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by Rowan Johnson
SOU Class of 2025, Creative Writing

Robert Burnier, Templo Muro I, 2024, acrylic on aluminum, courtesy of Cooper Cole Gallery

Robert Burnier

Chicago-based artist Robert Burnier uses new technology to explore ancient art. His digitally rendered aluminum sculptures are made to look like crumpled and folded pieces of paper. The bold, flat colors on both sides are inspired by ancient African, Mediterranean, and Mesopotamian cultures. The combination of rich earth tones and visually organic sculpture collides with ideas of metalwork, bringing the material to the forefront of the piece. Two of Burnier’s sculptures, Templa Muro I and Via Mano estas Peza, Nokto, sur Mia Frunto (Soyinka III), can be found in the Heiter Gallery of the Schneider Museum of Art as a part of the show curated by Michelle Grabner, Hello Hello Hello. Read the interview below to learn more about Burnier’s process, and stop by before August 9th to see his work in person.

https://art.newcity.com/2016/01/26/in-profile-robert-burnier/

Sara Greenberger Rafferty, Tester One, 2020, kiln-formed glass, photograph mounted to board, and hardware, courtesy of the artist

Sara Greenberger Rafferty

Multimedia artist Sara Greenberger Rafferty uses performance and photography to create connections. Her background as a department store window dresser gives her insight into the ways advertising and marketing themselves are a form of art. Her photography plays with this idea through subjects and materials. She uses glossy printing paper as an allusion to the commercial nature of the subjects, which range from cosmetics to furniture auctions. Her work spans between the representational and the abstract. While some are sharp and full of an object, others are more blurred and active. Her photography is sometimes paired with a glass element that has been kiln-fired to vitrify the photo onto the piece using powdered glass. Her piece Tester One uses this technique, forming a case around a photographed eyeshadow palette. Learn more about Sara Greenberger Rafferty’s work with the link below, and find Tester One in the Schneider Museum of Art’s Heiter Gallery.

https://www.artnews.com/art-in-america/interviews/sara-greenberger-rafferty-rachel-uffner-56219/

Jeff Gibson, Untitled (fruit and takeout containers), 2019, two plastic A frame signs, courtesy of the artist

Jeff Gibson

Australian-born artist Jeff Gibson blends advertisements, collage, and photography to create his prints. His collage pieces are abstract but cohesive, utilizing shapes and color to bring together otherwise disjointed images. His work parodying sandwich board advertisements is easy to overlook because of their associations. A glance at the low-to-the-ground signs with brightly colored fruit is so familiar that the brain sweeps over it. A closer look would bring into focus the plastics. The takeout containers, grocery store bags, and aluminum tins become more when they are noticed. His sandwich boards ask viewers to focus on the individual images rather than what they represent in passing. Two of his boards can be found in the Heiter Gallery of the Schneider Museum of Art. Learn more about Jeff Gibson and his work with the interview below, and stop by to see Untitled (fruit and takeout containers) before August 9th.

https://artguide.com.au/jeff-gibson-navigates-our-generations-of-screens/

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The Schneider Museum of Art is located within the ancestral homelands of the Shasta, Takelma, and Latgawa peoples who lived here since time immemorial. These Tribes were displaced during rapid Euro-American colonization, the Gold Rush, and armed conflict between 1851 and 1856. In the 1850s, discovery of gold and settlement brought thousands of Euro-Americans to their lands, leading to warfare, epidemics, starvation, and villages being burned. In 1853 the first of several treaties were signed, confederating these Tribes and others together – who would then be referred to as the Rogue River Tribe. These treaties ceded most of their homelands to the United States, and in return they were guaranteed a permanent homeland reserved for them. At the end of the Rogue River Wars in 1856, these Tribes and many other Tribes from western Oregon were removed to the Siletz Reservation and the Grand Ronde Reservation. Today, the Confederated Tribes of Grand Ronde Community of Oregon (https://www.grandronde.org) and the Confederated Tribes of Siletz Indians (http://www.ctsi.nsn.us/) are living descendants of the Takelma, Shasta, and Latgawa peoples of this area. We encourage you to learn about the land you reside on, and to join us in advocating for the inherent sovereignty of Indigenous people.

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