Prairie Center of the Arts Alumni Invitational

2019 Alumni Invitational Exhibition
August 10 - September 13
 OPENING RECEPTION: August 10, 6:00 - 9:00 PM
1506 SW Washington Sreet, Peoria, IL 309-657-6767

70+ alumni artists

these 3 pieces are in the exhibit

 MEMOIR: Homage to N.A.M.E. Gallery Chicago 1973 / 2017
acrylic, graphite, paper, 10” x 12.5”, 2019

MEMOIR: POST-IT, 1980 / 2017, acrylic, ink, paper, 10” x 12.5”, 2019

MEMOIR: SCRIBBLE, 1976 / 2017 , acrylic, ink, paper, 10” x 12.5”, 2019

Public Space One benefit art auction

Public Space One in Iowa City
benefit art auction,  Jan. 19-27

Auction benefits PS1 future as well as the artists that have donated work !

auction ended

For availability email

$90 each includes shipping
MEMOIR: PASSAGE ONE, 1975 detail / 1997 detail
Edt. of 40. 11" x 8.5", 2016

MEMOIR: PASSAGE TWO, 1993 detail / 2011
Edt. of 40. 11" x 8.5", 2016

Project Art, University of Iowa Hospital

Project Art

University of Iowa Hospitals and Clinics

SEP 18 - DEC 14, 2017  •  Gallery 2, Level 8

Brought Forth / Reclaimed, acrylic on canvas, 20" x 16",  2011


JUNE 1 - July 4
Visit Anomaly Gallery 6/1 - 7/4
and join us at the opening and closing reception
Call (641) 777-8446.


"Ken Dubin's abstract paintings and prints come from the hidden hypnotic depths of shape shifting frequencies. Recent layered mostly white abstractions consisting of seemingly therapeutic looping and twisting lines reminds one of bandwidths, vortexes, or even the double helix of D.N.A. This creates surfaces which are humming with a calm consistent energy that are all encompassing and soothing. At times these works are directly paired with fragments of the artist's earlier work such as figures, faces, hands, or even skeletons. This juxtaposition of the new and old manages to overlap and link time and the representational archetypes can be seen as symbolizing captured signals which are seemingly adrift all around us". Brad Covington, Anomaly Gallery

MEMOIR: MERCURY, 1968 / 2017, archival ink jet print, acrylic paint, canvas, 2017

MEMOIR: PASSAGE TWO, 1993 / 2017, Archival ink jet print, acrylic paint, graphite, paper, 2017

MEMOIR: LIFE AND LIVING, 1975 / 2017, archival ink jet print, acrylic paint, graphite, paper, 2017

MEMOIR 1968 / 2001, archival ink jet print, 11" x 8.5", 2016

Dennis Kowalski’s embellished or altered photo and colored pencil pieces exemplify the boundless possibilities of geometric and organic doubling similar to the potentiality seen in the fascinating world of fractal algorithms. Snapshots of public urban gathering areas such as subways, plazas, or places of worship are expanded upon through drawing, and patterns begin to bloom and multiply. The artist begins with an identical pair of photos placed side by side and askew in order to help obscure the original subject matter. Then through the act of drawing the artist continues outward creating something akin to a kaleidoscopic hard edged constructivists pattern or an evolving biological formation, reminiscent of something in the process of mitosis or division. Brad Covington, Anomaly Gallery

Brad Covington, Director (L) and Dennis Kowalski (R)

photos: Brad Covington

Dennis Kowalski (R) visits with a guest (L) at opening

Virginia Center For The Creative Arts, 2017

I'm looking forward to my residency at
Grateful to return to VCCA and beautiful Virginia.  
More to come ....

Sculptureworks Ferguson    DEC 9 - DEC 31, 2016
830 South Florissant RoadFerguson, Missouri 63135
opening reception 12/9/16, 5-8

Paul artspace Residency

Residency at Paul Artspace in St. Louis, 10/15-11/30/16

I’m joining images of my older work with those made more recently.
The archival prints ( i’m holding one) always show the older image
as the left panel. The right panel always a more recently made image;
even if the right panel is a painting from say, 10, 20 years ago.
These below, in progress, retain a dimensional quality.
The left panel continues to be an older image made years ago,
but now the right panel is one always made in present studio time.
The form makes reference to that of a book, or tablet, which holds
information. With this work the information becomes autobiographical

my garage studio

The Epson 2200 (2003) still holding up !

(1976 / 2009), archival print abt. 4"x5", 2016

(1978/ 1980's), archival print abt. 4"x5", 2016


Rockford Art Museum (RAM) opens The Rockford Midwestern Biennial
 JUNE 10–SEPT 25, 2016 • OPENS JUNE 10, 7:30–8:30 PM

TABLET, Volume 5, 8"x14", acrylic, ink on paper/canvas, 2015

The exhibition remains on view through Sept. 25 at RAM, located at 711 N. Main St., Rockford. 
Juried by DIALOGUE CHICAGO founding director Sarah Krepp, the 2016 Rockford Midwestern is the
74th presentation of the museum’s survey exhibition of new work by contemporary artists from across the Midwest.


INHERITANCE, Carla Drysdale's new collection of poems

ORIGIN 2011, acrylic paint, graphite on paper, abt .10” x  8”

“Inheritance” by Carla Drysdale wins the Earle Birney Poetry Prize
"The majestic, determined poems in Carla Drysdale’s stunning debut chapbook Inheritance act as a dual lens to art and motherhood. They reflect the thriving childhood of the poet’s sons and also refract their mother’s childhood, demonstrating that what is inherited can both be passed on and reversed. In Drysdale’s poems, the fruit of tenderness is always set inside a rind of candor. She practices a poetics of strength: not only does vigorous language define her poems, but their sheer force of character gives them backbone. Inheritance shines with Drysdale’s craft and passionate intensity." Molly Peacock, Author of Cornucopia and The Second Blush


March 21, 2015 Opening - 7pm
121 12th Street, Des Moines, Iowa

Ken Dubin, Tablet, Volume 5, 2015

In this recent work I’m joining two pieces differently then I have in the past. Previously  sections were butted tightly together visually reading as one work. On their own each of the sections could be seen as different paintings, but bringing them together with some reworking, would allow for the reference of a past and present; a shift from one state to another. The more recent work allows for the same references, though I’m now choosing sections made even decades apart and joining them together in a much looser manner. I think of a book or a tablet that asks to be read.

Benjamin Gardner, Knots, 2015
As an abstract painter, spatial illusion and color are my primary materials.  The Knots are a new series of low-relief paintings on wood panel that emphasize spatial complexity, making it a process to discern the hierarchy of space.  As an archetype the knot has typically been used to describe traditions with sacred bonds; I wish to employ this archetype as a secular symbol of the process of binding and unbinding in my life; a sort of visual thinking about complexity in all of its forms.     

Dennis Kowalski, Aqua Boulder, 2014
One of my main considerations is to connect the common and domestic with the bigger world picture in an attempt to implicate the one with the other. The world and people are full of contradictions, as is my art and while being concerned about ecology and the environment, I often use materials that are synthetic and fake to make a point, but the works also contribute to the mess, thereby implicating me and perhaps most of us.