Sioux City Artists in the Permanent Collection

99707

 

Opened September 28, 2019; ongoing

During its more than 160 years as a city, Sioux City has been a place for serious business interests from the stockyards and meatpacking plants to technological, medical, and educational facilities. The arts, too, have played a vital role in the continuity of Sioux City’s success. The continual growth of local cultural institutions shows that as industrious as Sioux Cityans are, they understand the value of sustaining our cultural traditions. By melding individual creativity with the citywide desire for progress, the arts have been able to unite business, residential, and municipal goals in imaginative and accessible ways.
    
Behind this effort, of course, lies the artists themselves. This exhibition of works from the Art Center’s permanent collection brings together many artists who have at one time called Sioux City “home.” These artworks are in many ways the most important part of the Art Center’s mission of maintaining a collection of art for the people of Sioux City. We hope you enjoy this opportunity to view this beautiful part of Sioux City history.

Michael Cody Drury: Infinite Jux

Drury

 

January 25 – May 3, 2020

Michael Drury is a Sioux City native and graduate of Morningside College. After graduating from Morningside, he moved to New York, where he received a Master of Fine Arts degree from the School of Visual Arts. He has lived and worked in Queens, New York, since then. The exhibition will include paintings from a number of recent series, but will focus on his series titled Infinite Jux. The title plays on both the well-known, satirical, “post-post-modern” novel by David Foster Wallace, Infinite Jest, as well as on the idea of “juxtaposition.” The idea behind the series is to paint in a way that brings together two or more visual components—such as foreground and background. The focal point in each painting is not necessarily these individual components, but the edges where they meet. In this way, Michael thinks of the artworks as the equivalent of the work of a DJ, whose skill is defined by how well he/she can overlap different songs.

Pauline Sensenig: Stories—Raw and Cooked

sensenig

November 16, 2019 - February 2, 2020

Opening Reception: Saturday, November 16, 2019, 5:00 - 7:00 pm; Gallery Talk by the Artist 6:00 pm

It started with a dinner of homemade Italian food. The joyous experience that accompanied the food led Sioux City artist Pauline Sensenig to recreate a dish using oil paint. That painting led to similar experiences and paintings. While Pauline has drawn, printed, and painted portraits, landscapes, still lifes, and any other subject you can think of, she returns again and again to food. This exhibition brings together a large collection of these paintings from the last ten years. From fresh vegetables to prepared dishes and to her series of much-larger-than-life cupcakes, the food in Pauline’s paintings takes on meanings that are beyond that of subsistence or sustenance. They represent both personal passions and personal friends.

Klaire Lockheart: Feminine Attempts

Lockheart

November 16, 2019 - February 2, 2020

Opening Reception: Saturday, November 16, 2019, 5:00 - 7:00 pm; Gallery Talk by the Artist 6:00 pm

When Klaire Lockheart was given the assignment to create a self-portrait for her painting class during graduate studies at the University of South Dakota, she thought carefully about what that would mean. She had been doing research about gender roles and expectations, and considered how she would present herself as the subject of a painting. This led to the creation of Feminine Attempt #1 (Dishes), featuring a life-sized portrait of Klaire in a conservative dress, handmade apron, and “absolutely ridiculous” boots, as she takes care of a basic household chore. The response from others was enthusiastic and resulted in a series of twelve portraits, that, as a series, is titled Feminine Attempts. The impact of these portraits immense. As Klaire remarks, “The scale of the paintings allows the women to be seen as monumental and intimidating, especially since they look down towards the viewer.”