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Founded in 1970, the Dodd Chair is a short-term appointment of high distinction intended to honor artists of international standing who have achieved an extraordinary record of exhibition. Artists selected for this position teach and work at the Dodd and hold the rank of full professor, following in the footsteps of Elaine de Kooning, Mel Chin, Willie Cole, David Humphrey, Lola Brooks and Paul Pfeiffer among others. The Lamar Dodd Professorial Chair was established to honor the Dodd’s first Chair, Lamar Dodd, for whom the School of Art is named. It is an integral part of the Dodd’s commitment to excellence across disciplinary boundaries and reflects the school’s belief that arts research is an essential component of the academic mission of the University of Georgia.
American artist, curator, and writer, Lauren Fensterstock will be in residence at the University of Georgia as the 2018-2019 Dodd Chair. Fensterstock will work closely with faculty and students at the University of Georgia and will teach a graduate seminar in the fall and in the spring. Her fall course entitled From the Invisible to the Infinite: Mapping Studio Practice in Context, will probe artistic production via a variety of lenses from the molecular, to the systematic, linguistic, and global.
Paul Pfeiffer is an artist of international stature, currently serving as the Lamar Dodd Professorial Chair. A pioneer and exemplary practitioner working in the fields of installation, photography, and video, he is best known for digitally manipulated images of athletes and celebrities, which he uses as an occasion to plumb the depths of contemporary culture, assessing its racial, religious, and technological dimensions.
Kota Ezawa's work takes the form of animated videos, light boxes, slide projections, and prints. He recreates iconic moments from the media, popular culture, and the history of photography by interpreting photographic images into drawings. Removing much of the visual information found in the source material, Ezawa's images become less real and more symbolic. His recent solo exhibitions include Offsite: Kota Ezawaat Vancouver Art Gallery in Vancouver, Canada, and The Curse of Dimensionality at Haines Gallery in San Francisco.
Strauss, born in 1970, is a photographer and installation artist living and working in her hometown of Philadelphia. She began photography in 2000 and had recently completed “Under I-95,” a 10-year project that resulted in a photography installation of those photographed under a section of Interstate 95 in Philadelphia. Her work has been exhibited in the 2006 Whitney Biennial and the Philadelphia Museum of Art.
Kendall Buster first studied microbiology and received a BS degree in Medical Technology before pursuing an education in art. She earned a BFA from the Corcoran College of Art and Design in Washington, DC and an MFA in Sculpture from Yale University as well as participating in the Whitney Museum’s Independent Study Studio Program in New York City.
Lola Brooks began her arts education at Pratt Institute and then went on to study with Jamie Bennett and Myra Mimlitsch-Gray at SUNY New Paltz. In 1996 Lola was included in the Talente exhibition in Munich and since then has participated in many gallery and museum shows around the country including Sparkle then Fade at the Tacoma Art Museum, Tacoma, Washington. Lola's use of stainless steel drives the conceptual content of the work and her underlying interest in material hierarchies.
David Humphrey has received numerous awards for his paintings, drawings, installations and prints. These include a John Simon Guggenheim Memorial Foundation Fellowship, two National Endowment for the Arts Fellowships, and two New York Council for the Arts Grants. His work has been exhibited both nationally and internationally with over 30 solo exhibitions in Canada, London, New York, California and Pittsburgh, among others.
Kristen L. Morgin earned a BA degree from California State University in Hayward and an MFA degree from New York state's Alfred University. A native of Georgia, Kristen now works as an independent artist in Gardena, California. Previously she held positions as diverse as a gallery docent, a children’s playhouse set painter, a secretary in an auto glass shop, and a tenured professor of art. Morgin has had solo shows at Marc Selwyn Fine Art, Los Angeles and Viento y Agua Gallery, Long Beach.
Since the early 1970’s Paul Kos’s work has challenged conventions of art media and subject matter. For a global audience, he staged new possibilities for artistic treatments of time, space and cultural systems. Kos, one of the founders of the Bay Area conceptual movement, has exhibited internationally and has work represented in major museum collections including New York’s MoMA, the San Diego Museum of Contemporary Art, SFMoMA, and the Stedelijk Museum, Amsterdam.
Born in Ireland and raised amidst Protestant-Catholic strife in Belfast, David Sandlin has spent his career discussing America, for all her hypocrisy and charm. His family moved to the United States in 1972 and settled in Birmingham, Alabama, affording David the quintessential Southern American experience. Sandlin earned his BFA from the University of Alabama in 1979; he has lived and worked in New York for more than 25 years where his work has evolved from street art to bumper stickers to paintings and installations.
Nina Bovasso lives and works in New York. Her art is included in the collections of The Whitney Museum of American Art, The New Museum of Contemporary Art, and Collectie KPN in the Netherlands, among others. She had recently had solo exhibitions at Aliceday in Brussels, Belgium, University Art Museum at SUNY Albany and Museum of Contemporary Art in Cleveland, Ohio and was showing new works on paper with Daniel Sturgis at The Apartment in Athens, Greece.
I paint what I see around me, and I look with an accusing eye at what man has created...I am just a filter, a many-colored voice...I paint to kill La Muerte, and also to kill Cruelty, Injustice, Violence, Ignorance and Hypocrisy. —Luis Cruz Azaceta, from an interview with Friehelm Mennekes,1988