The Art Center
Consolidated Information Center
2770 Crimson Way, Room 102
Richland, WA 99354-1674
Hours of Operation
12 to 6 p.m., Monday – Thursday
(and by appointment) Admission is free.
WSU Fine Arts- 2020 Faculty Exhibition
Exhibit length: January 17, 2020-February 28, 2020 | Open during gallery hours Grand Opening Event: January 31| 5pm-7pm
Light refreshments will be provided. Come see the exhibit and meet its creators!
Join us on the WSU Tri-Cities campus for WSU Fine Arts 2020 Faculty Exhibition at the Art Center. On January 31, from 5:00 to 7 p.m. at the Art Center, bring your favorite people to be inspired by WSU’s very own Fine Art Faculty.
Visiting the Art Center is simple, located in the Consolidated Information Center building(CIC 102) , the Art Center is free to everyone and open Monday–Friday, 8:00 a.m. to 6:00 p.m.
We welcome you to share exhibitions and events with friends, colleagues, and family by tagging @WSUTCArtCenter on social media in celebration of your support and to encourage others to do the same.
A Pink Scaffold in the Great Rann (Kutch, India),
Dec 2019 – Jan 2020 (A video documentation)
A Pink Scaffold in the Great Rann, is the third iteration of the ‘Scaffold Series’. In this installation, a scaffold, a man-made utilitarian structure is transformed into an object of beauty through the color pink and the location of the salt desert, thus ceasing to be an object of function.
Half Empty, ceramic and plexiglass
Pieces, oil and acrylic on canvas
These works are part of an installation project that explores perceptions of reality, work, and the lifetimes of objects.
Left of Centre Mission, Circa 2000, Xerographic Print, 2000
Sena Clara Creston
The Willow of the Waste, 8’x8’x8’,
Water Bottles, Walmart Bags, Plastic, LEDs, Metal, Wood, Electronics, 2020
The Willow of the Waste is an interactive installation built with a WSU mechanical engineering senior design team and electrical engineers from the Robotics Club designed to harnesses the contemplative feeling people get while immersed in a dependable rhythmic environment while alluding to the human tendency to control nature with progress.
Humanisacpes, Series of 12”x12” Archival Digital Prints, 2019
Humaniscapes explores unintentional collaborations between humans and their environment.
Confluences, Series of 6 Archival Pigment Prints, 24”x36”, 2010-Present
Confluences engages with regional western spaces, in order negotiate issues focused around water rights, land use, human rights, and environmental degradation
American Photographs, Series of 12 Archival Digital Prints, 13”x19”
American Photographs is the result of both cross-cultural observation and cultural projection. I regard it as a type of map. Included in the map are prints made up of facts and fictions. These include photographs of people, the places, dates, and times they were encountered, and their names and subsequent stories.
Polar No. 31, Assemblage, 30″x30″, 2015
Island Hoping, Oil on Panel with Digital Image on Digital Device
My work combines representational painting with digital devices to explore specific challenges of the digital age. These challenges include the dangers of climate change, algorithmically mediated decision-making, and fleeting human attention.
The Light, Acrylic and Spray Paint on Canvas, 24” x 20”, 2019
David Janssen Jr. uses painting to explore the internet’s isolating and unifying potential. His works are made with found text from social media, irrelevant comments, confessions, and connections offered in a space that is often scrolled past and ignored.
Welcome: Home, Cast Iron, 16″x28″, 2010
Welcome: Home belongs to a series of work, titled 24 Hour Welcome, in which a clay welcome mat was carefully crafted and, while the clay was still soft, placed in front of a doorway to collect activity as people and objects move from space to space. This welcome mat was placed at the front door of the artist’s home for 24 hours. The design of the mat comes directly from an inexpensive, mass-produced, rubber welcome mat, meant to imitate cast iron. Rather than imitate a material, the artist chose to make molds of the walked-over clay welcome mats and actually, and ironically, cast them in iron. The rust that accumulates and degrades the surface detail and collected information, serves as a powerful metaphor for the artist’s physical memory of the 24 hours in which the welcome mat sat at his front door.
He Makes Him Laugh, Media on Paper and Wood, 2020
This work is an accumulation of drawings from a 2019. A contemplation on developing my own tai-chi by summoning the perspective of many individuals in an army. Inner tai-chi by a beginner.
K01: Material Planes, Painting/Sculpture Assemblage
This work explores how space is perceived and how our understanding of planes are relative to our relationship with gravity.
Washington <—–> Washington 2.0
An interactive installation connecting Tri-Cities to Pullman campus.
Participants in the WSU Tri-Cities gallery can view and control a robot situated at WSU Pullman via a projection, networked cameras, sensors and software.
June T Sanders
Untitled(glass) and Dylan
From the series, Some Place Not Yet Here
Archival Inkjet Prints, 24”x30
Some Place Not Yet Here, an ongoing collection of photographs that reflect ephemeral moments of intimacy, pain, pleasure, communion, and emotional exchange.
Adulation (roadkill) is an over-the-top homage to the unfortunate avian victim of a rural hit and run.
The WSU Tri-Cities Art Center proudly invites visitors to experience multiple, enlightening exhibitions from local, regional, and national artists each year. With a wide variety of art installations, paintings, photography, and sculptures, this is a destination at WSU Tri-Cities you won’t want to miss.