Darryl Jensen is a visual artist who uses both traditional and digital printmaking processes as a starting point for sculptural and installation oriented art. Incorporating appropriated and digitally manipulated images from black and white B-grade Film Noir and horror movies, Darryl uses multiple images to suggest narratives of tension and trauma in interpersonal relationships.
Exhibited regionally and nationally, Darryl has recently received a grant from the Mary L. Nohl Suitcase Export Fund and the Greater Milwaukee Foundation. Darryl holds a Bachelors and Masters Degree in Fine Art from the School of the Art Institute of Chicago. He has previously worked as a professional printer at Landfall Press where he printed an edition of 200 books containing 20 multiple-color etchings by Ed Paschke.
As an instructor for fifteen years, Darryl has taught various levels of printmaking processes and figure drawing at the Evanston Art Center, Barat College and the Milwaukee Institute of Art & Design. Currently Darryl teaches Basic and Observational Drawing classes for the Foundations Division at MIAD while also working as the Fine Arts Division Printmaking Department Lab Technician. Darryl is also the Vice President on the all-volunteer board of the Riverwest Artists Association and a member of the "Born Losers" Art Cart Race Team.
For more information about Darryl and his work please visit:
John Riepenhoff lives and works in Milwaukee. His practice as an artist investigates the specific workings of the contemporary art condition: cultural value, market influence, community aesthetics, art placement, as well as expanding the limitations of art as object and document. His work has been shown at multiple galleries and public spaces in and around Milwaukee and Chicago, has also shown in London, Tokyo, New York, Los Angeles, Zürich, and Miami. Riepenhoff's practice can take the form of painting, sculpture, video, print, performance, meta gallery, or event. Riepenhoff also is co-founder and continuing organizer of Milwaukee International, Dark Fair, and is the co-owner and director of The Green Gallery.
For more information about John and his work please visit:
Choosing work for the 54th Beloit and Vicinity Exhibition provided unique insights into the rich diversity of art being produced by contemporary regional artists.
263 works were submitted for consideration. They ranged from traditional “plein air” landscapes, portraits, and figurative subjects to formalist abstraction, surreal narrative, minimalist, and conceptual genres. Many mediums and processes were represented through painting, drawing, sculpture, photography and digital applications. All submissions were worthy of inclusion. They displayed considerable talent and a wide breadth of aesthetic concerns. Selecting 32 works for the exhibition proved a challenging but rewarding task.
All submissions were juried from digital images without information as to media, size, date or artist’s name. These randomly arranged computer images facilitated a blind selection process, based solely on eight by ten inch digital reproductions.
The collaborative selection process between John Riepenhoff and I took on a creative and aesthetic evolution of its own. Media and craftsmanship became less of a concern as our dialogue opened up questions about artist intent, our interpretation, and the context of the overall presentation. Many artworks gained strength and increased our interest to view them through the discussions held between us. Works that may have been chosen by either one of us alone became up for debate. Our individual concerns became malleable and a truly shared synthesis of ideas formed over what to include in this exhibition. Discussion over the exhibition galleries and the juxtaposition of each piece against others chosen in these spaces became one of our deciding factors for selection. Works which left open ended questions, or an incomplete resolve, posed greater intrigue.
Images of sculpted paint, reconstructed books, figurative fabric, skating lights, floating brains, fluffy puffs, and two-headed women caught my eye. These pieces piqued interest for an actual viewing of the work, as opposed to looking at a computer displayed reproduction. Each final selection was based on the aesthetic import of that shared viewing experience. By the end of this collaborative process we had decided to select those pieces which left us with a curiosity and desire to learn more about them. I look forward to the experience of viewing the work on exhibit.
Imagine surfing the web, viewing images of post-industrial wastelands, wallpaper camouflaged full body dresses, poems about chickens, urban acts of fairytale heroism, painfully embellished personal fragments from artists’ studios and lives, selected from Southern Wisconsin and the region. Now imagine viewing them on a PowerPoint presentation in the early days of spring without labels or other identifying descriptive materials. The works displayed in this exhibition were selected under such conditions.
Co-juror Darryl Jensen and I favored work that seemed to push forward ideas of communicating something new through their chosen artistic medium, works that seemed to avoid or side-step previously well-trodden subjects and styles of expression. I selected art that took risks, art that acted as invention, painting that did not just reflect what has already been painted but that seemed to capture some aspect of what and how we see today.
We also chose work we wanted to experience in person in an attempt to create a physical exhibition that others would also enjoy, a survey that would represent a range of perspectives and approaches to art-making in the Beloit area but also art exemplifying qualities that potentially transcended regional trends, work with a personal voice that people might relate to on a human level beyond our given place.
We hope that the works on display reflect some of the more innovative and reverberating investigations that were offered. We hope that all the artists who submitted continue creating and exploring.
Thanks to all who submitted and to the Wright Museum of Art.