allison m spicer

6.06.2012

5.07.2012

4.28.2012

3.27.2012

ragazza

linocut block prints on paper and dur-a-lar, 2012

3.26.2012

2.22.2012

imbarrazo: gate series, Roosevelt

graphite on watercolor postcard, 4" x 6", 2012

2.20.2012

log (r) sin ((1/2)Θ)=z cos ((1/2)Θ)

graphite on dur-a-lar, graphite stick on paper, 2012

2.17.2012

pratica: etchings of Ernst Haekel

oil pastels on paper, 2012

1.30.2012

pratica: ode to the pieta, the impossible love

ink, graphite, and gouache on watercolor paper, 2012

1.25.2012

under your microscope, landscapes

watercolors on paper, 2012

1.14.2012

1.13.2012

ricerca: northern gates

photographs from jog with i-phone, 8 x 10, 2012

Exhibition: Inferences

You are invited to attend an artist closing reception on February 17th, 6-8pm! Exhibition is currently open and will remain up until February 19th.

12.28.2011

Christie Portrait

oils on canvas, 16 x 20, commission, 2011

12.09.2011

art la

Just a little news that is kind of lovely...
art la invited me to be an artist on their site...http://artla.com/artists/artist.cfm?m=1779

11.23.2011

pratica: under your microscope, 2

india ink, watercolors, collage on paper, 2011

11.01.2011

10.18.2011

pratica: under your microscope

india ink, gouache, watercolor collage, 2011

10.12.2011

dialogue 10:4, dirigere

watercolor on paper, as instructed by a 6 year old whom I had the good fortune of teaching in the hospital, 2011

9.16.2011

pratica

ink, graphite, and watercolors on watercolor paper, 2011

9.09.2011

pratica

gouache and graphite on watercolor paper, 2011

artist statement

The intention of my work is to catalyze thoughts and ideas and then provoke the sharing of these thoughts, ideas, stimulating inquiry and knowledge. My strongest conviction is in the power of art, its subjectivity as safe space, and its ability to rebuild community, starting with basic connections to the other. The artwork, if it is successful, opens a space for dialogue to be ignited and to be continued.

The dialogue series consists of multiple parts. All of the series paintings are obscure and abstract. The ambiguity intends to connect all to the universal elements shared by humanity. I want my work to speak to the “everyman.” What I intend for my viewer to see is what she/he wants to see. And hopefully, this will spur dialogue between viewers as they are pushed inside and outside of my works.

On a larger scale, this dialogue will contribute in a small way to rebuilding social capital, or rebuilding the sense of the other.

I am most interested in using my artistic abilities to build visual awareness. The theory of "looking vs. seeing" has influenced most of my work. I use photographs to document growing ideas. My contribution to society is to first encourage people to "see" their social and physical environment, both the good and the bad. Then encourage them to change their landscape, and their community, for the better.

Currently, I am working on two series. The dialogue series as I mentioned above and the gate series. The gate series is something that has been brewing since 2002. Studs Terkel once wrote that "Chicago is the most segregated city in America." Dr. Martin Luther King preached that the "City of Chicago is the most segregated, racist, and hateful cities" he visited. Unfortunately, these lines still exist, albeit invisible but socially well constructed. In this series, I question the "invisible" lines. I do not think they are invisible at all. One marking that exists in every "community area" are the gates and fences that have been constructed by either the residents living within or the city itself. It leads one to question many things about those living in a specific neighborhood just by the tone of the gates seen. Gates (or lack of) are a visual element of our shared landscape that bring out questions of space, socioeconomic status, inclusive or exclusivity, safety, equality, ethnicity, divisions/differences, and power. In this drawing series, I am spending time in each of Chicago's "community areas," photographing the common thread that I see. Whether these drawings are accurate portrayals of a community or not, it is important to note that each image is from an outsider's perspective entering a community. The visual impression made on an outsider (myself) may be informative to residents living in these communities. Is their visual environment reflecting the truth and identity of the community? Again, the intent of my work is to begin a dialogue through the safe space that art can provide.

Reference to "social capital": Robert Putnam, political and social science educator, wrote “To build bridging social capital requires that we transcend our social and political and professional identities to connect with people unlike ourselves...I challenge America’s artists, the leaders and funders of our cultural institutions as well as ordinary Americans: Let us discover new ways to use the arts as a vehicle for convening diverse groups of fellow citizens... Art manifestly matters for its own sake, far beyond the favorable effect it can have on rebuilding American communities. That said, art is especially useful in transcending conventional social barriers.” Bowling Alone, Robert Putnam, 2000

curriculum vitae

Education
School of the Art Institute, Chicago, IL
Masters of Art in Art Education, May 2004

University of Michigan, Ann Arbor, MI
Bachelors in Literature, Science and the Arts, May 2001
Political Science and History of Art Concentration

Lorenzo de Medici, Florence, Italy
Study Abroad Program, Art History & Cultural Immersion, 2000

Selected Exhibitions

Marwen Art Fair, Susan and Steven Berkowitz Gallery, Marwen Foundation. Chicago, IL. October 2007

University of Michigan Alumni Show, Madron, LLC, Chicago, IL, September 2007

Neighborhood Portraits, Demitasse Cafe, Chicago, IL, September 2007

Chicago + Urban, Demitasse Cafe, Chicago, IL. March 2007

Marwen Art Fair, Susan and Steven Berkowitz Gallery, Marwen Foundation. Chicago, IL. October 2006

Those Who Do, Teach, Susan and Steven Berkowitz Gallery, Marwen Foundation. Chicago, IL. February 2006

Painting Department Showcase, Fine Arts Building-North Campus, University of Michigan, Ann Arbor, MI. November 2000

Lectures and Publications

Therapeutic Activities for Children and Teens Coping with Health Issues, by Robyn Hart and Judy Rollins, illustrations and activity idea contributor, 2011.

"A Modern Wing Celebration," Art Institute of Chicago 2010 Curriculum Fair, presenter, April 29, 2010

"Brave New Worlds", contributor to research conducted by author Eric Booth for Chamber Music, vol. 26. No. 4 July/August 2009, p.92-95.

“The Politics of Creativity - Artists and Educators as Leaders”
Presented by the Teaching Artist Collective and The Center for Teaching Excellence at Columbia College, October 30, 2007

NAEA Conference Presenter: "The Challenges of Maintaining a High Quality Arts Education Program," Marwen, 2006

Teaching Experience
Snow City Arts Foundation, Chicago
Street Level Youth Media, Chicago
Nicholson Technology Academy, Chicago Public School
Hyde Park Arts Center, Chicago
The Smart Museum, Chicago
North Kenwood Academy, Chicago Public School
Akiba Schecter, Chicago Private School
Marwen, Chicago
Ralph J. Bunche Elementary School, Detroit Public School
Museum of Contemporary Art, Chicago
The British School of Chicago

Related Work Experience
Coordinator of Studio Programs, Marwen, Chicago
Heidelberg Project, Board Member, Detroit
Open Roads NPO, Volunteer, Chicago
Director of Alumni Relations, Francis W. Parker School, Chicago
Development Coordinator, University of Chicago, Chicago

Memberships
Society for Arts Healthcare
National Art Education Association
The Art Institute of Chicago

6.06.2012

5.07.2012

4.28.2012

3.27.2012

3.26.2012

2.22.2012

2.20.2012

2.17.2012

1.30.2012

1.25.2012

1.14.2012

1.13.2012

12.28.2011

12.09.2011

11.23.2011

11.01.2011

10.18.2011

10.12.2011

9.16.2011

9.09.2011

contact

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artist statement

curriculum vitae

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