The recollection of events and structures that lead one’s daily life such as maps, the magic of belief in the forces of physics, and deep embedded images from baroque Mexican facades are present in Miguel Rivera's work. Layers of signifiers appear and disappear as if dormant memories that the artist reinvents through form and color processing his experience as outsider living in an adopted environment. Rivera's work is a progression of manipulated photos and vector drawings, images are distilled from memories in Argentina, Mexico and the US, which are then edited by the destructive nature of laser energy. Patterns such as the Spanish colonial immigration, nautical routes, and viruses are also incorporated into his work. When finished the final piece serves as a historic record of Rivera's process of exploring, collecting, and creating a visual memory. (Weinberger Fine Arts)
Miguel Rivera, associate professor and chair of printmaking, is a practicing artist who has had many solo and group exhibitions in Romania, Poland, China, Argentina, Mexico, Japan and the United States. Before joining KCAI, he was chair of the art department at the University of Guanajuato in Mexico, where he also served as an associate professor of printmaking and computers in art. He has lectured as a visiting artist in Argentina, Peru, Mexico and the United States, appearing at the Contemporary Arts Festival in Guanajuato, the Southern Graphics Council conference and an alternative printmaking workshop at the second annual Art Students Conference in Queretaro. He has been a visiting artist in the Italy, Mexico, Japan, US, Argentina, China and Peru. His work is collected by university collections, private collections and museums. His work is now part of the Nelson Atkins Museum permanent collection and the Kemper Museum of Contemporary Art permanent collection in Kansas City, Missouri.
Robert Bailey is Associate Professor of Art History at the University of Oklahoma, where he has affiliate faculty status in Environmental Studies and in Film and Media Studies. Bailey researches and teaches the history, criticism, and theory of modern and contemporary art as well as the historiography and methodology of art history. He is the author of Art & Language International: Conceptual Art between Art Worlds (Duke University Press, 2016), and he edited and introduced Terry Smith’s One and Five Ideas: On Conceptual Art and Conceptualism (Duke University Press, 2017). In addition to his scholarship, Bailey pursues creative activity that explores the applicability of art-historical methods to nature. He has exhibited this work widely, often in collaboration with Todd Stewart, with whom Bailey founded the artist-and-writer-run initiative Fieldworks, which includes a mobile residency program. Compendium, the catalog accompanying a retrospective exhibition of the same name at Southern Utah Museum of Art in 2019, provides an overview of Fieldworks. A participant in the Inhabiting the Anthropocene research group, Bailey writes regularly about art history and nature for its blog.
Simone Leigh’s practice incorporates sculpture, video, and installation; all are informed by her ongoing exploration of black female-identified subjectivity. Leigh works in a mode she describes as auto-ethnographic. Her objects often employ materials and forms traditionally associated with African art; her performance- influenced installations create spaces where historical precedent and self-determination comingle. Through her investigations of visual overlaps between cultures, time periods, and geographies, she confronts and examines ideas of the female body, race, beauty, and community.
Leigh was born in 1967 in Chicago, IL. She is a recipient of the Foundation for Contemporary Art Grant (2018), Joyce Alexander Wein Artist Prize (2017), John Simon Guggenheim Fellowship (2016), and Anonymous Was a Woman Award (2016). Recent projects and exhibitions include: Simone Leigh (2020) at David Kordansky Gallery, Los Angeles; Whitney Biennial (2019) at the Whitney Museum of American Art, New York; Trigger: Gender as a Tool and as a Weapon (2017) at the New Museum of Contemporary Art, New York; Psychic Friends Network (2016) at Tate Exchange, Tate Modern, London; The Waiting Room (2016) at the New Museum of Contemporary Art, New York; The Free People’s Medical Clinic (2014) a project commissioned by Creative Time; inHarlem, a public installation presented by The Studio Museum in Harlem at Marcus Garvey Park, New York; and a solo exhibition at the Hammer Museum, Los Angeles. Leigh’s work was featured in Loophole of Retreat, a major exhibition at the Guggenheim Museum, New York to commemorate her achievements as the winner of the Hugo Boss Prize 2018. Leigh is the first artist to be commissioned for the High Line Plinth, where she presents a new monumental sculpture that started in April 2019.
Bachelor of Fine Arts, Spring 2021
The BFA Seminar is working toward both a physical and virtual exhibition this spring. The exhibition, located in the lower level of the Visual Arts Complex, will be available for viewing from April 26-May 5.
Artists include: Dilara Miller, Madison Warp, Bryon Lee Allison, Audra Smith, Anne Feller
All Covid-19 precautions and rules will be in place and we ask that all who view the exhibition follow posted regulations. Viewing the show virtually will also be an option with a web page to go live in the near future.
Currently you can keep up with all the Seminar participants on Instagram—just follow: cuboulder_bfa_exhibition_2021
This virtual display of selected works from each student artist applicant is currently featured on the Art & Art History website.
Finalist and King award winners will be selected and announced March 18, 2021. Good luck to all the students who applied!
About the King Awards
In 2013, Gretchen King worked with the Department of Art and Art History to establish the King Competition and Exhibition, the department's first juried student exhibition. Since that time fellow alums, Meridee Moore (BA in Philosophy ‘80) and Kevin King (BFA in Fine Arts ‘81) have generously supported the annual competition and exhibition allowing the department to award undergraduate and graduate students monetary prizes and showcase their work in the Visual Arts Complex.