Birke Art Gallery

*** BIRKE ART GALLERY CLOSED FOR THE SUMMER! ***

We will reopen on Monday, August 14 with a new exhibition. Please see below for the exciting fall schedule!

 

Located in Smith Hall on the corner of
Hal Greer Boulevard and Third Avenue
Huntington, WV 25755 | 304-696-2296
Gallery Hours: Monday – Friday | 10am – 4pm

 

Open to the Public

The Birke Art Gallery is Marshall University’s on-campus display of the School of Art &Design’s talented students, as well as professional exhibitions. It’s free and open to the public. The space is beneficial to the community, but also to students, offering the developing artists the chance to interact with professional artists through viewing their work, and hearing the exhibiting artists present on their craft and concept. The gallery also serves as an exhibition space for the students. Each year, students show their work as part of the School of Art & Design Capstone Experience. For undergraduates this is in the form of the Student Juried Exhibition and graduating seniors and graduate students present individual and group shows.

If you are interested in submitting a proposal for an exhibition at Birke Art Gallery, please use Exhibition Proposal.  The gallery dimensions are available here.

 

Upcoming Exhibitions

 

 

 

Through large-scale paintings, Virginia Derryberry seeks to blend narrative elements from mythology and alchemy with the use of fabric/costume constructions.  The figures are portraits of specific individuals who are familiar to her.

w.virginiaderryberry.com

 

Working in the context of duality, Dan Hernandez, makes comparisons of Genesis: the important religious text and the Sega video game console. On a basic level both signify a type of narrative device; the collections that are associated with these usages of Genesis utilize the supernatural and mythic as a central and reoccurring theme.

w.danhernandez.org

The images presented in this exhibition by Tim Portlock show the present-day conditions of life in San Bernardino articulated through its architecture and through the conventions of 19th American landscape painting. By using these conventions, the work will contextualize the material conditions of the declining city. Questions about money, debt and the achievement of the American dream are ubiquitous aspects of commercial culture in the public space of San Bernardino with its billboards advertising “cash 4 gold”, pay day loans and the services of bankruptcy lawyers to a population becoming increasing minority and immigrant.   w.timportlock.net

 

Erika Stearly’s paintings that depict off-campus housing within the zip code of Kutztown, Pennsylvania, where Kutztown University is located. In order to create private rentals, many large, single family homes have seen their floor plans awkwardly subdivided, forcing the occupants to creatively utilize their space and providing an eclectic combination of household objects that are featured in these paintings. Stearly integrates representational image-making with abstraction’s emphasis on materiality and mark-making to depict the clutter of household objects.

w.erikastearly.com

 

 

Heather Jones is an author, designer and self-taught quilter. She is often inspired by objects and places close to home—country roads, cityscapes, street signs—the landscape of her existence. She has a great love and respect for the traditional art of quilting, is an avid collector of vintage quilts, and loves to bring a modern twist to traditional patterns. Heather often creates multiples of each pattern in different color palettes to show what a striking different can be made with a few basic changes.   w.heatherjonesstudio.com

Jeffrey Jones, Artist Statement   w.jeffreycortlandjones.com

I am interested in:
Locating
apprehending
then releasing
the resistance of a color
then surrendering to it
a hard edge as it softens
the slight peeking that come from covering and layering
that space between the wall and object
when shallow and deep appear the same
what its like to look through the fog
when a mostly matte surface shifts to a little tinge of gloss that hangs out at the edge
that place between misplacing and finding
how white can be both warm and cool at the same time
when you find that correcting is making it worse
the moment when a stable stack is on the verge of collapse
when contemplation breaks down and you go for it

 

 

 

General questions/media requests:

galleries@marshall.edu