Untold Stories is an ongoing multi-venue project where the exhibition functions as a case study of the city where it is taking place. For each location, Vanderpool creates imaginary realism prints and documentaries and curates archival materials into the exhibition. Untold Stories' narrative objectifies outmoded imagery of blighted deindustrialized cities and employs them as allegories to evoke questions about neighborhood decay and gentrification, segregation and integrated cities, generations of unemployment and economic redevelopment.   

Untold Stories is on view at The Tyler History Center where the exhibition functions as a case study of Youngstown, while at the Emily Davis Gallery it emphasizes Akron. Together the venues work hand in hand to query the social, political, economic, and racial crises faced by these legacy cities located 50 miles apart in Northeast Ohio.   The Exhibition runs from March 11 - April 19, 2019   

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If looking at the heavens at night and at the origins of the universe are palliatives for today’s troubled times, this exhibition will soothe our anxious souls.

This art meets science exhibition is inspired by Orange Coast College’s new planetarium, and comprised of drawings, paintings, sculpture, assemblage, photography and computer generated images. The show alludes to the international movement, combining art with science and technology—prevalent in studios, universities and journals.

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Just closed at California State University Northridge Art Gallery, the 40th anniversary exhibition of Blinky the Friendly Hen is a tour de force. The exhibition is all of these things: performance art, gallery show, and homage to both Blinky herself and Blinky’s immortalizer, artist Jeffrey Vallance.

On Wednesday at noon in suite B310, there will be a panel on collecting with art dealer Edward Cella, Thomas Lavin, and Justin Marr.

The Stargazers show at the Frank M. Doyle Arts Pavilion in Costa Mesa, curated by gallery director Tyler Stallings to coincide with the opening of Orange Coast College’s state-of-the-art planetarium this month, interweaves scientific explorations of the cosmos with the mysticism of Jung’s collective unconscious. While created separately by five artists and three artist teams over the course of several years, the works’ interpretive liberties with astronomy data and history reflect stunningly common colors, placidity and mandala-like geometries evidencing Jung’s notion of synchronicity, or the uncanny coincidence of events pointing to a shared undercurrent of symbols and aspirations. Through meaningfully warped timeframes and spatial scales, the works guide us in turn through the cosmos—macrocosmically with the aid of astronomical tools, and microcosmically through our bodies as cavities of spiritual wonder—collectively inviting us to reconsider and resolve our position within it.

Read the full article on Artillery.

Rema Ghuloum’s life-affirming response to this loss has been to make paintings whose direct and unapologetic pursuit of beauty feels rare.

Representing a broad range of artists, years, techniques, and themes, this exhibition of approximately 30 works offers viewers a rich and engrossing experience of color photographs by emerging and established artists alike, as it presents a concise and select traversal through the history of color photography from its origins as an accepted artistic tool in the 1960s and 70s, up to today’s most conceptually-driven practices. Due to the generosity of patrons who have given works of art and acquisition funds, the Museum has been able to significantly deepen and expand its holdings in the field of color photography, a groundbreaking and still-influential mode of expression in the art of the past 50 years.

Simmering with psychic intensity, Rema Ghuloum's eight hazy abstractions in “Love Is a Feeling” conjure the geometric and mythical lexicons of Paul Klee and Hilma af Klint, viewed through Rothko-esque fields of transparent color. Each work yields varying effects depending on one's viewing angle and distance. Seen from across the room, their salient attribute is a lustrous, mottled palette. As one approaches, an atmospheric sense of depth unfolds.

Read the rest of the review on Artforum. 

Garment Girl developed from Jennifer Vanderpool’s immigrant grandmother’s reminiscences about working as a cook in a sweatshop in the Allegheny Mountains and her mother’s stories about sewing shirt collars in order to pay her college tuition. The exhibition interlaces her matrilineal family stories of struggle with current labor activism through evoking questions about the global textile industry and the unseen garment workers sewing in sweatshops. Garment Girl includes imaginary realism prints, textiles, and workers’ stories told by Vietnamese refugees who worked in Los Angeles sweatshops, and those told by women textile laborers in Hà Nội. Their stories are interwoven with interviews Vanderpool conducted with labor scholars and activists in both locations. Garment Girl first opened in May 2018 at Heritage Space, Hà Nội, Việt Nam.

"I would describe my work as a confluence of abstract styles and painting methods that explore the temporality of representation. What I mean is that historically speaking, art in general - and in my case abstract art - has been a marker of time and place; an encapsulation of the ideas that are circulating and social concerns, both philosophically and politically. In Post-War abstract expressionism there was a push toward a non-verbal communication - a more instinctual communication that happened between viewer and object. This relationship calls to be present in the moment. I've thought a lot about those ideas in relation to my work and the world we now live in with incredible technologies as we manage multiple identities simultaneously. So being "present" takes on new meaning and understanding where our online presence is at times, which is as real as our physical reality. With these ideas in mind, I created paintings that combine the contemporary with the historical and they act physically as though they are mediated, despite being handmade and physically occupy the same space with the viewer."

Read the full interview here.