v17 p a i n t i n g s a n d d r a w i n g s e m i l r o b i n s o n d r a w i n g s k a t h l e e n t h u m

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1 v17 p a i n t i n g s a n d d r a w i n g s e m i l r o b i n s o n awake Pseudopodia d r a w i n g s k a t h l e e n t h u m

4 m a n i f e s t v o l u m e s e v e n t e e n m a n i f e s t p r e s s 2727 woodburn avenue cincinnati, ohio all rights reserved. no part of this publication may be reproduced in any way without written permission from the publisher. all rights in each work of art reproduced herein are retained by the artist. first printing january 2007, edition of 50 printed by printpelican riviera beach, florida cover details by emil robinson and kathleen thum

5 p a i n t i n g s a n d d r a w i n g s e m i l r o b i n s o n awake Pseudopodia d r a w i n g s k a t h l e e n t h u m

6 executive director jason franz board of directors katherine dintenfass jason franz elizabeth kauffman brigid o kane associate directors kristin cullen kevin muente assistants to the director karina meza jeffrey salter junior board trevor ponder jeffrey salter interns lynda camp kate holterhoff mission statement M A N I F E S T C R E A T I V E R E S E A R C H G A L L E R Y A N D D R A W I N G C E N T E R a 501(c)(3) not-for-profit corporation

7 Manifest enhances the role of art and design in society by cultivating and focusing the transformative power of creativity in the visual arts. Manifest benefits people in the global and local community, including professionals, students, and the public, by creating quality-centered experiences focused on contemporary visual arts and related activities in the context of creative exploration.

8 j a s o n f r a n z curatorial statement

9 Manifest Gallery is proud to present two solo exhibits by two young professional artists early in their careers. The combination of Kathleen Thum s large assembled abstract drawings (in the main gallery) and Emil Robinson s more traditional Hopper-like views of individuals and architectural spaces (in the drawing room) offer the broadest possible experience of the concept of vitality to the gallery audience. While Thum s sprawling and mult-layered abstracts expand across the gallery wall embody the notion of living internal systems, Robinson s images serve as beautifully conceived representations of the external and often cold surfaces and environments of the same living systems. Together the exhibits provide for interesting comparisons between two approaches to surprisingly related subjects, and continue the Manifest Drawing Center mission to promote, feature, and explore drawing as a rich and culturally significant art form.

a r t i s t s t a t e m e n t I think of my drawings as internal landscapes of our bodies; cells, veins, skin, nerves. These landscapes are systems that our lives depend upon.

I use these systems to construct various structures in my drawings. Like our internal systems, the structures are linear, flowing, clustered, dense, and intertwined.

10 a r t i s t s t a t e m e n t I think of my drawings as internal landscapes of our bodies; cells, veins, skin, nerves. These landscapes are systems that our lives depend upon. They circulate blood, compress or expand to breathe, filter or cover to protect and carry signals or messages. They are all interrelated and interdependent. I use these systems to construct various structures in my drawings. Like our internal systems, the structures are linear, flowing, clustered, dense, and intertwined. Pseudopodia d r a w i n g s k a t h l e e n t h u m In the work, I draw a matrix of lines to represent our skins. The matrix becomes a transparent membrane that is flexible. It morphs and changes as our skin does. It reacts to its surroundings and can be pushed or pulled to form lumps and bumps. I use groupings of white dots to make a barrier or an edge, which is soft and willing to yield, envelop and grow around other structures. Color emphasizes areas of tension, heat, and sensitivity in the drawings. The materials and the presentation of my work are as important as the imagery. The immediacy and directness of drawing and the emotive qualities of a line echo the content of the work. By presenting the layered drawings pinned directly to the wall the viewer has a more intimate experience with the work. My hope is that the viewer will make an emotive, physical connection to the impermanent, ethereal nature of the pieces.

b i o g r a p h y Kathleen Thum was born in Westfield, New Jersey in 1969.

11 b i o g r a p h y Kathleen Thum was born in Westfield, New Jersey in She spent a year studying at the Fashion Institute of Technology in NYC and then transferred to Maryland Institute College of Art in Baltimore Maryland where she received her BFA in She went on to receive her MFA from Bowling Green State University in Her focus of study in undergraduate and graduate work was drawing and printmaking. Since Kathleen has exhibited in numerous group exhibitions such as Intimacy, Memory and Imagination at Antioch College in Yellow Springs, Ohio and Cabin Fever at Artsite in Wellsville, New York. She has worked with various artists on collaborative projects and exhibitions the most recent being a collaborative video installation with her husband at the Loupe Gallery in Prattsburgh, New York. Kathleen has also participated as an artist in residence at the Women s Studio Workshop in Rosendale, New York, Vermont Studio Center in Johnson, Vermont and Saltonstall Foundation in Ithaca, New York. Kathleen is currently teaching drawing as a Visiting Assistant Professor at Skidmore College and previously taught Freshman Foundations in the School of Art and Design at the New York State College of Ceramics, Alfred University. She lives in Ballston Spa, New York with her husband, Evangelos, son Maximos, and Newton, her three-legged cat.

12 d e t a i l o f N o d e s gouache and graphite on layers of tracing paper

i n s t a l l a t i o n v i e w o f n o d e s 2004 2005

13 i n s t a l l a t i o n v i e w o f n o d e s gouache and graphite on layers of tracing paper 240" x 24"

14 U n t i t l e d f r o m t h e S y s t e m S e r i e s D r a w i n g s 2006 gouache and graphite on paper 10" x 12"

15 U n t i t l e d f r o m t h e S y s t e m S e r i e s D r a w i n g s 2006 gouache and graphite on paper 10" x 12"

16 U n t i t l e d f r o m t h e S y s t e m S e r i e s D r a w i n g s 2006 gouache and graphite on paper 10" x 12"

17 U n t i t l e d f r o m t h e S y s t e m S e r i e s D r a w i n g s 2006 gouache and graphite on paper 10" x 12"

18 U n t i t l e d f r o m t h e S y s t e m S e r i e s D r a w i n g s 2006 gouache and graphite on paper 10" x 12"

19 e l e m e n t s 4 acrylic and graphite on frosted mylar 55" x 30"

20 e l e m e n t s 6 acrylic and graphite on frosted mylar 55" x 30"

21 K n o b s a n d K n o t s 2007 acrylic and graphite on layers of frosted mylar 72" x 84"

My interest is in the depiction of a recognizable situation that has implications that go beyond the likeness of an existing physical form.

22 a r t i s t s t a t e m e n t awake p a i n t i n g s a n d d r a w i n g s e m i l r o b i n s o n Painting has limited use as practical communication. However, it is painting s lack of verbal clarity and generally crude materials that make it so charming to me. My interest is in the depiction of a recognizable situation that has implications that go beyond the likeness of an existing physical form. People may recognize the thing being depicted, and find insight as a result of the unique world in the painting. The viewer s imagination is essential to bringing the work to life.

b i o g r a p h y Emil Robinson received a BA from Centre College in Danville, Kentucky in 2003 and an MFA from the University of Cincinnati college of DAAP in 2006.

23 b i o g r a p h y Emil Robinson received a BA from Centre College in Danville, Kentucky in 2003 and an MFA from the University of Cincinnati college of DAAP in Though just starting his professional career Robinson has already participated in numerous exhibits. Recently his work has been included in exhibits at The Carnegie Visual Arts Center in Covington, Kentucky; Associated Artists Gallery in Winston Salem, North Carolina; The Columbus Museum of Art; and Tatistcheff Gallery in New York City. Although serious about his studio work, Emil is also devoted to teaching painting and drawing. His greatest support and influence has come from his family and from Sheldon Tapley, professor of painting at Centre College.

24 f i v e a. m oil on panel 24" x 30"

25 S e l f P o r t r a i t W i t h D e c o r a t i v e R e m i n d e r 2006 oil on panel 36" x 23"

26 E s t u a r y 2006 oil on panel 26" x 25"

27 c a i s i n t e r i o r 2006 oil on panel 20" x 40"

28 S t e v i e 2006 charcoal and pastel on paper 18" x 24"

29 d a n s n a p 2006 oil on panel 36" x 40"

30 W a t e r B o w l 2006 oil on panel 18" x 16"

31 M e l o d y 2006 charcoal on paper 22" x 21"

34 s u p p o r t p r o v i d e d b y

36 M A N I F E S T C R E A T I V E R E S E A R C H G A L L E R Y A N D D R A W I N G C E N T E R 2727 woodburn avenue cincinnati, ohio

2) What can you expect?

2) What can you expect? STELLA ADLER HANDOUT Acting is The actor must always do something on stage. He looks for actions in the script (for example, "to teach, to confess, to beg", etc.) and finds the human in them. He must have