7th annual “summer summit”

Opening reception on Saturday, 11th of September 2003 from 6:00 – 10:00pm

Artists Bios

Many times artists hope to situate some of the responsibility of history-making in their individual artistic process — showing the complexity of personal history and social experience and its connection to current political, and global change. This particular art exhibit is doing exactly that, fourteen artists living and working in ten different countries reflect on the set conditions of the recent political and social crisis.

“A couple of great guys after a swell meal in an excellent restaurant carved up Bosnia on a napkin. Violence broke out within the year. Historical fact. Here assembled are the remnants of the table setting.”

“TEA SPILL PARTITION PAPERS” from the Bosnian Paintings 1993 Ð 1995, Stephen Mueller

Some of the Artistic Statements


Each of these paintings show different pieces of mechanized armor, representing recent pinnacles in industrial design for the respective periods. Each evolution in manufacture marks these machines a successively more efficient tools for the acquisition of territory and security of resource. Our current series of paintings are nothing more than reminders that art, as with other economic activity, is underwritten, sustained and profited by arms and aggression. That the paint is allowed to abrade the final image promotes vandalism of the subject, and in part returns the violence.

David Gista’s

new paintings remind us, with ironic humor and insight, that the company we keep defines who we are. Gista continues to explore the themes that constitute his earlier work: the nature of identity and how it is forged, he mixes genres and draws on his extensive image base from the history of art and from the contemporary world, borrows and distills images from the popular press-advertising, photojournalism, fashion magazines and transforms them to construct a world that is at once familiar and new. The images percolate in Gista’s imagination and take an entirely different form in the process of painting. While his previous works focus was on solitary figures or “duos”, many of the most recent paintings emphasis groups of men and women involved in a common activity, the result is a series of paintings that propose unexpected, often whimsical juxtaposition even when the ostensible subject of the work is utterly serious.

Margy Stover

“Oftentimes, we live in a processed world – you know, people focus on the process and not results.” Bush, speaking on the Middle East peace process. Source: Public Papers of the presidents, “Interview with Print Journalists,” June 2, 2003.

Any plan, instruction or blueprint is always, in part, about a hopeful solution and what is expected to be built. Expectations should, but often do not, embrace their fallibility. While a proposal may be contrived with the potential of resistance in mind, a plan’s intent cannot, nevertheless, fully account for the ceaseless adaptation that occurs after the resulting structure is inhabited. I am interested in the efficacy of instruction and my use of familiar materials, layered patterns and fabricated schemas is to suggest a delineation of multiple, co-existing interpretive processes as well as potentials

My utilization of Bush’s colloquial phrase ‘ride herd’ (press conference, June 2003) is a means to contextualize this installation and further obfuscate the constructs and ideals of ‘recreation’ and ‘occupation’ and what constitutes urban planning on an immediate, domestic level.

Hague Williams

“Brand New Loyalty” is a series of screen-printed flags, each with a symbol that has been derived from a Multinational corporation’s logo, and then has been transformed into my own. Transformation and the catalysts that precipitate change over time are primary sources of motivation for my work. The mechanisms of visual persuasion, such as flags, logos, and emblems; referencing anthems, ritual, and other social-bonding experiences as seen through individual histories, become the organizing principles for my work. As a printmaker and artist using digital technologies, I am predictably interested in such methods of change: Process is an integral part of my work. I am in search of the next translation, the next transformation as it is seen through the eyes of history, by the ones that make and experience or suffer that history.

Contemporary symbols of power continue to blur the distinction between empires, governments, and multinational corporations. I use the same apparatus that the political and business worlds employ in order to reveal certain contradictory aspects of the transformation process often overlooked and hidden in a world that is altering itself at an unprecedented rate. By doing so, I hope to situate some of the responsibility of history-making in the individual artistic process — showing the complexity of personal history/social experience and its connection to current political, and global change.

Stephen Mueller

The Bosnian Paintings 1993 – 1996, water-based media and acrylic on paperTHE SPILL PARTITION PAPERS: a couple of great guys after a swell meal in an excellent restaurant carved up Bosnia on a napkin. Violence broke out within the year. Historical fact. Here assembled are the remnants of the table setting.

TANGRAM PARTITION PLAN: the division of Bosnia by using the ancient Chinese game of silhouettes would have been no less arbitrary.

THE MAP OF BOSNIA: roughly triangular with a slight counter-clockwise twist – is the shape with shifting contours repeated in these paintings; the outline changing as borders move(d).

FORTNIGHT OF SHELLING: same iconography with flags of complicity.

RAND McNALLY TAKES A STAB@BOSNIA&HERZEGOVINA: map(s) and the living fossil Coelacanth, discovered 1938: both beast (thought to be extinct) and (as fish) symbol of life; in this case, stillborn with yolk sac

Kevin Evensen and Nina Todorovic

“ …Your Aunt Nikolija asked that I bring back an appropriate selection of photos so that my friends here in the states could see the “best of Belgrade”. In a relatively short amount of time, you and I managed to find enough shots which we both knew she would find totally unacceptable. But in doing so, we also found a deeper, more real picture of Belgrade.
One that quickly broke free of any cultural and geopolitical restrictions or impositions. I had no other choice but to bring back a positive impression of a city which invariably and at times against all conceivable odds, bore a culture which constantly strives to move beyond the physical, economic, and political limitations which have been imposed upon it by various governments and administrations over the years. Consequently, we did not find images that represent anyone particular cultural identification, but rather our perceptions were brought into a group of thoughts and images which are intricately tied to the city itself, looking not at what has been left behind, but ahead: to what has yet to be found…”

Updated September 8, 2003

Curated by: Vesna Rebernak