Alex Dean - December 2010

“The Glasses People”

I take pictures of family or friends but I like doing it in an artistic way.  It's easier to control the shot if I'm dealing with someone I know.  I can then easily choose the clothes, what backround I use, and if I use any props.  Visually, I like contrast and simple shapes and forms because life is so complicated anyway.  As far as the set, I like using different sunglasses, hats, and t-shirts with simple color schemes.  For the final phase, most of my images are manipulated only a little to maintain a somewhat realistic quality.  Although with most photographs, there is a particular idea I try to invoke,  there is always somewhat of a surprise in the end.



Jacqueline Moses - November 2010

Globalization Affects

“Globalization Affects: Peru”, Globalization Affects: Africa" and “Globalization Affects: Korea”  depict forced control imposed upon many and some of the ensuing results.  The intent is to increase public awareness and an interest in exploring ways to deal with aggression in a positive manner.  Acknowledging that a problem exits is the first step in finding a solution.

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Stephanie Dean - October 2010

Modern Groceries

Modern Groceries is a series of still life photographs focusing on the way our purchased food is packaged and consumed. By setting common foods in their packaging and labeling direct from the grocery store into traditional nature mort compositions, our most common and necessary items of life – food – are jolted into historical focus. The viewers' various degrees of knowledge of Dutch still life paintings will be the measure by which the photographs will either found or further the perceived rift between ourselves and nature, and ourselves and our food sources.

Mary Ellen Croteau - September 2010


This project was designed to help kids really look at advertising, and see how media images are constructed to manipulate our self-image.  The children were asked to pick an ad from the New York Times Fashion Magazine, study it, and pose themselves as they saw the models do. 

The resulting photos say as much about the individual kids as they do about the ads.  Some saw the vacuousness in the model’s face, some just saw the pose, but in the end what shines is the kids themselves.  These faces are rarely seen in American media culture, but their beauty far outshines the hollow shells being portrayed in the ads.

Many thanks to Rachael Bild, children’s librarian at North Pulaski branch of the Chicago Public Library, and the children and parents of the Summer Reading Program.

Contact this Artist via Steve Bild: Bild_Steve@yahoo.com or www.maryellencroteau.net

Dusty Rabjohn - August 2010


Nature is an 11 x 5 ft. acrylic painting depicting the American forest.  The painting seeks to explore a simultaneous beauty and ugliness, peace and violence, and growth and destruction; reflecting on our own nature as individuals.  The woods in American culture serve as a breeding ground for fear.  The overwhelming isolation and claustrophobia make it a place of somehow implicit danger.  I have deep interest in exploring the character of fear and the related potential for aggression. This work aims to explore the psychology of fear, violence, and the inherent cruelty of nature. 





Javier Lara - July 2010

"Between Three Nations”  

This multi- media installation is part of a series of collaborations I have been creating with my mother: as nomads we have dealt with issues of displacement throughout our lives. In the middle of this installation there is an image of a landscape including iconic buildings from different cities around the world in which we have traveled or lived, to create an ideal dream landscape. 

I am a son of the Américas. Growing up among different cultures has colored my life and in turn has influenced my creative process. I create environments that pull viewers into fantastic and seductive experiences. I am interested in building collaborations with communities--artists as well as with their audiences. I call attention to social and current events in my work. I create narratives that can be followed by the viewer through exquisite visual images, non-verbal sound, fragmented events, the erotic flavor of my culture, the passion and comic man in the subject matters. The intention of the installations is to evoke memories, associations, discomfort, anger and to provoke conversations that evoke subconscious and conscious thoughts as well as a call for action toward changes that will stop the cruelty and madness that is destroying us all. 

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Salvador Campos - June 2010

I am a self-taught artist. For the past eleven years I have used discarded pieces of plastic, metal and cloth found on the streets of Chicago to create sculptures and assemblages. 

In their scarred, bent, broken and crushed condition these pieces tell stories of the city. They represent cycles of life in the city. I work with found objects because they speak to me. Each piece contains not only a unique history but potential for aesthetic function.

 I work intuitively, putting objects together in new combinations to enhance their expressive power. At some point in the process the piece I’m working on will tell me what it needs to continue. It is then my quest to find the missing pieces.

As I use recycled materials to create familiar and abstract objects. I strive for that moment of recognition when the viewer not only sees the individual parts but the whole thing at the same time.

I use objects that I find in antique shops, thrift stores, and garage sales, or that I find in the street and in people’s curbside junk piles. Sometimes things come together quickly and other times it takes years, to find that missing piece that ties it all together. I love the randomness of it all.

 Another key aspect of my work is a sense of humor. By using found objects in unexpected ways they often have a sly or ironic aspect in the juxtaposition of unlikely materials or shapes.


Kimmy Noonen - May 2010

30 Days of Dinner Time

Every evening at exactly 7:00 pm, for 30 consecutive days, two people will enter this human-sized picture frame. Told only to bring their "dinner time," they will spend one hour in this conceptually tight and vulnerable space; a space where action becomes art, art becomes self-conscious and the viewer is asked to think on the complex structures found in simple everyday activities.

30 Days of Dinner Time investigates the space between action and art, personal and private, and viewer and object.

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Fred Holland - April 2010

“ A que hora termina?”        “when does it end?”

This piece was created to recognize the destructive effects of America’s unsustainable and unwinnable “war on drugs.”

For over 40 years America has poured its resources into a conflict that has propped up foreign governments that have violated human rights, and made criminals out of individuals at home who are guilty of nothing more then smoking a plant whose medicinal, spiritual and recreational use has been know for centuries.

Now Mexico is at the epicenter of the conflict. As American dollars and guns flow south the country is engaged in an internal war. The vast profits to be made in the cultivation, and trans-shipment of illicit drugs has produced millionaire thugs, corrupted officials, caused thousands of deaths and torn the fabric of Mexican society apart.

Now is the time to decriminalize Marijuana and to begin a serious re-examination of our entire drug policy.  

If not now, when?

Lindsay Obermeyer - March 2010

A Glass Prairie

The tradition of beaded flowers dates back 500 years.  Originally fashioned by Italian peasants from beads considered flawed and rejected, elegant arrangements of flowers were fashioned for the graveside.   The craft became popular during the Victorian period with the first publication on the subject.  Soon every fashionable home had to have a beaded floral arrangement. 

As with every medium, its popularity has ebbed and waned, but memorial arrangements have remained a constant, particularly in France.  Unlike live flowers or silk flowers, beaded flowers do not fade.  They delight the eye as they twinkle in the sunlight.   They honor those we mourn.

A Glass Prairie is filled with flowers and grasses rarely seen in today’s world, but which are critical to the well being of our fragile ecosystem.  Each stalk is placed in a glass beaker, representing man’s intervention, for good and bad, into our landscape.  As I slide each bead into place, I offer a prayer for the prairie’s ongoing future and solidify my commitment to its wellbeing.  

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Sun H. Choi - February 2010

Nostalgic Memory

Making traditional medicine is very labor intensive, requiring watchfulness, prayer for the patient, an attention to heating. Traditionally, mothers, solely, selflessly prepared the medicine for their loved ones.  Modern Koreans no longer take the time to prepare their own medicine.  Instead they buy it from shops which mechanically do all the work of slowly cooking the herbs and extracting their juice. When Koreans see or smell kam cho these days, they feel nostalgic for an almost extinct way of life. In my artwork, I use different but no less painstaking methods to combine these elements of both actual and symbolic healing. I transform traumatic memories, difficult experiences and pain into works of beauty and healing.

Medium: Slices of the Kam cho root, an essential ingredient of Korean traditional medicine. It is included in every traditional Korean herbal medicine because of its detoxifying qualities, functionality and harmonization with other therapeutic herbs.

There is a Korea saying, "he is like kam cho", meaning that he is needed everywhere and by everyone. They need him for harmony, elimination of negative energy and good results. Kam cho is like a support actor upon whom the star is dependent. 

The taste of this root is very bitter, but its effects are healing. The taste is multi dimensional, just like our minds and our memories. This complexity is necessary for our maturation, just as pain is, but it can lead to beauty, like a pearl cultured from an oyster. Like our memories, kam cho is bitter and sweet, essential for growing strong, wise and beautiful.

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Julia Gilmore - January 2010


The photographs in this window were taken during a trip to China where I created a Land Art project for an environmental organization near Tianjin.  While busy with the project, I was constantly photographing everything around me.

My travel companions and I started playing a game.  When we traveled to a new place, we tried to imagine what to expect.  We were always surprised:  we couldn’t conjure up these new realities.  We did the same thing when eating.  This, I would say, is sure to be sweet.  It looks bright-colored and sugary, but invariably it would be the opposite, spicy and hot or indescribable.

Arriving in a completely foreign environment, we realize that our perception, and with it our own reality, lies between what we think we perceive and what is really there, between the experiences we carry with us and the experiences we discover.

With these photographs, I have tried to touch on this moment of perception lying between seeing and understanding, juxtaposing blurred and clear images. Looking at a blurred image we imagine what is there and are often surprised when this thing comes into sharp focus. Our perception changes again when objects are taken out of their context, put into connection with the familiar, cut off or brought into movement.