the 26th annual tallahassee international tallahassee international is an annual, juried competition...

The 26th AnnualTallahassee International

Florida State University

The 26th Tallahassee International

Museum of Fine ArtsDesigner & Editor: Jean D. Young

Printing: Durra Print

©2011Florida State University

Museum of Fine ArtsCollege of Visual Arts, Theatre & Dance

All Rights Reserved

FLORIDA STATE UNIVERSITYEric J. Barron, President • Garnett S. Stokes, Pro-vost & VP for Academic Affairs • Sally McRorie, Dean, College of Visual Arts, Theatre & Dance

MUSEUM ADVISORY COMMITTEEJack Freiberg, CVAT&D Associate Dean & Co-Chair, Art History • David Gussak, Chair, Art Education • Carolyn Henne, CVAT&D Associate Dean • Lynn Hogan, CVAT&D Associate Dean & Chair, Art • C. Cameron Jackson, Director, School of Theatre • Adam Jolles, Chair, Art History • Allys Palladino-Craig, Director, Museum of Fine Arts • Patty Phil-lips & Russell Sandifer, Co-Chairs, School of Dance • Francis Salancy, CVAT&D Asst. Dean for Develop-ment • Eric Wiedegreen, Chair, Interior Design

MUSEUM of FINE ARTS STAFFAllys Palladino-Craig, Director & Editor-in-Chief MoFA Press • Wayne T. Vonada Jr., Senior Pre-parator • Viki D. Thompson Wylder, Curator of Education • Teri R. Yoo, Communications Officer & Coordinator of Museum Studies • Jean D. Young, Registrar of Collections & Fiscal Officer

MUSEUM GRADUATE ASSISTANTS, INTERNS & VOLUNTEERS

Danielle Carter, Intern • Deirdre Carter, Gradu-ate Editorial Assistant, Athanor • Kate Doug-lass, Intern • Anissa Ford, Volunteer • Dalia Grad, Intern • Rebecca Gunter, Event Assistant • Francis S. Gortaire, Volunteer Coordinator • Heide Haire, Teaching Assistant • Kristen Hen-nen • Sharon Langlois, Intern • Melissa Lee, Intern • Christy Paris, Intern • Alison Shaeffler-Murphy, Volunteer • Alicia Viera, Intern • Katie Warden, Intern • Tom Wylder, Event Assistant



The Tallahassee International is an annual, juried competition sponsored by the Florida State University Museum of Fine Arts and juried by a panel of faculty from the College of Visual Arts, Theatre & Dance. The competition is open to artists worldwide, eighteen years of age or over. Artists may submit up to two works of art for consideration in the media of their choice. A $20 entry fee assists with expenses related to the competition, including the production of this catalog and return shipping. The works for exhibition are selected through a blind jurying process. Jurors decide on works based on their own merit and must agree the artist demonstrates skill within the chosen medium. The jury panel this year consisted of Judy Rushin and Anne Stagg, both FSU Art Department Faculty. This year 320 artists entered the

competition, giving the jurors over 600 works to review, and after much consideration they selected 37 artists for the exhibition and 54 works in all. The pieces chosen represent a wide spectrum of contemporary work and are artistically diverse and unique, en-compassing all art forms from traditional to non-conventional. As the awards are selected only after the exhibition is installed, and we must go to press prior to that time, it is not possible to note in this catalog who won, but the 2011 winners will be published in next year’s catalog. The first place award winner receives $1,000 while the second place winner receives $500; honorable mentions are selected at the jurors’ discretion. The FSU Museum of Fine Arts welcomes you to The 26th Tallahassee International exhibition and congratulates this year’s accepted artists.—JDY



67 Curves and Stairs, paper collage, 15 x 12 inches [also in exhibition: 68 Orange, Green and Grey, paper collage, 12 x 15 inches].

I work with paper cut-outs to create bewildering perspectives that entice the viewer into the picture space.—LJA

Laurie Aron maintains a studio in New York, New York. Contact: [email protected].

Selected Awards & Honors: Honorable Mention, Florida West Arts (2010); Judge’s Award, Armory Art Center (2010); Third Prize, Hoyt Institute of Fine Arts (2010); Honorable Mention, Viridian Artists (2009); Second Prize, Neoteric Abstract Art (2009); Schiller Prize in Mixed Media (2009).

LAURIE JOAN ARON

Laurie Joan AronMichael J. Bauman

Ashley Kathleen BellDavid S. Bogus

Jeff BriggsJames H. Calvin

Xuan ChenSue DanielsonColleen C. Ellis

Patricia ErbeldingAyesha Hayat

Richard HerzogKen Hill

Natasha Lea HolmesYing Jiang

Lori LarussoAaron J. Law

Leslie MacklinJackson Martin

Jessica P. McCoyJames McDougall

Matt MitrosJennifer Nelson

Angelina PecoraroAdams Puryear

Burton ReinSoyla Santos

Donna StallardDenise Stewart-Sanabria

Ken SzmagajNishiki TayuiBart VargasJames VogelTim WaldropJenny Wiener

Melissa WilkinsonAmanda Blake Willett

EXHIBITING ARTISTS



Unearthed, acrylic on canvas, 25 x 23.5 inches [also in exhibition: Suburbia Falls Over the Wheat, acrylic on canvas, 35 x 25 inches].

The imagery in my work is inspired by local places and reveals the wa-vering condition of the natural landscape and civilizations. Everyday places and repetitive acts make up the components of miracles. As I create, I examine ideas beyond the current condition of a specific loca-tion. Through my imagination I bring the unseen into the artworks. The ephemeral landscape is not painted in its true form, it transforms with moving colors, lines and shapes. It is still identifiable, but is transitioning in to the unknown element. This element could be a geological event, or a movement from the physical to the landscape’s inner spirit. This body of work conveys a spiritual longing inspired by the temporary nature of everyday surroundings.—AKB

Ashley Bell is an Assistant Professor of Art at Andrew College and main-tains a studio in Eufaula, Alabama. Contact: [email protected]; ashleykathleenbell.com.

Selected Awards & Honors: Juror’s Choice Award, 2nd Annual Drawing Discourse Exhi-bition, Asheville, NC (2011); Cover Artwork, Dark Archive, poetry by Dr. Laura Mullen, Berkley, CA, University of California Press (2011); Louisiana State University As-sistantship Award, Tuition Waiver and Stipend, Ba-ton Rouge, LA (Fall 2007-Spring 2010); CIVA Sum-mer Workshop, Travel Stipend Award, Gordon College, Figure Painting Work-shop, Wenham, MA (2006); Stu-dent Achievement Award, Auburn University, Au-burn, AL (2006).

Removal, steel, concrete, inkjet print, bench: 30 x 24 x 48, print: 34 x 25 inches.

In the world of the gallery the art itself comes and goes, fluctuating with the tastes of time. Yet the space itself and the necessary attributes it re-quires stay the same. One is generally presented with a white space and the obligatory benches with which to sit and ponder the art on display. A space that constantly changes its nature yet has elements of permanence, with the traditional placement of the art and method of viewer ship. This work is a play on that traditional setting, of placement, viewer ship, and permanence in the gallery, through the use of removal and replacement of an object in cast concrete. Combined with a print of the original item in space, the bench and the print represent a play on the idea of repre-sentation and associated viewer ship.—MJB

Michael Bauman is a student at the University of Florida and maintains studios in Davie and Gainesville, Florida.

ASHLEY KATHLEEN BELLMICHAEL J. BAUMAN



Optimist Lug-gage, ceramic, 16 x 16 x 8 inches.

My artistic vi-sion becomes realized when ideas f rom contemporary design, sculp-ture, and crafts are combined into installa-tion and mixed media formats. It is informed by process, in-

teractions with others, travels, and ideas from our culture. My work manifests itself in many different formats however the underlying narra-tive is a constant. Its contents are derived from memories that continue to reveal themselves by offering revelations about life through seemingly coincidental events. My current work is comprised of ceramic objects in conjunction with mixed media’s. Wood, metal, fishing line, glass, and hardware are some of the materials I have recently combined with cast ceramics. My ceramic process has recently shifted to a focus on slip cast objects. I have chosen this process to create identical multiples. These objects are often taken from real life found objects to create a trompe l’oeil effect. The compositions created utilize their vehicle for presentation to communicate the work’s concept.—DSB

David Bogus is an Assistant Professor of Art at Texas A&M International University and maintains a studio in Laredo, Texas. Contact: [email protected]; www.davidbogus.com.

Selected Awards & Honors: University Creative Projects Grant Recipient, Texas A&M, Laredo TX (2011-2012); Funded Summer Resident, LH Project, Joseph, OR (2010); Winter Resident, Robert M. Macnamara Foundation, Westport, ME (2008); Grant Recipient, Roswell Artist-in-Residence Program, Roswell, NM (2007-2008); Summer Resident, Archie Bray Foundation, Helena, MT (2005); Regents Fellow-ship, University of Nebraska, Lincoln, NE (2003-2004); Kiln God Funded Residency, Watershed Center for the Ceramic Arts, Newcastle, ME (2003); Kimmel and Woods Fellowship, University of Nebraska, Lincoln, NE (2001-2004).

At the end of the street my parents live on #4, oil on linen, 40 x 44 inches.

My paintings in varying degrees combine notions and reactions towards or from both the visual and auditory landscape. I am interested in the way that sound might be represented through color and rhythmic mark making. My aim is to make work that creates a resonant hum. This hum can be likened to the background microwave radiation in the galaxy or the timbre of an instrument.—JB

Jeff Briggs maintains a studio in Boston, Massachusetts. Contact: [email protected]; www.jeff-briggs.com.

Selected Awards & Honors: George Nick Prize (2005).

DAVID S. BOGUS JEFF BRIGGS



Gray, animated film, 8 minutes 50 seconds [also in exhibition: Out, ani-mated film, 7 minutes 39 seconds.

As a multiple media, conceptual artist, I choose the media the best fits the concept—animated film, drawing, collage, painting, interactive instal-lation or combinations of each. I use my work to explore my interests in social psychology and conformity. The creation of conflicts is an important aspect of facilitating the narratives contained within my animated films. Through conformity and difference, tensions build within the narratives through the relationships between groups, between the individual and the group, and between individuals within the group. Those relationships are the basis from which our culture, our sense of self, and our identity are constructed. I intend to contest power, propaganda, corruptions and gender issues in male dominate societies. I have tried to include mo-ments from transcendent realities, random events, intuitions as well as intentionally obscured feelings in order to allow room for the viewers’ own interpretation.—XC

Xuan Chen is a Master of Fine Arts Candidate in the Art & Art History Department at the University of New Mexico and maintains a studio in Albuquerque, New Mexico. Contact: [email protected]; www.xuanchen.net.

Selected Awards and Honors: Clyde A. and Elizabeth R. Hill Endowed Scholarship (2009 & 2010); Friends of Art Prize (1st Prize), Univer-sity of New Mexico Art Museum (2009); New Visions/New Mexico Filmmaker Contract Award, State of New Mexico (2009); S-Cap Travel Grant, University of New Mexico, Albu-querque (2009); RPT Travel Grant, University of New Mexico, Albuquer-que (2009); Graphic Novel Apple on the final list of Narrative Magazine (2008).

Paddle Toy, wood, steel, elastic cord, found objects, 43 x 13 x 3 inches [also in exhibition: Noise Box, wood and found objects, 38 x 10 x 3 inches].

Paddle Toy is meant as a humorous critique of the ma-cho posturing and gymnastic noodling associated with some types of contemporary guitar music as well as of my own childish fascination with guitar culture. It is based on the classic children’s toy of the same name that consists of a rubber ball connected to a wooden paddle with an elastic cord. With this toy, one swats the ball repeatedly up and down with the paddle until one either makes a mis-take or gets bored and gives up. Either way, there is really no “destination” in a game of paddle ball. It is an activity entirely dedicated to isolated self-gratification and raw endurance…just like the fretboard histrionics of some of our guitar heroes. Noise Box is meant to look like a microphone hanging from a speaker cabinet on a very short cable. Any real microphone, so positioned, would cause a screech-ing, runaway feedback loop to occur if activated. Hopefully, viewers will come to the conclusion that it is best not to use this contraption if they value their hearing. As such, Noise Box is meant as a cautionary object. In these days of ever-expanding social media (Facebooking, blogging, twit-ting, tweeting, whatever) we have become so enamored of the sound of our own voices that we amplify our most mundane thoughts to the level of white noise. In the words of David Byrne, “Everyone’s talking a lot but nobody’s saying anything.” This piece is about the endless gibberish we project at high volume.—JHC

James Calvin is as Associate Professor of Sculpture at the University of Missouri and maintains a studio in Columbia, Missouri. Contact: [email protected]; jamescalvinart.com.

XUAN CHENJAMES H. CALVIN



Home Symbols #38, acrylic, 12 x 12 inches [also in exhibition: Apparition, acrylic, 15 x 15 inches].

My work explores the psychology of home and the notion that once we move beyond the need for physical shelter, what remains is our desire for love, security and family. My work explores these collective longings.—SD

Sue Danielson is a self-employed professional artist and maintains a studio in Seattle, Washington. Contact: www.suedanielson.net.

Selected Awards & Honors: Centrum Residency (2009 & 2010); Juror’s Top Pick (acrylic), Greenwood Art Walk, Seattle, WA (2008 & 2009).

SUE DANIELSON

Lina I Lebanon I Arabic, India ink on paper, 20 x 20 inches [also in exhibi-tion: Abdul I India I Urdu, India ink on paper, 20 x 20 inches].

As a graphic artist, my work involves a combination of expressive typog-raphy, local narratives, and the structure of the grid. As an educator, the opportunity to spend one year living and working in Jeddah, Saudi Arabia was not only an opportunity to study an environment rich in Islamic arts, specifically calligraphy and geometric design, it was also an opportu-nity to study the topic of language, work, family and home. And as an American this ongoing series provides a proximity to a place where I can begin to understand a culture beyond the tragic events of 9/11. For over fourteen hundred years Jeddah has served as the entry point for pilgrims visiting the most sacred cities in Islam: Mecca and Medina. Over time some people stayed. Today Jeddah has a workforce that represents over sixty-three nationalities, and thus languages and scripts. Using Islamic inspired geometric design, this series includes the narratives of the people I worked and lived with in Jeddah. I asked people why they moved, leav-ing their family, where they considered home, and how they bridge the gap between the two. The medium is their handwriting; the framework is Islamic inspired geometric design; and the voice and language is their own. It is intended to add another layer of humanity and meaning to the beauty of Islamic ornamentation and calligraphy, while also exploring the infinite reasons why people move extraordinary distances for work—and the most fundamental one, which is to improve one’s life and the lives of one’s family.—CCE

Colleen Ellis is an As-sistant Professor of Graphic Design at Dar Al Hekma College, Jed-dah, Saudi Arabia and maintains a studio in Scituate Massachu-setts. Contact: [email protected]; www.colleenellis.us; www.abseeing.com.

Selected Awards and Honors: Author, illustra-tor and designer of ABC-ing: Seeing the Alphabet Differently, Mark Batty Publisher (2010).

COLLEEN C. ELLIS



Left or Right?, marker on panel, 60 x 49 inches.

I am influenced by all that surrounds me—my Pakistani-German heritage, growing up in Pakistan, its vibrant chaotic order and my identity as a fe-male artist. Traveling and experiencing different cultures was part of my childhood, forming a deep impact on the way I relate to life and people. My works are a study of rhythms—of life patterns. The fine lines or dashes, following one behind the other in a vast expanse of intricate sequences are like a recording of our lives, expressing details of social assimilation. An exploration of life’s many facets and how we experience reactions to diversity. This painting is a study of comparison and division. One half was created using the left hand and the other with the right. One of them is resisting conformity. Can you tell which one?—AH

Ayesha Hayat is a self-employed artist and maintains a studio in Dallas, Texas. Contact: [email protected]; www.ayeshahayat.com.

Death Valley, silver print photograph, 19.6 x 27.5 inches.

Death Valley is part of a series of photograph I call Interstate. I started it in 2001 when I began to travel in the US to discover the landscapes of Texas, New Mexico, Arizona and Nevada (Death Valley). I take pictures from the road, of architecture and deserted places. There is no human presence on the photographs, it seems the places have been abandoned or maybe invaded by the desert that is never far away. I want to catch this present time, transient, between the déjà vu of a past the evokes the universe of road movies and the not yet totally abandoned of a future we can imagine as a vast no-man’s land.—PE

Patrica Erbeling is a professional artist and maintains a studio in Paris, France. Contact: [email protected]; www.erbelding.fr.

Selected Awards and Honors: Jean-François Millet Japanese Award, France/Japan (2000); Jury Award, Salon de Saint-Cloud, Avelines Museum, France (2000); Jean-François Millet Contemporary Art Award, France/Japan (1998); Grant of the Wal-lonie Bruxelles Center in Paris, CGRI and French Embassy in Belguim (1996); Artist Residency, les Ponts de Sambre, Charleroi, Belgium (1995 & 1996).

AYESHA HAYATPATRICIA ERBELDING



Asterisk #2, acrylic on canvas over board, 3.5 x 3.5 inches [also in exhibi-tion: Asterisk #1, acrylic on canvas over board, 3.5 x 3.5 inches].

The Asterisk series represents an ongoing exploration into the inexhaust-ible possibilities within a fixed, seemingly limited, compositional system. I begin each painting by striking an “X” from corner to corner creating a central point. A second “X” is drawn from side to side, with each line passing through the same central point. This formalized approach allows me to focus on the perceptual and experiential qualities of the color shapes used to construct the image.

The title, Asterisk, is a reference to the typographical symbol convention-ally used to indicate the availability of supporting information. My use of the title acknowledges the visual similarities between my paintings and the typographical symbol, but also indicates my uneasy relationship concerning the nature and value of such secondary information in regards to one’s experience and perception of a work of visual art.—KH

Ken Hill is an elementary art teach at Chester Upland School of the Arts and maintains a studio in Philadelphia, Pennsylvania. Contact: [email protected]; www.kenhillpaintings.com.

Selected Awards and Honors: Artslant, Round #2 Showcase Winner, Painting (2011); Newman Galleries Third Place Award, Annual Exhibition of Small Oil Paintings, The Philadelphia Sketch Club, Philadelphia, PA (2008); J. Arthur Khuen-Kryk Collegiate Award, Tyler School of Art of Temple University (2007); Honorable Men-tion, Annual Juried Exhi-bition, Lancaster County Art Association, Lancast-er, PA (2006); Dorothy Ward Merit Scholarship Recipient, Tyler School of Art of Temple Uni-versity (2006); Temple University Study Abroad Scholarship Recipient (2005); Temple Univer-sity Academic Scholar-ship Recipient and Armstrong Foundation Merit Scholarship Recipi-ent (2002-2006).

Winter Flowers/For My Father, die-cut vinyl, wood, colored acrylic, HDPE, stainless steel, rubber grommets, each unit 18 x 8 x 5 inches [also in exhibition: Looking In/Looking Out, vinyl, colored acrylic, steel, each unit 32 x 25 x 8 inches].

My current work is exploring botanical forms, the lack of interaction between man and nature and our disconnection from this environment. These sculptures talk about the organization and chaotic nature of natural and man-made forms. I look at how things are composed of many parts and abstract their elements keeping true to its inherit qualities. Some sculptures are more organic in overall form as if growing or flowing from group to group, mimicking ivy or spring flowers sprouting here and there. All of these sculptures are a combination of a systematic organization of natural forms possessing a chaotic multi-layered visual effect mimicking our world, dominated by its rapid pace and over stimulation.—RH

Richard Herzog is an Assistant Professor of Art-Sculpture at New College of Florida and maintains a studio in Sarasota, Florida. Contact: [email protected]; www.rickherzog.com.

KEN HILLRICHARD HERZOG



Self Introspection No. 1, silkscreen, 86.5 x 157.5 inches.

When the wheel of history runs farther and farther away from the primi-tive farming times, we start the endless chase of the dazzling world with its myriad temptations. So we certainly have no time to stop and look back at the remote pastoral years. Being in a thriving world, I, as one of all mortal beings, can’t help asking: Where from? Where at? Where to? Go back! Return to the past high boudoir, like ancient Chinese women weaving the years with red thread. Return to the huge masses of ancient books, like recluses reading and writing. Slow down the high-speedy time tunnel one hundred times and return to the ancient civilization. Finally, I have returned to my own warm and moist inner mind. Listen to the words of sages with my heart. Print the texts of wisdom with my hand. All these, the significance of texts and the wonderfulness of words, the moisture of rice paper and the passion of stamp oil, the repetition of embroidery and the monotony of movable-type printing, have constructed my spiritual world that seems to belong in the remote past. I am intoxicated with joy. Walking down the high boudoir and leaving the reading table, I recollect my own spiritual castle. I realize that is a maze that I can hardly make it completely through, even though I have tried hard. Perhaps all the wisdom of Confucianism, Taoism and Buddhism that my ancestors left us, even if we study them piously, still has something to be decoded...—YJ

Ying Jiang is a teacher at Chengdu, Sichuan, China and maintains a studio in Chengdu, Sichuan. Contact: [email protected].

Jobs, at Fort Ord, Califor-nia, c-print, 8 x 10 inches.

This work is part of a series called Out of Context. Evi-dence of hu-mans can be found almost a n y w h e r e . These photo-graphed items have been found and documented

to highlight their past usefulness and current state of decline. Part of this series includes furniture and other household items and some are remnants of buildings. The displacement highlights the oddities of these material goods while finding and documenting them enables further dialogue as these photographs wind up back in a home or maintained building. They are part of a cycle that transforms. While finding these items, questions are raised; how did these end up haphazardly discarded in this manner? What is precious, and why are these not anymore? Were they once loved or always neglected? Jobs specifically was taken at Fort Ord, an Army post established in 1917, and closed in 1994. Parts of it are still neglected, other parts have been torn down and redeveloped, and parts have been utilized and then deserted again by Cal State Monterey. The cycle continues.—NLH

Nathasha Holmes is a Master of Fine Arts Candidate and Graduate As-sistant at Indiana University and currently maintains a studio in Bloom-ington, Indiana.

Selected Awards and Honors: First Place, ‘Click,’ Brea, CA (2010); Glen Lukens Ceramic Scholarship Award (2007); First Place, FJC Student Show (2006); Second Place, FJC Student Show (2005).

YING JIANGNATASHA LEA HOLMES



Metallic in Nature, color digital print, 13 x 49 inches and Expired Warranty, color digital print, 13 x 49 inches.

The multiple image triptychs represented have humor, irony or iconic qualities. The creative ideation process evolved by serendipitous inspira-tion, allowing one the freedom to explore and to use artistic intuition. The triptychs’ diverse images combine to communicate messages concerning man’s impact on nature and consumerism, while inviting viewers’ par-ticipation with their own personal thoughts and interpretations.—AJL

Aaron Law is a Professor of Design at Herron School of Art and Design, IUPUI and maintains a studio in Indianapolis, Indiana. Contact: http://afonline.artistsspace.org/view_artist.php?aid=13324; www.indyarts.org/meetindyartists.aspx?ty=alp&lr=L&id=13399.

Selected Awards and Honors: Patron Award, Northern National Art Competition, Nicolet College Art Gallery, Rhinelander, WI (2010); Special Recognition Awards, 10th Annual Painting, Drawing, Photography and Print Juried Online International Art Exhibition (2008).

Game, acrylic on shaped panel, 38 x 31 inches [also in exhibition: Your Pride, My Lioness, acryl-ic on shaped panel, 45 x 32 inches].

The flat image lends itself to intentionality of mark mak-ing. Repre-sentations of generic and stereotypical

middle America are reminding us of the culture we maintain on a daily basis through our every action. Very often, our ideals are a reflection of the way we wish things were, rather than a product of the way we actu-ally experience them. I find this conflict to be in direct connection to the representational image. In this new work, the edge of the painted image defines the edge of the actual support, including only the necessary in-formation needed to complete the idea and composition. Here, interior spaces and manicured semi-private outdoor spaces suggest a relative level of comfort and social acceptance. Confidently defined, the architecture represented sometimes confirms and sometimes questions the stability of the situation. The commonality of the image is encouraged by the absence of personal information, allowing it to be more or less relate-able to the viewer’s experience. For this work, I utilize both acquired and invented imagery. No image is without reference.—LL

Loris Larusso maintains a studio in Lexington, Kentucky. Contact: [email protected]; www.lorilarusso.com.

Selected Awards and Honors: MacDowell Colony Visual Arts Fellowship (2011); Artist in Residence, McColl Center for Visual Art (2010); The House in My Head (small group exhibition), The Weson Art Gallery, Cincinnati, OH (2010); Marks of Absence: Santo Foundation Invitational Exhibition, (3 person exhibition), Fort Gondo, Saint Louis, MO (2010); ArtHamptons: The International Art Fair (2009); Sweet Show (3 person exhibition), Phyllis Stein Art, Los Angeles, CA (2009); Artist Enrichment Grant, The Kentucky Foundation for Women (2008).

LORI LARUSSO AARON J. LAW



Collapse (All-Purpose), Carhartt cotton, thread, cherry wood, mounted photographs, suit: 36 x 24 x 24 inches, photos: 12 x 12 inches [also in exhi-bition: Collapse (Until Death Do Us Part), burlap, tarp, thread, grommets, mounted photographs, suits: 36 x 24 x 4 inches, photos: 25 x 20 inches].

The Collapse series began in 2009 when I completely unstitched my three-piece wedding suit. I used the resulting pieces as templates in order to create two exact replicas, one in natural burlap and one in poly-tarp material. For Until Death Do Us Part I then composed the photograph in which two versions of myself are standing in a church, each wearing one of the two suits. The burlap and tarp materials serve to represent two very different and mutually exclusive sides of my personality. Over the years, I have learned to cope with these powerfully ambivalent forces, hence the photographic marriage of the two. Using the same templates I created a third suit made from Carhartt’s signature rust brown cotton material. For All-Purpose I then composed several photographs in which I am wearing the suit and conducting a variety of different actions. These actions center around the combination of both traditional American male as well as female roles. All Purpose is an ongoing work of art, as I plan to continue to compose alternate photographic situations.—JM

Jackson Martin is a Visual Arts Preparator at Halsey Institute of Contem-porary Art and maintains a studio in Charleston, South Carolina. Contact: www.jacksonmartin.com.

Selected Awards and Honors: Instructional Development Grant, ETSU, Johnson City, TN (2011); Research & Development Grants, ETSU, Johnson, TN (2010 & 2011); Artist Residences, Vermont Studio Center (2008 & 2011); MICA Fellowship, Balitmore, MD (2005-2007).

Continuum Rupture, ceramic, encaustic, adobe, 18 x 36 x 24 inches.

My work is a celebration of the value of waste as an enduring representa-tion of the individual and society in which it was produced. The commonly held notion of the worthlessness of garbage is paradoxical, as the waste products generally outlast their user by hundreds of years, and eventually come to represent the user to future generations. One way this idea is understood today is through the collection of ceramic shards from ancient trash heaps and their value in reconstructing the daily lives of the past.My work accepts that to waste is inherently human and from there, looks to the value of waste as a metaphor for the human experience. In Con-tinuum Rupture an ancient shell midden is bursting forth from a plastic cup one might find abandoned near a gas station. This contrast of time speaks about the presence of the past that is contained within us as we carry on into the future.—LM

Leslie Macklin is a graduate student at the University of Massachusetts, Dartmouth. Contact: lesliemacklin.com

Selected Awards and Honors: Group 4 Award, Foundry Art Center, St. Charles, MO (2009); Webster University Senior Project Grant (2009).

LESLIE MACKLIN JACKSON MARTIN



lead types, oil pastel on paper, 44 x 30 inches [also in exhibition: good guys, oil pastel on paper, 30 x 33 inches].

Old lead figures are the focus of these drawings. Far from being realistic, each figure is nonetheless an individual, enhanced by marks of age: chips, peeling paint, and inherent imperfections of manufacture. Intended as playthings, cultural archetypes persist—cowboy, soldier, bellhop. Dated yet familiar, each character embodies at once a stereotype and an in-dividual, and arrayed together they offer a sampling of possibilities for what it means to be human, or what to be when “grown up.” Make a choice: the hero or his/her opposite, the cliché or the anonymous nobody. Amid a diversity of possible identities, to classify is child’s play, to find the humanity is harder.—JM

James McDou-gall lives and works in Mon-treal, Que-bec. Contact: [email protected].

386 Jackson St., oil on canvas, 72 x 120 inches.

The reconstructed space in this painting is both a threat to the figure and a shelter. For me the space is negotiated slowly at times and frantically at others. There are moments when I feel I must study quickly, this is a private space and you are uninvited. I can’t help but see the painting as a crime scene, snap shots of the space being committed to memory. The fragments also serve as an obstacle for the viewer. It not only limits the visibility, overlapping potential crucial information about the scene, but also the coherent progression of time. It is a compilation of moments that denies and reveals.—JPM

Jessica McCoy is an Assistant Professor of Painting at Pitzer College and maintains a studio in Claremont, California. Contact: [email protected].

Selected Awards and Honors: La Macina Di San Cresci Artist Residency (2010); Purchase Award, Art of Our Century (2010); First Place, Nudes in the 21st Century (2010); Carter Sexton Award, SCORE (2010); Ox-Bow Artist Residency (2009); Los Angeles County Metro Expo Line Contract (2008-present); Pitzer Faculty Research Grant (2006-2007); Ohio Arts Council Individual Artist Grant (2003-2004); Vilas Fellowship, University of Wisconsin, Madison (2001).

JESSICA P. McCOY JAMES McDOUGALL



Untitled (house), ink on paper, 22 x 22 inches [also in exhibition: Untitled (tree), ink on paper, 22 x 22 inches].

This series of works has been heavily influenced by storytelling. Folktales, myths, fables and legends have been used to communicate cultural ideals and beliefs. Often allegorical in nature, they are both entertaining and metaphorical. On the surface the stories are presented as entertainment. Yet, these stories function on multiple levels by also presenting explana-tions of desirable and undesirable behaviors and explaining changes in the natural and cultural worlds from which they originate. They are written as history and/or fantasy, and they offer lessons to be learned from the actions and events contained in the narrative. The drawings in this series depict a single moment in an implied narrative of this nature. In contrast to oral or written stories my works intentionally negate a clear narrative by reducing visual information to a single moment. When rendering these moments, I borrow heavily from the strategies employed by storytellers. In addition to the literary strategies of allegory and metaphor my drawings often use animals as the protagonist, employ fanciful storylines and utilize cultural symbols. My works function as illustrations for absent stories, leaving the viewer to pieces together the “how?” and “why?” from the residual visible information.—JN

Jennifer Nelson is a Lecturer at the University of North Dakota and main-tains a studio in Grand Forks, North Dakota.

S e l e c t e d Awards and Honors: Artist in Residence, Jentel, Banner, WY (2003).

Melt, resin and wood, 34 x 69 x 6 inches [also in exhibition: Deleterious (III), resin and wood, 37 x 55 x 8 inches].

My work focuses on the creation of illusory acts of tension within a forced fusion between what is seemingly organic in form/behavior and what is clearly machined. The Organic, epitomized by the “drip,” is determined by Nature—formed by the force of gravity. The Machined, as the lines of the framed wall panels, is fabricated by the rules of Man—products of our intent. Both, however, can be equally represented as natural. The machined object is the result of our ability to operate within the param-eters of natural systems. The organic object is an agent that symbolizes a moment within these cyclical systems. The difference between these two lies within their inherent goals: the organic is predicated by a struggle for survival, whereas the machined is predicated for efficiency.—MM

Matt Mitros is an Assistant Professor of Ceramics at Kennesaw State University and maintains a studio in Kennesaw, Georgia. Contact: [email protected]; www.mattmitros.com.

Selected Awards and Honors: Juror’s Choice Award, 3rd Annual National Juried Cup Show, LUX Center for the Arts, Lincoln, NE (2011); Purchase Award, It’s Only Clay, Bemidji Community Arts Center, Bemidji, MN (2010); Grant for Artist Projects, Artist Trust, Seattle, WA (2008); Marsh Scholarship, University of Washington, School of Art (2005); Nordstrom Scholarship, University of Washington Recognition Award (2004 & 2006); 3rd Place Juror Award, Go Figure! National, Circle Gallery, Maryland Federation of Art, Annapolis, MD (2004); Davis Scholarship, University of Washing-ton Recruitment Award (2004); Artist-In-Residence, The Archie Bray Foundation for the Ceramic Arts, Helena, MT (2003); Artist-In-Residence, Arrowmont School of Arts and Crafts, Gatlinburg, TN (2002-2003).

JENNIFER NELSONMATT MITROS



136 x variable x variable, ceramic, plaster, mixed media, dimensions variable.

I first visualize a sculpture by reflecting on the Internet. For this piece I considered the Internet’s densely compiled, distorted, and mashed up pockets of knowledge. This information, widely available with varying intellectual depth and integrity, is in such an autonomous system that it is in constant change. This sculpture is site responsive. Its height will change with the installation space’s height and the discharging viscous material will react with the slope (if any) of the room to determine the work’s overall length and width. Therefore the title will change with the specificity of the room. Once all of the material has discharged from the body of the sculpture and dried, the title will be resolved and the sculpture will be complete.—AP

Adams Puryear is a Master of Fine Arts Candidate at Indiana University and maintains a studio in Bloomington, Indiana. Contact: adamspuryear.net.

Selected Awards and Honors: Indiana University Graduate Fellowship (2010-2012); Indiana University Materials Grant (2011); NCECA Graduate Fellowship (2010).

In the Studio #1, acrylic on canvas, 30 x 40 inches.

This body of work represents scen-ery of my life in a studio and from my imagination. I am focusing my work on light, color and shape. My influ-ences are artists such as Picasso and Braque who were involved in the cubist move-ment. Other in-fluences include the painters in New Orleans. My process involves making a gesture of the the subject and visualizing the placement of color. I paint the

subject by breaking down the geometric shapes to capture the quintes-sential core of the subject. I intend to transcend the subject matter with the suggestion one might hear a jazz musicians notes with each cubistic block of color.—AP

Angelina Pecoraro is a painter and photographer at Artista by Angelina Photography, LLC and maintains a studio in Orlando, Florida. Contact: [email protected].

ANGELINA PECORARO ADAMS PURYEAR



incommodious, standard definition video.

My work focuses on the organic and adaptable attributes of the human body. Utilizing myself as object, I seek to express the existential statement “I am myself and my circumstance” with attention to personal history, memory and spatial relationships. In recent projects, like incommodious, I have combined audio, video and contour drawings to emphasize the inadequacy of intimate, domestic spaces.—SS

Soyla Santos is an Academic Advisor at the University of Texas, Arlington and maintains a studio in Arlington, Texas. Contact: [email protected]; www.soylasantos.com.

Selected Awards and Honors: Roundhouse Scholarship (2011); Rising Eyes of Texas Award Winner (2010); Ideas in Art Scholarship (2009).

Wave Theory, oil on wood panel, 36 x 36 inches [also in exhibi-tion: Surge, oil on wood panel, 36 x 36 inches].

My imagery springs from a deep sense of wonder, which is most strongly triggered when-ever I encoun-ter great art or great science. I am inspired by the action of powerful forces such as volcanic

eruptions and whirling tornadoes, by the mysteries of gravitation and magnetism, and by the repeating patterns that abound in nature. Extra terrestrially: images of supernovas, solar flares, Saturn’s orbiting rings, and spectacular spiral galaxies, all fascinate me. Within an art historical context, I have drawn from multiple “isms” including aspects of Surrealism, Cubism, Futurism, Abstract Expressionism, Minimalism and Conceptual Art. My current series is derived from multiple perspectives of curved lines, often converging or diverging, from which bold curvilinear patterns are generated. Different patterns are grouped and juxtaposed into vibrant, swirling, surging, and at times vertiginous compositions. Wet-into-wet and directional brush strokes enhance the sense of flow, circulation and motion within each pieces. Because these basic curvilinear forms occur in such diverse contexts—from the sub-atomic to the cosmic in scale—my work encourages a multiplicity of interpretations.—BR

Burton Rein is self-employed and maintains a studio in West Hollywood, California. Contact: www.burtonreinart.com.

Selected Awards and Honors: Second Place Award, 8th National Juried Art Exhibi-tion, Rome Art Coterie, Rome, GA (2010).

BURTON REIN SOYLA SANTOS



Karley and Aaron, charcoal on plywood, 6 x 3 x 3.5 feet.

These works are part of a series concentrating on the life size representa-tion of people I run across on a regular basis. They are all members of the local arts community, and I show them either unaware as they attend local exhibit receptions, or posing for me while they go about their daily responsibilities. Contemporary people give off subtle clues as to the culture and social groupings they inhabit, and I hope viewers can identify with the people I depict. I work in charcoal on plywood, which I often cut out in various ways depending on the piece. I will occasionally add additional elements or media to a work, such as metal leaf, screen-printing, heavy resin, and found objects. I also cut out many of the figures completely so as to use them in groupings that I can place anywhere within a gallery so as to increase the impact of their presence.—DS-S

Denise Stewart-Sanabria is a full-time artist and maintains a studio in Knoxville, Tennessee. Contact: [email protected]; www.stewart-sanabria.com.

Selected Awards and Hon-ors: Purchase Award, 55th Mid-States Art Exhibition, Evansville Museum of Art, Evansville, IN (2010); 2nd Award, American Art Today, The Bascom, Highlands, NC (2009); Purchase Award, 11th Annual Renaissance Center Regional Art Exhibition, Re-naissance Center, Dickson, TN (2009); Award of Merit, Arts in the Airport, McGhee Tyson Airport, Knoxville, TN (2009); Arts & Heritage Creative Award, 2nd Ten-nessee Biennial, Clarksville Custom House Museum, Clarksville, TN (2008); Hon-orable Mention Award, Face Value, Associated Artists of Winston-Salem, NC National Juried Exhibit (2005).

HDR #1:DS, relief, screen print, pvc pipe, cardboard, foamboard, 5 x 30 x 5 inches.

I began the hand roller series as a way to investigate the sequencing of numbers. Since 9/11, numbers have served a significant subconscious element in my work.—DS

Donna Stallard is a Lecturer at Indiana University Southeast and maintains a studio in Clarksville, Indiana.

Selected Awards and Honors: Summer Faculty Fellowship, Indian University Southeast (2007 & 2009).

DENISE STEWART-SANABRIADONNA STALLARD



Hokusai Likes Chocolate, Too, oil on linen, 68 x 48 inches.

I was born in Japan and immigrated to the US as a young adult. I am in-between, navigating the tension between my native culture and those I have encountered and assimilated through my experiences as a traveler and immigrant. The expression of this state of tension and my ongoing process of navigation are the subjects of my work. Juxtaposing aesthet-ics of disparate cultures on the canvas, I cast light on their similarities and dissimilarities, and shape my cultural identity in the spaces where they converge. My methods are products of convergence, my concept of in-between made manifest in process. Japanese patterns travel through landscapes, guided by Western aesthetic principles. Western color sym-bolism wades through Japanese color schemes. For example, in Hokusai Likes Chocolate, Too, I used a color scheme inspired by Hokusai’s wood-block prints for the background. In one section, I painted a traditional Japanese cannabis design with colors matched from M&M’s candies. The frequency of each color in the design is based on the ratio of colors in a bag of plains M&M’s.—NT

Nishiki Tayui is a Visiting Assistant Professor at the University of Toledo, Center for the Visual Arts and maintains a studio in Toledo, Ohio. Contact: www.nishikitayui.com.

Selected Awards and Honors: Diversity Fellows Program, National Fellowship Recipi-ent, University of Wisconsin, Milwaukee (2010); Nomination for Joan Mitchell Foundation Scholarship (2010); Interna-tional Enhancement Grant, Office of the Vice President for International Affairs, Indiana University (2010); Grant-in-Aid Master’s of Fine Arts Project Award, Indiana University (2009 & 2010); Overseas Pro-gram Assistantship, Indiana University (2009); College of Arts & Sciences Travel Award, Indiana University (2008); Flor-ence Heidel-Slatzman Scholar-ship, Portland State University (2004).

Four Floating Cylinders and a Fragment From My Floor, mixed media on paper, each panel 30 x 22 inches.

I work with spaces that are established with a rhythmic gesture or field of color. These become a kind of arena for activity. Within that arena, I improvise, pulling out shapes, sometimes starting with something in mind, but many times not. Building, negating, revealing, concealing. I am often more sure of what I take away than add. I don’t want to make paintings about something as much as I want them to be something—more of a state of conjecture or consideration. What isn’t there is as important as what is shown. Contradiction, fragmentation and play are my means to an end which if it works, really looks more like the beginning of something.—KS

Ken Szmagaj is a Professor of Art at James Madison University and main-tains a studio in Harrisonburg, Virginia. Contact: [email protected].

Selected Awards and Honors: Granted a Faculty Educational Leave, “The Artistic Exploration of Metallic Surfaces in Mixed Media Painting,” James Madison Uni-versity (1995).

NISHIKI TAYUIKEN SZMAGAJ



Chair, mixed, 21 x 25 x 3 inches.

I like to work with materials that have an established aesthetic. I found a chair in pieces. Inherent in the pieces was much information regard-ing the maker’s intentions, tastes and abilities. I find it interesting that an anthropologist can discover from fragments of a skeleton who and what the person was when alive. I think of my pieces as time capsules of culture. By using these elements I enrich my pieces with fragments of daily life. My work then becomes more simply presentation.—JV

James Vogel is a Building Contractor/Artist at Westside Builders and maintains a studio in Petaluma, California. Contact: archive.jvogelart.com; fishemail.blogspot.com.

Selected Awards and Honors: 1st and 2nd Showcase Winner, “Artslant,” Network Gallery (2011); Best of Show, “Still Life”, Sebastopol Center for the Arts, Sebato-pol, CA (2010); 4th and 6th Showcase Winners, “Artslant,” Network Gallery (2010); Honorable Mention, “Salavage Show,” Franklin and Marshall College, Lancaster, PA (2009); Merit Award for Historic Preservation, Petaluma, CA (1989); Grant, Gannet Outdoors/San Francisco Museum of Fine Arts billboard project (1980).

Confluencia, latex paint and epoxy resin on panel, 24 x 19 inches [also in exhibition: Her-manos, latex paint and epoxy resin on panel, 35 x 32 inches, courtesy of the Balik Col-lection].

Joseph Campbell, the cross-cultural mythologist once observed that people do not want to under-stand life; they want to experi-ence it as richly as they possibly can. I think about my paintings in a similar way. Their

energy, movement, color and form leaves the surface and enters a space, or even better, the viewer. In their essence each one of them is a celebra-tion, and that is all they need to be.—BV

Bart Vargas is self-employed and maintains a studio in Minneapolis, Min-nesota. Contact: [email protected]; bartvargas.com.

Selected Awards and Honors: Artist in Residence, Shangyuan Museum Residency Program, Shangyuan Village, Changping District, China (2011); The Forth Beijing International Art Biennial, The National Art Museum of China, Beijing, China (2010); Outstanding Student Achievement in Contemporary Sculpture Award, International Sculpture Center, Hamilton, NJ (2010); Best of 3-D, SALVAGE: Reclaiming Recycling, The Phillips Museum of Art, Franklin & Marshall College, Lancaster, PA (2009); Recipient, Diversity of Views and Experiences (DOVE) Fellowship, University of Minnesota-Twin Cities (2008); Artist in Residence, Kimmel Harding Center for the Arts, Nebraska City, NE (2007).

BART VARGAS JAMES VOGEL



Patchwork of Planes, drawing, digital and screenprint, 19 x 13 inches [also in exhibition: Intersection of Planes, drawing, digital and screenprint, 19 x 13 inches].

I made my first treasure map with my father when I was 7 years old. We measured the location of our buried treasure by aligning trees and record-ing distances from creeks, roads and other landmarks. I still measure. I believe art has to be able to show the process of thinking. By measuring fairytales ad prominent historical paintings, I hope to reveal and analyse the numerical systems that we are reduced to: pin numbers, serial num-bers, illogical random numbers, units of measurement measuring every-thing and nothing. This work analyses Cezanne’s painting of Mount Saint Victoire. I entered and drew from the left side of the painting. Analysing Patchwork of Planes, the planes are separated and the rejoined to point out the construction, overlaps and pass through. This drawing emphasises the small construct of planes with a strong colour plane systems producing a patchwork—spots of colour.—JW

Jenny Wiener is a self-employed art-ist and maintains studios in Tavares, Florida and London, United Kingdom. Contact: [email protected]; www.forensic-fairytales.com.

Life Vest Trip-tych (Post Ka-trina), found tarps, polystyrene foam, thread, 24 x 17 x 3 inches.

I was born and raised on the Mis-sissippi Gulf Coast, but currently reside in the Midwest where I have lived and worked since 1998. My home-

town of Biloxi, Mississippi is one of the many towns along the Gulf Coast that was directly hit by Hurricane Katrina in 2005. In the days and weeks following Katrina, much of the devastation inflicted upon the Mississippi coast became heavily ignored by the media due in part to the catastrophic levee breaks in New Orleans. Many Mississippi residents feel as though their stories were grossly ignored and even forgotten completely by the public and media. The Mississippi Gulf Coast has undoubtedly been changed forever, but it is far from dead. It is my hope to create art that will foster continued awareness and encourage support for the place in which I still call my true home. The Life Vest Triptych is a sculpture that was created with numerous scraps of blue poly tarps that I discovered in the woods adjacent to the coastline in Ocean Springs, Mississippi. Faded by the sun, and laying partially buried in the sand, it was quite obvious that these familiar blue tarps had once provided a makeshift shelter for someone in dire need. I see the Life Vest Triptych as an ideal symbol for representing the resiliency and determination of the people of the Mis-sissippi Gulf Coast.—TW

Tim Waldrop is a Professor of Art at Western Illinois University and main-tains a studio in Macomb, Illinois. Contact: [email protected]; www.timwaldrop.com; [email protected].

Selected Awards and Honors: Performing Arts Society Grant, Western Illinois Uni-versity (2009 & 2010); University Research Council Grant, Western Illinois University (2009); Best of Show, “International Exhibition on Animals in Art 2005,” Louisiana State University, Baton Rouge, LA (2005); Dr. William Snow Award, “Will’s Creek Survey 2005,” Allegany Arts Council, Saville Gallery, Cumberland, MD (2005); Best of Show, “Farmington Museum 2004 National Juried Art Show,” Farmington, NM (2004); WIU Summer Stipend, Western Illinois University (2004).

TIM WALDROP JENNY WIENER



Istanbul, ink on paper, 30 x 41 inches.

This recent body of work focuses on the aftermath of both man made and natural disasters. I have appropriated many of these photographic sources from Google image searches and taken images on location my-self. I archive, then digitally collage the photographs in preparation for the paintings. I situate these images somewhere in between abstraction and representation in order to create a dialogue with modernist painting through postmodern practice. I draw and paint these images not only to further slow them down, but to also support traditional notions of the “sublime landscape,” one that is uncontrollably vast and frightening, within a contemporary context of anxiety and fear. I am both drawn to these images and repelled by them. They speak of a time where agenda setting, political rhetoric and consumption are perpetuated and often manufactured by the media. As mass media sets the psychological and emotional tone for life as we know it, I work in an attempt to differentiate neurosis from my own understanding of reality.—MW

Melissa Wilkinson is an Assistant Professor of Art-Painting at Arkansas State University and maintains a studio in Jonesboro, Arkansas. Contact: [email protected]; www.melissawilkinson.net.

Dreams and Memories, embroidery on felt, 30 x 30 inches.

My work is a journal. My life, thoughts, emotions, dreams and memories are there to observe. I find that in order to be an artist, one must be hon-est with oneself and explore one’s own life experience. Truth is power-ful, and my own truth has become my focus. Over time I have grown to realize certain skills that I possess are no longer widely used. These skills are becoming obsolete, and relegated only to the realm of craft. These crafts, often thought of as “women’s work,” were a fundamental bond-ing experience for my mother and myself. The repetition and ease of the work in which we engaged opened channels of the mind and offered an active participation in more than the tasks themselves, but also a par-ticipation in a dialogue and connection. The experience had little to do with the final creation and everything to do with the process of creating. After the passing of my mother, I began to explore our former connection further by tapping into inspiration derived from the use of many of the same materials that we used when I was a child. The result has been a melding of various craft materials to translate conceptual ideas. Working with the materials is a natural means with which I can document and explore my own existence in a format that is relatable to my audience. Though everyone’s life is different, there are fundamental lessons and life experiences that we share as human beings. Everyone is connected through loss, love, happiness and tragedy.—ABW

Amanda Willett is a prospective graduate stu-dent and main-tains a studio in Jonesboro, Arkansas.

Selected Awards and Honors: Best in Show, Annual Juried Student Exhibition (2007 & 2010).

MELISSA WILKINSON AMANDA BLAKE WILLETT



2010 Jurors: Carr ie Ann Baade, Meg Mitchel l & Owen Mundy

First Award: Tad Gloeckler, Schood-icPeninsula-BlackDi-abaseDikeTeaTable-withPopoverJaman-dButterDipPools, 3D-wood, 4 x 5 x 4 feet.

Second Award: Ian Shati l la, Closing Guan-tanamo, oil on canvas, 40 x 60 inches.

Honorable Mention: Russell Bellamy,Corso, steel, stainless steel, hardware and straw installation.

25th ANNUAL AWARD WINNERS 2012 COMPETITION RULES OF ENTRY

The POSTMARK DEADLINE for entries is Valentine’s Day, February 14, 2012

Artists are eligible to submit works without regard to sex, race, creed or national origin. Artists must be 18 years of age or older (current FSU College of Visual Arts, Theatre & Dance faculty or students may not en-ter). All media is eligible for consideration. There is a $20.00 entry fee. A maximum of two (2) works per person may be submitted. Digital images must be in jpeg or tiff format. Maximum image file size is 15MB. Slides WILL NOT be accepted. Selections are made from the digital images, so it is imperative that quality images be provided . The FSU Museum can only accept cash, checks, traveler cheques or money orders. Foreign checks and currencies cannot be processed. No SASE is necessary-CD’s will not be returned. For two-dimensional pieces provide one (1) image per work. For three-dimensional and installation pieces artists may provide two (2) images per work—a front and rear view or an overall view and a detail. Video based media submissions are eligible for consideration but must be in Quicktime or Windows Media Player format, and should be no longer than a two-minute trailer.

The competition is blind juried by a panel of faculty members from the FSU College of Visual Arts, Theare & Dance. Jurors select work based on their own merit and must agree the artist demonstrates skill within the chosen medium.

The Museum does not impose size restraints, however artists who reside outside the United States and artists whose crated work exceeds 72 inches in any direction or weighs more that 150 pounds crated will be responsible for both incoming and return shipping. In most other cases the Museum will provide return shipping. Work must be prepared and ready for exhibition (ie ready for hanging or other appropriate installation).

The first place award winner will receive $1,000, and the second place winner will receive $500. Honorable mentions are selected at the jurors’ discretion, however there is no monetary award. All entrants receive a copy of the catalog. The Museum does not take a commission on works sold as a result of the exhibition.

To enter, send your signed entry form, CD with images and $20 entry fee to: The 27th Tallahassee International, FSU Museum of Fine Arts, 530 West Call Street, Room 250 Fine Arts Building, Tallahassee FL 32306-1140.

For further information and an entry form, please visit our website: http://www.mofa.fsu.edu/pages/participate/tallahasseeinternational.shtml

530 West Call Street 250 FABTa l l a h a s s e e F L 32 3 0 6 - 1 1 4 0w w w . M o F A . f s u . e d u

the 26th annual tallahassee international tallahassee international is an annual, juried competition...

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