka McCray Fran Milner Amy Salomone Dave Seeley Christopher Smith Judy Takács
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Andrea Geller
Luke Jordan
Katie Hoganparallel space
PARALLELS Mike Wilkes received his B.F.A. from Ohio University. A Commercial photographer and film maker by trade, Mike continues to create still imagery and video focused primarily on human Interest narratives in both the commercial and non-profit arenas. Throughout his 35+ years as a commercial photographer and filmmaker Mike has never lost his fascination with black and white portrait photography and lighting, which began when he was first exposed to the works of Diane Arbus. Other influences included classic black and white portrait masters, such as Yousuf Karsh, Edward Weston, Irving Penn, Henri Cartier-Bresson and Dorothea Lange. Mike currently lives in Chardon, Ohio and continues to operate a commercial production company while continuing to pursue his passion for black and white portrait and environmental photography. Of his work the artist states, in part:
This exhibition was selected from among 166 proposals submitted in consideration for Manifest’s 20th season.
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central gallery
EYES The essential tool allowing for the experience of visual art, the eye is a fitting subject for the final exhibition of Manifest's twentieth season. Aside from actual touch, eye contact is one of the most intimate gestures we can make. Eye contact signifies attention, seeing and being seen. Such interaction (and aversion to it) can also take on a variety of meanings in different contexts: respect, fear, affection, power. A shared gaze is communication and recognition. It allows us, forces us, to acknowledge the humanity in the other. If we remove the human eye from the context of seeing, what does it mean on its own? An organic and fragile lens, a lightning-responsive aperture, a sensitive organ conveying information regarding color, distance, shape, and most importantly light to our brains and thereby to our minds. This eye, the eye as object and organ, can be assisted, repaired, fooled, and broken. It can even be stolen. Throughout history the eye has been used to symbolize many things beyond just sight of the visual world, such as wisdom, clairvoyance, light, truth, and morality, as well as seeing things that only exist in the mind—a third eye, an inner eye, seeing the unseen, not to mention functioning as 'the windows of the soul'. The eyes are used to represent perception, and the mediation between the inner and the outer—of everything that is beautiful and terrible in the world and within ourselves. The things we choose to direct our eyes, and hence, our attention to, are often of high value or significant concern to us. With our eyes, we can look outward, inward, or through, projecting our consciousness and taking in so much more than we recognize. For this exhibit 79 artists submitted 254 works from 28 states and Israel. Eleven works by the following 6 artists from 6 states were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Ezra Kellerman Tatana Kellner Evan Larson-Voltz Madeline Rile Smith Katayoun Stewart Isabel Zeng
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Katayoun Stewart
Isabel Zengnorth gallery
HAIR Hair is a plaything. The essential element of any doll’s lovability, it is the part of a doll that can be most actively played with in facsimile to life. You can brush it, braid it, style it, and cut it at least once. Hair’s physicality is engaging. It associates closely with beauty, and it is significant to one’s personal and cultural identity. The look of it, the light on it, its movement, is all seductive. It also occupies a strange space between aliveness and being a thing. Eyes may be the most engaging feature of a face, but eyes look back and are thus dangerous. Hair on the other hand is easily observed, objectified, and fetishized. It has personality, but no way to think about us. Its wearer, its owner however, certainly can. Hair is a product of the body, created by and sprouting from it. It is animated by the person or creature who wears it, and by external forces. When removed from the body its nature shifts. Hair (or fur?) when stroked on a pet is soft and comforting for both parties—we cuddle and bring it close. Hair in the drain, in one’s food, or cut from a vacuum cleaner brush rouses disgust. With regard to its “thing-ness”, the boundary between “fiber” and “hair” is very thin. Creating certain hairstyles is sometimes indistinguishable from weaving or sculpting. Hair from an animal is made into clothing. Even human hair can be formed into wigs and extensions. Sometimes hair from a loved one is braided into keepsakes. This show offers the opportunity to explore a wide range of apporaches to the subject of hair in visual art. For this exhibit 107 artists submitted 342 works from 37 states, Washington D.C., and 2 countries, Belgium and the United States. Eleven works by the following 10 artists from 8 states and Washington D.C. were selected by a blind jury process for presentation in the gallery and the Manifest Exhibition Annual publication. Presenting works by: Tricia Butski Christian Faur Amber Ford Sam Grabowska Jada Imani M Wes Ladner Julia Leggent Jenn Levatino Kris Powell Jon-Joseph Russo
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——— END OF SEASON 20 ———
THANK YOU!
Manifest is supported by sustainability funding from
the Ohio Arts Council, and through the generous direct contributions of hundreds of individual supporters and private foundations who care deeply about Manifest's mission for the visual arts. |
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