Dawson received his B.A. degree from the University of California at Santa Cruz and M.A. degree from San Francisco State University. Currently he is an instructor of photography at both San Jose State University and Stanford University. Over the last twenty years, Dawson has been involved in five major photographic projects, which began with the Mono Lake Series in 1979. Dawson has been the recipient of a Visual Artists Fellowship from the National Endowment for the Arts, a Ruttenberg Fellowship from The Friends of Photography, a Dorothea Lange-Paul Taylor Prize from the Center for Documentary Studies at Duke University and several other major grants, fellowships and awards. His works are in the permanent collections of such notable museums as the Museum of Modern Art, the Library of Congress, the National Museum of American Art, Smithsonian Museum, The Center for Creative Photography and the Bibliotheque Nationale, Cabinet des Estampes.
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White Metamorphosis
Me Water
Born in Enger, Germany, in 1961, Udo Noger has exhibited internationally since 1988 with solo exhibitions throughout the United States and Germany and in Canada, Austria, Italy, Switzerland, and Spain. Painting with oil ad acrylic on canvas that is layered and also cut-out, Noger entraps light in his paintings for the purpose of highlighting his compositions and for the abstract rendering of light as a material. As a result, the light in the painting feels luminous as though it is emanating from the forms themselves. From 1981 to 1983 Noger attended Fachhochshule Bielefeld, then maintained studios in Paderborn, Berlin and Spain until 1990. From 1990 to 1992 he worked in Denver, Colorado, and in 1993, in New York, New York, both times on Nixdorf Grants. He lives and works now in Germany and the United States. As the artist develops, he pursues an intensive process of abstraction exploring the monochrome and the interaction of light, colour and space.
Arena Sleeping
Born in Enger, Germany, in 1961, Udo Noger has exhibited internationally since 1988 with solo exhibitions throughout the United States and Germany and in Canada, Austria, Italy, Switzerland, and Spain. Painting with oil ad acrylic on canvas that is layered and also cut-out, Noger entraps light in his paintings for the purpose of highlighting his compositions and for the abstract rendering of light as a material. As a result, the light in the painting feels luminous as though it is emanating from the forms themselves. From 1981 to 1983 Noger attended Fachhochshule Bielefeld, then maintained studios in Paderborn, Berlin and Spain until 1990. From 1990 to 1992 he worked in Denver, Colorado, and in 1993, in New York, New York, both times on Nixdorf Grants. He lives and works now in Germany and the United States. As the artist develops, he pursues an intensive process of abstraction exploring the monochrome and the interaction of light, colour and space.
Seville Oranges
The Poppy Economy
Line Nude Series #1
Ethnic Farce
False Boundary II
Chairman of the Painting/Printmaking department at Kansas City Art Institute, Rosser moved to the United States from South Wales in 1972. Although trained as a painter, he has spent many of his productive years as an artist constructing sculptures and assemblages. However, in 1998 he returned to painting due to an unfortunate mishap in his studio. During a thunderstorm he was trying to make some repairs in his studio and fell from a stepladder. Rosser received a severe concussion and broke his wrist. These injuries put an end to his sculptures and assemblages since he could no longer use his power tools to create these works. In the fall of 1998 he took a year long sabbatical and began focusing on painting once again. During the past couple of years he has produced more than forty paintings. These new paintings are fresh and not overworked, but visually pleasing. He used palette knives, stencils, squeegees and masking tape in lieu of paintbrushes. In False Boundary, Rosser uses an elliptical motif in a repeating fashion that creates a sense of rhythm. The recurring elliptical shapes characterize this series of paintings. However, other paintings just previous to this work have ?tails? on the ellipses. In this painting the ?tails? are gone, but there are now block forms opposite the ellipses. A real sense of movement exists where the artist has dragged the paint quickly across the surface. The colors of the ellipses turn from a black at the top to white at the bottom of the row. An energetic change seems to be at play in this new body of work by Rosser.