BULLPEN - KAAC at Tryst Alternative Art Fair
Korean American Artist Collective presents BULLPEN, a group show opens this weekend at Tryst Alternative Art Fair
August 24 - 25 2024
12-6 PM PST
Eunsoo Jeong, Mary Laube, Michelle S. Cho, Jeffrey Yoo Warren, Dave Young Kim, Cha, Yuree, Julie Yeo, Dana Weiser, Yunhee Min, SooMi Han, j. eunsun, Victoria Jang, SoYoung Shin, Jeffery Sun Young Park
via the Korean American Artist Collective: Current programming within the mainstream art world suggests the opposite of my experience: curating a group of artists belonging to the same ethnicity is intricate and perplexing, rife with problematic landmines. Yet in 2024 alone, Los Angeles has seen four group exhibitions from major art institutions utilizing race and identity as an organizing methodology. This approach to curation—an implicit discussion of value within the realms of representation—raises complex questions around identity and the politics of representation. And, as a Korean American artist myself, I am confronted by my own lens with every curatorial decision that I make. As Adrian Piper wrote, "I may not look clearly with my own eyes, but I try to see my own eyes clearly."
Each decision leads me down a rabbit hole of questioning: what kind of representation acknowledges the vastness of identity? More specifically, what does a nuanced representation of “Koreanness” look like? Consequently, when does representation become irresponsible?
Curating a show on the basis of identity requires an understanding of what it is—and to define it, is to confine it. Here we come across the first landmine (representation is a dangerous business so it’s useful to have a trusty, mine-sniffing rat by your side). When you are born othered, you have no choice but to define yourself with, or against, the language of the oppressor. This begs the question: who, exactly, is this taxonomy for?
Additionally the existence of identity-based group shows suggests a saccharine homogeneity within communities. The word, reductive, comes to mind. I resent these trappings, and the anxieties of which are symptomatic of scarcity mindset. The pressure to “get it right”, the responsibility of representation, lays twice as heavy on the marginalized.
Looking towards feminist and queer strategies, perhaps the beginning of an intervention looks like shifting our language around identity: choosing to craft long-winded, wandering definitions that ebb and flow, expand and contract, rather than restrict.
Koreanness is a verb. It’s fickle—if you imagine the Korean diaspora as an object in empty space, from one angle it can look approachable and sweet. Nonthreatening. Take a few more steps, and just as quickly as you breathe in, that same pleasantness transforms into explosive anger. It surprises you, this violent shift, so you hesitate to get closer. You move with caution. A different viewpoint suggests an object that is riddled with generational trauma. Impenetrable. Wearing golf clothes, hands clasped behind a slightly curved back. It’s contradictory: a knife with a fuzzy, light pink handle, hanji origami made of clay. It’s secretive: Korean skincare as soft power, K-pop as K-MK Ultra. It’s stubborn: like a herd of bulls.
BULLPEN is a group show made up of Korean American artists who expand upon the definitions of “Koreanness”, by their very existence. Each artist employs a deeply explorative practice while standing firm in their identities—of which cannot be defined in a sentence. If Koreanness is a verb, the thing that binds Korean Americans is the action of.
The title BULLPEN can be defined in two ways: medical professionals refer to nurses stations as fishbowls or bullpens, which serves as a direct acknowledgement of the re-use of this former-hospital-turned-art-fair. It also connotes a space where ideas, energy, spirit, are contained momentarily. Like a pause. A kind of waiting room where physical manifestations of conceptual and material explorations converge momentarily—a brief respite before embarking on their long, and separate journeys.
"I Will Name Myself in the Dark" at Morgan Lehman Gallery
May 16 - June 15 2024
Between Two Palms, acrylic on panel, 12” x 12”
Mary Laube
via Morgan Lehman Gallery
Morgan Lehman Gallery is thrilled to present our first solo presentation of paintings by Mary Laube, I Will Name Myself in the Dark. Laube excavates her own cultural narratives to allow us access to her complex transnational life between Korea and the United States. She challenges us to reconsider reductive colonial perspectives by visually depicting the formation of memory, culture, and identity as a dynamic and destabilizing process.
In her color-drenched works on wood panels, abstraction and representation coexist, reflecting patterns and forms observed by Laube during visits to museums in her birth city of Seoul. Korean wrapping cloths, ink stones, Buddhist statues, and the imagery of folk paintings are abstracted and flattened out across each picture plane. Yet, through a careful manipulation of color and value, her arrangements of shapes manage to also ascend toward a rich illusory space.
Throughout the exhibition, cultural allusions to both the United States and Korea are intricately layered and synthesized into compositions that challenge our sense of certainty and equilibrium. Laube’s stunning optical vibrations of color, in particular, serve to keep each composition in a constant state of motion and render palpable her own feelings of perpetual disequilibrium. Every painting on view is imbued with a deeply internalized understanding of displacement, reunion, decolonization, memorial, and personal myth.
“Han 한” at Culture House
KAAC Presents Han 한 at Culture House
September 2-30, 2023
via the Korean American Artist Collective:
Washington D.C. - The Korean American Artist Collective (KAAC) is pleased to present Han, the inaugural KAAC exhibition at Culture House. The exhibition includes paintings, sculpture, moving imagery, multimedia installations, poetry and contemporary Korean craft from artists who represent the vast terrain of the Korean American experience. Curated by Julia Chon and He-Myong Woo, this group exhibition, composed entirely of KAAC members, explores the significance of han, a term that epitomizes the Korean ethos for us in the diaspora. Han is an elusive concept used to describe a set of complex emotions connected to various long-standing effects of colonialism, war, division, and displacement. It emerged controversially during the Japanese colonial period and marks the suppressed and unresolved traumas of our elders. It manifests in each of us uniquely yet tethers us together.
Inspired by Sandra So Hee Chi Kim’s scholarship on the postcolonial roots of han and E.J. Koh’s poem, American Han, this exhibition brings together a spectrum of Korean American voices. Participating artists represent a diverse range of identities across class, gender, and spirituality, including descendents from the many waves of American immigration, transracial adoptees, and multiethnic Koreans. This exhibition considers the intangibility of han as the key to poetic potential. Han, more than the narrow constraints of ethnic Korean identity, infuses within the artists an expansive understanding of their shared history, heritage and future. In doing so, the range of contemporary artists and art included constructs a collective narrative that will contribute to and transform the discourse around the constantly changing edges of cultural identity.
KAAC is a group of artists dedicated to supporting, building, and amplifying works that are politically, socially, and culturally engaged, and rooted in the Korean American experience. Their mission is to provide resources and opportunities for artists to collaborate and tell their stories, thereby presenting the Korean American experience in all of its complexity and diversity. They believe that building solidarity with and providing support for Korean American artists will bring about a more just and liberatory future.
Artists: Aaron Chung, Andre Lee Bassuet, Carolyn Yoo, Chris Yi Suh, Coleen Baik, Dan-ah Kim, Dave Young Kim, Eunsoo Jeong, Hannah Bae, He-myong Woo, Jason Chang, Jeffrey Yoo Warren, Jonie Broecker, Julia Chon, Kaela Han, Mary Laube, Michelle Cho, Robert Choe-Henderson, Rochelle Youk, Steph Rue, Thad Higa
"Parallel to the Earth" at New Harmony Contemporary
New Harmony Gallery of Contemporary Art at University of Southern Indiana
August 12 to September 16, 2023
Tennessee Triennial: Re-PAIR
A major statewide contemporary art event organized by Tri-Star Arts. Consulting Curator: María Magdalena Campos-Pons.
Excerpt from Knoxville Museum of Art:
“Responding to the Triennial RE-PAIR theme about art designed “To heal, suture, and recompose fractured bodies”, “re-pair, patch, rebuild spirits, bodies, cities, political institutions, economic relationships,” the Knoxville Museum of Art presents works emphasizing the transformative power of art to propose new solutions to recent global discord.
…
The exhibited works address a broad range of conceptual concerns ranging from the intersection of the personal and the political, to environmental, cultural, and spiritual. They express artists’ deep interest in material as a means of interpreting and amplifying these concerns. They are touched and pressed, deconstructed, constructed and made anew. They embody histories that sensitively embrace contradiction and complication, and that challenge diverse audiences to look both forward and backwards towards “new sites of encounters with yet undefined edges, borders and territories” in search of RE-PAIR.”
Participating artists include:
Willie Cole, Bessie Harvey, Lonnie Holley, Katie Hargrave & Meredith Laura Lynn, Kahlil Robert Irving, Suzanne Jackson, Mary Laube, Annabeth Marks, Rosemary Mayer, Althea Murphy-Price, Betye Saar, and Faith Wilding
8 at Laney Contemporary
November 4 - January 4 2022
Excerpt from Laney Contemporary:
“Laney Contemporary is pleased to present 8, a group exhibition guest-curated by The Fuel and Lumber Company. This special selection of diverse artists presents no singular voice, but rather a chorus of works by female-identifying artists. In a challenging contemporary moment, with a post-Roe v. Wade reality, the curatorial initiative, The Fuel and Lumber Company takes a broad philosophical, even poetic, approach to curating, placing works next to one another without didactics, but as a way to encourage dialog amongst images and between viewers. Art opens doors by posing questions rather than determining answers and 8 opens up unlimited questions about complexities of identity and control of bodies. The artists were chosen for their distinct visual voices, engaging in cross-cultural dialog, but also for their unexpectedly united harmony.
The number 8, itself a visual symbol of infinity, suggests an array of meanings including the flow of power, a source of good energy, and a strong sense of overcoming. Turned on its side, 8 symbolizes limitlessness, which in the context of this show may remind us of the immeasurable capacity of what art can accomplish and what creative people united can realize. It also suggests the unlimited and undefined possibilities of meanings that can be produced by viewer-participants in dialog with one another.”
Shadowbox, 14”x11”, acrylic on panel, 2018
Participating artists include:
Allison Grant, Alicia Henry, Fawn Krieger, Melora Kuhn, Sarah Lasley, Mary Laube, Katarina Riesing, Las Hermanas Iglesias
A Plot Hatched By Two
Curated by Robyn Graham, Warbling Collective
23 - 27 February 2022
1 - 3 Yorkton Street, London, E2 8NH, United Kingdom
Small exchanges in conversation, shared contemplation. Quietly following, trusting that something else will arrive en route, along the journey, fragments arise to plot a new direction. The emergence of a joint thought and the release of two energies.
“Desire, when reciprocal, is a plot, hatched by two, in the face of, or in defiance of, all the other plots which determine the world. It is a conspiracy of two.” - John Berger, Another Side of Desire
Participating artists are Sophie Birch, Sayan Chanda, Yun Ling Chen, Alfredo Cristiano, Oliver Guyon, Mariella Hall, Aimée Henderson, Maxine Keenan, Jörg Kratz, Mary Laube, Graham Lister, Gerald Mak, Richard Matthews, Ed Oaks, Matthew Richardson, Wade Schuster, Bryce Speed, Mark Stebbins, Erika Trotzig and Harry Whitelock
—Warbling Collective
Songs for the Sun and Moon
My solo-exhibition is opening September 11th @ Ortega y Gasset Projects. The closing reception will feature the release of an exhibition catalog published by Space Sisters with essay by Sarah Fritchey and forward by curator Eric Hibit. Hope to see you there!
Press Release:
Ortega y Gasset Projects is pleased to present SONGS FOR THE SUN AND MOON, a solo exhibition by Knoxville-based painter Mary Laube. A reception for the artist will be held on Saturday, September 11, 4-8pm. Laube is the recipient of OyG Projects 2021 Open Call for the main exhibition space. This exhibition is curated by OyG co-director Eric Hibit. 4
Working in a visual language of geometry and decorative motifs, Laube examines personal and cultural history in the context of Korean aesthetic traditions. The works in this exhibition stem from Laube’s 2019 trip to Korea (her first time there since arriving in the US at age two), where she encountered museum artifacts, architecture, or objects related to historic preservation. Under the artist’s gaze, these objects are rendered as iconic, symmetrical forms that create a stabilizing visual experience. Upon closer inspection, Laube’s paintings open up surprising ambiguities. Forms move in and out of recognizability. Drop shadows (remnants of the museum lighting under which the subject was originally viewed) sometimes morph into the subject itself. Negative space recedes in one part of the composition, only to gain the positive role somewhere else. A pattern repeat is fully visible in some areas, but interrupted in others. These formal ambiguities originates in Laube’s particular way of looking, as she describes:
While inanimate objects are not deemed living, they carry a kind of autonomy created by our socialization with them. Worn objects for example have the ability to hover between the living and the non-living world, producing an uncanny presence when separated from the body. A sweater belonging to a loved one functions as a soft vessel that takes on the shape of its contents or alternatively, various shapes of vacancy. Objects from our childhood exude a presence or meaning not intrinsic to itself but developed overtime from our unique history with it. The forms in my work are repositories that contain and transport our ever-evolving experiences layered with distant memories and romanticized projections. Surfaces, patterns, and textures allude to various artifacts, with undefined contexts and functions. Through viewers’ interpretations, the work can continue to adopt a multitude of transforming meanings.
The notion of absence - and longing - is addressed in Laube’s process, which she thinks of as a “conversation” with her ancestors. Laube is interested in metaphorical possibilities of Korean shamanism: an indigenous practice with a rich history in origin mythologies. In context of her evolving understanding of shamanism, Laube views her continued painting practice as its metaphor: a bridge between her contemporary American identity and her Korean heritage. In this way, she imbues hard-edged edged painting with a fresh poetic resonance, filled with personal meanings.
Curator Sarah Fritchey is writing an essay for a catalogue for the exhibition, to be released at a closing reception.
Mary Laube (born Seoul, Korea, 1985) is Assistant Professor at University of Tennessee, Knoxville. She received her MFA (2012) from The University of Iowa, and her BFA (2009) from Illinois State University. Past exhibitions include VCU Qatar (Doha), Monaco (St Louis), Tiger Strikes Asteroid (NYC), The Spring Break Art Show (NYC), and Coop Gallery (Nashville). Artist residencies include Yaddo, Wassaic Project, the Virginia Center for the Creative Arts, Vermont Studio Center, and Stiwdeo Maelor in Corris, Wales. Past publications include Art Maze Mag, Maake Magazine, and New American Paintings. In 2019, Mary received the Contemporary Visual Art Bronze Award from AHL Foundation. She is a co-founder of the Warp Whistle Project, a collaborative duo with composer Paul Schuette. Together, they make work that merges kinetic stage sets with music performance.
For more information, contact Eric Hibit at erichibit@gmail.com.
Ortega y Gasset Projects
363 3rd Ave., Brooklyn, NY 11385
Gallery Hours: Saturday and Sunday, 1-6pm
oygprojects.com / IG: @oygprojects
Mary Laube, Constellation, 2021, acrylic on panel, 16 x 20”
The World is Our Idea
“Laube observes that something her and Ikeda’s work have in common is that, while human form is absent from their pictures, a human presence is always strongly implied. Ikeda’s photographs allow things within the frame to go out of focus, lending a subjective and improvised feeling to her images. Rather than a neutral depiction, Ikeda offers a the sense of the kind of close and personalized looking that life’s quieter moments allow for. Laube’s objects have a similar mood, they feel as if they’re partly remembered and partly created by the associated acts of thinking and looking.”
OYG Flatfile 2021
From https://www.oygprojects.com/ :
Ortega y Gasset Projects is pleased to present Flat File 2021 Program, now in its second season. Flat File at OyG: 2021 Exhibition Program will be on view in the main gallery from January 9 to January 31, 2021, and after that in our Flat File until the end of 2021. The following artists were selected for inclusion in the Flat File by a panel of OyG co-directors:
Mike Ambron, Sammy Bennet, Aidan Boyle, Avital Burg, Bella Carlos, Eleanor Conover, Lisa di Donato, Loren Erdrich, Ian Etter, Devra Fox, Jackie Hoving, Brooklynn Johnson, Amanda Konishi, Mary Laube, Fei Li, Kate Jeanette Liebman, Alicia Little, Alex Lukas, Bryan McGinnis, Jamie Mirabella, Nicholas Moenich, Renana Neuman, Lucy Nordlinger, Clara Nulty, Daniela Gomez Paz, Quimetta Perle, Hilary Price, Claire Seidl, Gyan Shrosbree, Winnie Sidharta, Cory Emma Siegler, Christine Stiver and Claire Whitehurst
The Flat Files at OyG: 2021 will open with an exhibition on Saturday, January 9, 2021. The program will continue in our flat files through December 2021. Participating artists and individual works will be promoted and featured on OyG social media outlets, PR, weekly Flat File Friday emails focusing on one of the artists in the Flat File. All works will be available for viewing by visitors browsing at OyG and our website for purchase.
Taking Shape
Mary Laube and Kevin Umaña
curated by Jacob Cartwright
Laurence Miller Gallery
521 West 26th Street 5th floor
New York, NY 10001
online exhibition
OPENS APRIL 17TH
http://www.laurencemillergallery.com/artists/taking-shape-mary-laube-kevin-umana
https://www.artsy.net/show/laurence-miller-gallery-taking-shape
Mary Laube
Ox-bone, 2019, acrylic on panel, 11 x 14"
Kevin Umaña
Midnight Voyage, 2019, acrylic and marble dust on canvas, 40 x 36"
These two artists explore the way that abstract form and pattern can create worlds that are both apart from ours and a part of it.
Mary Laube’s paintings occupy the place where memory and imagination meet. She’s mindful of the way that our individual histories are embodied by our belongings and preserved as idealized remembrances. She seeks to express this with depictions of personal objects that are pictorially flattened and reduced, suggesting the way that we all create remembered worlds that exist somewhere between the real and the fictive.
Kevin Umaña’s work evokes the way abstraction intersects with the everyday, found everywhere from the design of parks and playgrounds to clothing and textiles. His jazzy use of this visual language has an affable kinship with design and decoration. Umaña’s painting speak to the collective desire to find and share joy in the ways that the parts of our world can be arranged.
curated by Jacob Cartwright
Mary Laube (born in Seoul, South Korea) received her M.F.A. from the University of Iowa in 2012. She is currently an Assistant Professor at the University of Tennessee Knoxville.
Kevin Umaña (born 1989 in Los Angeles, CA) received a B.F.A. from San Francisco State University with dual degrees in Studio Art and Surface Design He lives and works in Brooklyn, NY.
Fanoon Center for Printmedia Research: Highlights 2012-2019
The exhibition is accompanied by a robust program of workshops, panels, and events as well as a catalog of the full collection.
“Highlights 2012-2019” is the first retrospective of Fanoon Center For Printmedia Research’s growing collection of international and regional artists including Bryan Graf, Bryan Jabs, Chloe Lum and Yannick Desranleau, Diyan Achjadi, Fares Cachoux, Jenny Schmid, John D. Freyer, Katie Vida, Koichi Yamamoto, Las Hermanas Iglesias, Mary Laube, Michael Perrone, Ranjani Shettar, Sean Kuhnke, Shahzia Sikander, Shaurya Kumar, Sonya Clark, Susan Chrysler White and Trenton Doyle Hancock.
Fanoon was launched in 2012 by the Painting and Printmaking Department at VCUarts Qatar, making it the first print publishing program of its kind in the Middle East. The program collaborates with local, regional, and international artists to explore the role of print in contemporary culture. The exhibition aims to expand the possibilities of print in the 21st century by selecting artists who can engage with printmaking from a variety of perspectives, disciplines and approaches. Each artist’s visit takes place within a learning environment where students assist the artists and Fanoon staff in the production of the work, and artists are able to engage with the university community through lectures, class visits, and student critiques.
A panel discussion moderated by co-curator Rhys Himsworth with artists Diyan Achjadi and Bouthayna AI--Muftah will take place at 6pm before the opening reception at 7pm.
The exhibition is curated by Fleming Jeffries, Rhys Himsworth and Zachary Stensen.
Opening hours: Saturday to Thursday - From 9am to 5pm / Friday - Closed
—VCU QATAR
*A smaller version fo the exhibition will be up until the fall of 2021 in Richmond at the VCU Qatar House
Domestic Affairs
Timeshare
St. Louis, MO –Monaco is pleased to present two exhibitions curated by Jeff Robinson,Time Share and Warm Welcome, opening Friday, May 10, from 7:00 – 10:00 pm.
Time Share, features work by Tom Burtonwood, Mark Joshua Epstein, Kelly Kaczynski, Mary Laube, Melissa Leandro, Frances Lightbound, and SaraNoa Mark; and Warm Welcome, a companion to Time Share in the Monaco Project Gallery, features works and personal effects from St. Louis artist Sage Dawson.
Time Share makes reference to those dwellings with shared ownership as a lens for considering artist collectives like Monaco, and to engender a spirit of mutuality that is required in such communal spaces. The exhibition takes as its prompt the generosity of Sage Dawson, a member of Monaco, who has given her curatorial opportunity for this exhibition to take place. The artists featured in Time Sharemake work that parallel aspects of Dawson’s studio practice. Though each artist pursues divergent aspirations, common threads are seen throughout the work and include formal and material sensitivity, as well as reference to domesticity and architecture and an overall concern for the identity of space. Collectively, the works allude to a domestic-like setting that is necessary to instill a sense of community and reciprocity.
Contact
info@monacomonaco.us
Location:
2701 Cherokee Street, St. Louis, Missouri 63118
Follow us:
Facebook: @monacomonaco.us
Twitter: @monacomonaco
Instagram: @monacomonaco
Review by Rusty Freeman in the New Art Examiner —> http://newartexaminer.org/time-share.html
“Mary Laube establishes a different sensibility of home space with meticulous, sensual paintings. Hanbok may reference traditional Korean clothing, and Perfume figures as the latest little black dress, while the wildcard Urnrelates etymologically to the ballot box.”
Fermata / Troppus Projects
PORTALS / Spring Break Art Show
Opening March 5th from 4-8pm. Tickets available online.
866 United Nations Plaza
New York, NY 10017
IP FIRST LOOK
Tuesday, March 5th 11am - 4pm
VIP OPENING NIGHT
Tuesday, March 5th 4pm - 8pm
REGULAR SHOW DAYS
Wednesday - Monday, March 6th-11th, 11am - 7pm
Casting Shadows
CASTING SHADOWS
Mary Laube’s solo exhibition at California State University opens next week. The exhibition runs from March 4-30th 2019.
Art Space Gallery, 226 N. 1st St., Turlock
March 7th:
Opening Reception 6:00pm
Gallery Talk: 6:30pm
https://www.csustan.edu/event/art-gallery/mary-laube-art-exhibition
The exhibition catalog includes a Director’s Forward by Dean De Cocker and an essay by Ian Etter.
Catalog Images
SPRING/BREAK
I'm super excited to have three drawings included in the SPRING/BREAK Art Show this year. Curated by Ian Etter, Frontiers includes work by Pete Schulte, Kristy Luck, Matthew F. Fisher, Mike Nudelmam, and Ian Etter.
March 6 - 12, 2018
4 Times Square, NYC (Chashama)
Entrance at 140 West 43rd Street
Preview Day: March 6th
Collectors Preview 11am - 5pm
Press Preview 3pm - 5pm
Opening Night 5pm - 9pm
Regular Show Days: March 7 - 12
Daily Hours: 11am - 6pm
Nocturnal Suns
Nocturnal Suns is an exhibition of four faculty members from the UT School of Art.
UT Downtown Gallery
106 S. Gay Street
Knoxville, TN 37902
December 1, 2017 – January 6, 2018
The Warp Whistle Project is humbled to be in such good company!
Emily Ward Bivens is an Associate Professor of 4D arts and Time-Based Art at the University of Tennessee, Knoxville. She received her MFA from The University of Colorado, Boulder in 2004. Bivens uses found and made objects to forge narratives, provoke or encourage interaction, and reveal fictional and non-fictional mysteries. These objects shift from prop to subject to evidence when used in performance, video, and installation. Characters or identities are created to act as subjects, authors, inventors, and curators of the work.
John C. Kelley is an Assistant Professor of 4D and Time-Based Arts at the University of Tennessee Knoxville. His video work has screened domestically at venues such as The Mid-America Arts Alliance (Kansas City, MO), the Crystal Bridges Museum of American Art (Bentonville, AR) the Arizona International Film Festival (Tucson, AZ), The Front (New Orleans, LA), the Index Art Center (Newark, NJ), Living Arts (Tulsa, OK), internationally in cities such as London, Moscow, Berlin, Sao Paolo, Mexico City, Edinburgh, Vienna, Prague, Amsterdam and others. Kelley has written original music for award winning feature length narrative and documentary films through Gray Picture in St. Louis, MO, released music as a solo artist through King Electric Records in Austin, TX, and has appeared on more than 25 recordings and albums
John Douglas Powers studied art history at Vanderbilt University and earned his MFA in sculpture, with distinction, at The University of Georgia. His work has been featured in The New York Times, World Sculpture News, Sculpture Magazine, Art Forum, The Huffington Post, Art in America, The Boston Globe and on CBS News Sunday Morning. He is the recipient of the 2013 Virginia A. Groot Foundation Award, a Joan Mitchell Foundation MFA Grant as well as a Southeastern College Art Conference Individual Artist Fellowship, an Alabama State Council on the Arts Fellowship, and the Margaret Stonewall Wooldridge Hamblet Award. Powers currently lives and works in Knoxville, Tennessee and is Assistant Professor of Sculpture at The University of Tennessee.
