This exhibition marks a returning to my first love - figure drawing. In  August 1975 I began teaching drawing in the Department of Fine Arts at the University of Louisville with a special emphasis on figure drawing.  Over the next forty-two years I worked with hundreds of students, scores of models, and set up innumerable poses ranging from the simple and straight-forward to complex or unusual scenes to inspire students and models alike. 

Once I was primarily a figurative artist myself. With the exception of my very first semester, my classes always took place Monday through Thursday.  Fridays were set aside for me to work on my artwork.  Many of these Fridays revolved around hiring a model for a three-hour drawing session in the empty drawing studios on campus.   

James Grubola - The Friday Sessions: “Prelude to a Pose” III
silverpoint 9.5 x 12
James Grubola - The Friday Sessions: “Prelude to a Pose” III silverpoint 9.5 x 12

After the pose has been set, my figure drawings all begin the same.  Working life-size (or slightly smaller to fit the full figure on the page) I begin by marking the limits of the body on the page with an empty hand.  Just as a ballet dancer “marks” steps in a combination through a series hand gestures to help make a muscle memory, I move over the page trying to visualize key landmarks and measuring distances with my hand creating a muscle memory between my hand and eye of figure before me and the graphic construction to come.  When I finally pick up graphite my first marks make visible these usually anatomical, cardinal points.  Once this gesture locates the key structural lines and positions the figure on the page, the process turns to “fleshing” out the shapes, adding volume and form.

James Grubola - The Friday Sessions: Sunburn Feet graphite 35 x 45
James Grubola - The Friday Sessions: Sunburn Feet graphite 35 x 45

After that first mark violates the blank paper, each drawing reflects my struggle between the image and the drawing itself. For me observational drawing involves subject and object, perception and representation, the hand and body, and most importantly the eye and the mind. Drawing can be the least encumbered and the most intimate of media, but drawing also demands the full attention of the artist and the viewer.  It has been called the diary of the hand because it records the slightest changes of pressure; whether the mark is assured or tentative, made quickly or with slow determination. 

About the artist

James Grubola joined the Department of Fine Arts and the completing his MFA at Indiana University Bloomington where he worked with Distinguished Professor Rudy Pozzatti. A native Detroiter, Grubola earned his BFA from Wayne State University in both printmaking and drawing.

It was during this time that Grubola first began work with the medieval drawing technique of silverpoint. Although he continues to work in a number of different media and techniques including printmaking, his true passion over the years has been for drawing. 

Grubola has maintained an active exhibition record highlighted by several one and two person exhibitions including “30 Years of Silverpoint Drawing” at Nazareth Gallery in Nazareth,  Kentucky and “Lines on the Landscape” an exhibition in the University’s Hite Galleries / Belknap  and a one-person show and artist-in-residency at the Evansville Museum of Art and Science.  Grubola’s work has also been exhibited in numerous invitational and traveling exhibitions and represented in the permanent collections of the Speed Art Museum, and the Indianapolis Museum of Art, and corporate collections of Bristol Myers Squibb, Eastman Kodak, and McGraw Hill Inc.

In 2015 he was named Distinguished Teaching Professor at the University of Louisville.  Grubola also served as Chair of the Department of Fine Arts and Director of the Hite Art Institute for 17 years. 

James Grubola: "The Friday (and Thursday) Sessions"

January 19th - February 24th 2018

Cressman Center for Visual Art

Hite Art Institute, University of Louisville

sitting women pose 1000


Graphite drawings - clear  finish
Graphite drawings - clear finish
Silverpoint drawings - pickled white finish
Silverpoint drawings - pickled white finish


Profile: 101
Type: Floating Gallery Frame
Wood & Finish: maple frame with clear finish and pickled white finish
Custom wood spacer: 1/2" wood frame spacer
Purchasing Option: unjoined wood frame cut to size with wedges
Framing Advice: joining gallery frames
Framing Advice: fitting gallery frames


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About the exhibition
"I am interested in the interaction of color, space and memory – both from a perspective of the artist’s process as well as from the viewer’s active interaction with a finished piece.  My art originates in my interest of the day-to-day experiences influenced by color, pattern and space, and how this is recorded in memory. Lace and craft doilies of family heritage serve as a vantage point for my work.  These compositions become transformed into a deeper temporal and psychological space through the complex layering of the intricate patterns and how they interact with light and shadow.
I choose monotypes mixed with traditional painting methods because of the intimate interactions that arise as they build and change - many times out of my control – forcing me to act and react. In my process, thought is overcome by an impulsive, subconscious interaction. What develops is from the psyche, leading often to layered and oppositional fields of color. Collectively, these layers are refined into the essential ingredients of a moment in space and time."

​—AMY SANDS, 2018

Amy Sands RevolutionXXXVI monoprint, serigraphy and laser cut on layered kozo 1/1 2017

Amy Sands "RevolutionXXXVI" monoprint, serigraphy and laser cut on layered kozo 1/1 2017

Amy Sands Revolution "Hope" XXXI monoprint, serigraphy and laser cut on layered kozo 1/1 2017

Amy Sands "Revolution:Hope" monoprint, serigraphy on layered kozo 1/1 2017

Amy Sands "Revolution XXX1X" Monoprint, Serigraphy. laser cut on layered kozo 1/1 2018

Amy Sands "Revolution XXXIX" monoprint, serigraphy. laser cut on layered kozo 1/1 2018

About the artist

Amy Sands has exhibited her work in solo and group shows both nationally and internationally, including: Prints Tokyo 2012, Tokyo Metropolitan Art Museum; 8th International Printmaking Biennial of Douro, Portugal, 2016; the 2003 Madrid International Print Fair, Madrid, Spain (Estampa) and the 2016 Delta National Small Prints exhibition at the Bradbury Museum in Jonesboro, Arkansas. She has received a first place award for her work at the 57th Midwestern Invitational at the Rourke Art Museum in 2016, and a juror’s award at the 2013 MAPC Juried Members Exhibition at the McDonough Museum of Art, Youngstown, OH.  Sands’ work belongs in the permanent collections of the New York Public Library, Montefiore Hospital, Pratt Institute, Manhattan Graphics Center, Metropolitan State University, Buena Vista University, Central Lakes College as well as many private parties. Sands is currently Assistant Professor at Metropolitan State University and is represented by Muriel Guépin Gallery in New York City.

Amy Sands Exhibition at Rourke Art Museum 1/19/18- 2/18/18
Amy Sands Exhibition at Rourke Art Museum 1/19/18- 2/18/18

Amy Sands: Portal

January 19, 2018 - February 18, 2018

The Rourke Art Museum

Moorhead, MN




Profile: 106
Type: Standard Gallery Frame
Wood & Finish: maple frame with white opaque finish
Purchasing Option: joined wood frame
Strainer: 1/2" wood strainer

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There is a word in Portuguese, “Sentido”, that has to do with experiencing things with all one’s senses.  Not just to transfer what you have seen….but to use all your senses to record the place or object.  That is what my work is about.

When I go into the Amazon for instance, I take pictures, make small watercolor drawings, write down not only what I see, but also what I smell, hear and feel under my feet. I remember what it was like to touch something. I record all these experiences. But I never work there. The time is devoted only to recording ideas and feelings. I then return to the studio in Healdsburg, print out the photos, go through my notes and start to record not only what I could see, but what I knew to be true about the place.  I hope the work translates that about the object or place; which I feel is much more important than getting it exactly right visually.

Bob Nugent

“Jardim Inhotim 23” 
2017, Oil on linen
72 x 72 inches

Bob Nugent, “Jardim Inhotim 23” 2017, Oil on linen, 72" x 72" 

“Tawadi I”
Oil on canvas 
95 x 70 inches

Bob Nugent “Tawadi I”, 2017, Oil on canvas, 95" x 70"

“Tawadi II”
Oil on linen
70 x 50 inches

Bob Nugent,“Tawadi II”, 2017, Oil on linen, 70" x 50"

About the artist

My work refers to Brazilian travels, specifically along the Amazon River Basin. Naturalistic forms resembling beehives, vertebrae, cocoons, anthills, plant forms and insects are spread across the surface of the work. My palette is often subdued beneath a layer of darkness, suggesting mystery. The work transcribes a memory of objects and impressions of what was seen and felt.

Brazil and the Amazon River Basin have been the subject and inspiration for my work for more than thirty years. Visiting the region now two to three times a year I find that the landscape has many moods. The Amazon River is an apt metaphor for the act of churning up remembered objects and sights, gathered while traveling along its rough course. In its flow, the river boils an object to the surface only to swallow it up again to resurface later. These impressions are a memory of the river bound on both sides by a high, dark jungle; foreboding and beautiful. If it takes you in, it takes you in whole.

Bob Nugent received his Master of Fine Arts Degree in Painting from the University of California, Santa Barbara in 1971. Since that time he has been awarded numerous grants and fellowships including a Tiffany Foundation Fellowship, NEA Fellowship, Fulbright Travel Grant and a California Arts Council Grant for his work in Brazil. Bob has had over 100 solo exhibitions and has been included in over 600 group exhibitions throughout the United States, Europe, Asia, and South America.



January 13 - February 13, 2018

Erickson Fine Art

Healdsburg, California

Nugent Opening 5-Edit

Framing Specifications



Deep Floating Profile: 121
Type: floating frame for 1-1/2" deep painting
Wood & Finish: unfinished ash frame with black interior
Purchasing Option: unjoined frame cut to size with wedges
Framing Advice: Joining Wood Frames with wedges
Framing Advice: Fitting Floating Frames

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