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- Katy Ketter-Franklin and Nathan Deganis Librera (l-r): Katy Ketter-Franklin, Second Child, 2018; Nathan Deganis Librera, In the Moment, 2018
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- State of Exception: Patrick Foran, 2017
Stop by one or both Vogt Galleries on campus to admire the wonderful exhibits curated by Emily Mangione ’12, the new studio art galleries and college art collection director, and be sure to save the date for the Artist Talk with Patrick Foran and closing reception on Friday, October 26 from 5:00 p.m. to 7:00 p.m. in the Andrew L. Bouwhuis Library.
Katharyn Ketter-Franklin | Nathan Deganis Librera
October 1–December 14, 2018
Vogt Gallery, Lyons Hall
This two-person exhibition features recent works on paper, sculptural installations and screen prints by Canisius College alumni from the Class of 2013. Katharyn Ketter-Franklin’s current areas of focus include minimalist illustration—an aesthetic they often bring to their movie posters for North Park Theatre—and cut paper artwork. For this exhibition, Ketter-Franklin is debuting a new sculptural installation that plays with the gallery’s unique architecture alongside recent works on paper.
The works on view by Nathan Deganis Librera surveys the past two years of his development as a screenprinter. Many of these prints depict significant places for the artist; as he has explained, “by capturing moments with small, sometimes hidden detail, I show a personal relationship I have with the spaces.”
Patrick Foran: Other Internments
October 1–October 26, 2018
Peter A. and Mary Lou Vogt Galleries, Andrew L. Bouwhuis Library
In the meticulous, monochrome drawings featured in Patrick Foran: Other Internments, the artist captures the representational hallmarks of the contemporary state of exception: the traditions of symbolic ritual that present heads of state to the public, the voracious media apparatus dependent on a steady stream of fresh crises for its survival and the militarization of the police under a regime in which the definitions of “citizen” and “enemy” have become fluid. The characters in these scenes, however, are rendered as anonymous voids in the image—these bodies could easily belong to us, our loved ones, or our enemies. Taken as a whole, the installation opens up questions about the limits of empathy, who counts as the “common” in “common good,” and what it means to allow fear to guide our decision-making.
Submitted by: Yvonne K. Widenor, visiting assistant professor and program director, Art History
