Opening Night

Opening Night

LYN DURHAM              32. American, 1947 DREAM CAFE 2024 Oil on canvas, 35 x 23”, 41 X 29” framed. Lyn Durham works in watercolor, sculpture and illustration and has been designing stained glass since 1990. In 2003 she joined Conrad Pinkel Studio, Florida’s leading stained glass atelier. Born in Compton, CA, Ms. Durham earned her MFA from University of California Berkeley. On Loan to ICON from the Artist.

BILL TEEPLE     33. American, 1946 LOHENGRIN 1982 Watercolor and Gouache,  6 x 10.25” image, 12.5 x 15.5 framed. Bill Teeple is Founder and Director of Iowa Contemporary Art (ICON Gallery). In the 1970’s and 1980’s, Bill collaborated with Lyn Durham to create a body of celestial/fantasy art that became popular nationally. The Lohengrin series was based on a Germanic myth. At this time they were working individually. Bill did several drawings and watercolor paintings of the pure knight who came from the realm of the Holy Grail to champion good in the world. On Loan to ICON from Lyn Durham.

BOB BONIS              31. English PAUL MC CARTNEY Ca. 1960s Photograph, Limited Edition 4/20, 39 x 26” image, 48.5 x 35” framed For many years, a significant collection of photographs offering intimate views of The Beatles during their initial, American tours remained largely hidden from public view. These images, captured between 1964 and 1966 by Bob Bonis, the man serving as the band’s U.S. tour manager, provide unique glimpses into the lives of the Fab Four during the peak of Beatlemania. These snapshots documented moments previously shared only among family and close friends. Donated to ICON from Anonymous Donor

UNKNOWN ARTIST                                                                 7. Indian INDIAN MINIATURE PAINTING Gouache, 9.5 x 6.25" image, 16 x 12.5” framed. Donated to ICON by Anonymous Donor.

NAOKO MATSUBORA 22. Japanese-Canadian, b. 1937 TIBETAN MONASTERY G. 1989 Serigraph 6/25, 21 x 18” image, 31 x 27.5” framed Matsubara graduated from the Kyoto University of Applied Arts in 1960. She then pursued an MFA in the School of Fine Arts at the Carnegie Mellon University in Pittsburgh on a Fulbright Travel Grant, and since then has traveled extensively and taught at the Pratt Institute in Brooklyn—a rare distinction for a Japanese woman. She also studied one year at the Royal College of Art, London. After travel abroad, the artist returned to Japan for two years, before going back to the United States. There she worked as assistant to Fritz Eichenberg, and also taught at the Pratt Institute of Graphic Art in New York, as well as at the University of Rhode Island. Currently she lives and works in Oakville, Canada. Naoko Matsubara’s father was the chief priest in a Shinto shrine in Kyoto. Shrines and temples became one of the major themes of Matsubara’s works. Naoko Matsubara’s style is influenced by her teacher, Munakata Shiko (1903–1975), who worked in the mingei (folk art) tradition. Her works are part of the collections of many museums around the world. Loaned to ICON from the Collection of Charles Hall

DAVID DUNLAP         29. American, b. 1942 VOLKSGRAPHICS 2018 Watercolor, gouache, walnut paint on Rives BFK paper, 15 x 11” image, 21 x 19 framed. This is Always Finished, by Scott and Tyson Reeder: David Dunlap is an artist, walnut farmer, and teacher living in Iowa City, Iowa. Since 1974, he has maintained a practice of keeping daily notebooks filled with drawings, words, lists, photos, dreams and sketches. The hundreds of numbered books are the building blocks for David's unique practice, a constantly evolving and mutating living document, both autobiographical and fiction, articulated through all media, including overflowing installations, hand-made suits covered with text, a 50-foot tower, pottery as clothes, and a Warhol-like obsession with capturing each fleeting moment with a camera or pen. Through these objects, Dunlap has created a universe of fellow artists, collaborators, friends and family who are all connected in some way to his story and practice.    Although Dunlap organizes his installations using a chronological framework, there are no clear beginnings or ends to his projects. A drawing from 20 years ago can suddenly reappear next to a drawing from two days ago; and through this re- contextualization becomes something altogether new and different. In the same way, there are few fixed physical boundaries between Dunlap's individual works; conventional ideas about the autonomy and hierarchy of medium do not apply. A ballpoint pen drawing might eventually end up attached to a kinetic sculpture, or a large scale wall painting could be reborn as a smaller but more engaging 4"x 6" photograph. This rejection of familiar models of artistic production are part of what gives Dunlap's work it's strength, but it's his unique touch as a draftsman and inventive use of text and image that really animates his practice. Experiencing a room full of Dunlap's delicately rendered drawings and obsessively reworked passages of text is like following a well-worn path up an old wooden staircase. You feel at the same time comforted and humbled; many other people have gone this way before you. Gift to ICON from the Artist.

LUCAS BLOK                                                                        3. American UNTITLED 1994 Acrylic on canva s, 48 x 60" My paintings have developed from the delight of exploring and learning about the why and how of my visual and emotional world. I have chosen to work with the unique human experience of color. I am fascinated by our ability to take the energy from sunlight and convert it into a process that can become an esthetic, informative, and spiritual experience. —Lucas Blok Loaned to ICON from a Private Collection.

CHARLES HENRY CHAPIN 20. American, 1831–1899 CATSKILL LAKE ca. 1870-80s Oil on canvas, 11.5 x 21” image, 19.5 x 29” frame Chapin was best known for his dramatic landscape paintings. He is part of the second generation of Hudson River School painters, and is best known for his sensitively composed and quietly dramatic landscape paintings. The present work places him squarely with the Luminist painters, who sought to convey soft and serene qualities of light in the landscape. During the American Civil War, Chapin was an illustrator for Harper’s Weekly, working mostly in pen and ink. He travelled extensively from New York to New Orleans and the Far West, leading the life of an itinerant illustrator, art teacher, and painter of portraits and landscapes in oil and watercolor. Collection of Charles Hall