Gerburg Garmann, a native of Germany, is a professor of German and French and the assistant dean of Interdisciplinary Programs & Service Learning at the University of Indianapolis. Her scholarly publications appear in English, German and French in international journals. Her poems have appeared in various magazines and anthologies around the world.
As an expat residing in the United States, painting is yet another foreign language for her. It allows for an added layer of aesthetic expression by bringing different artistic and intellectual traditions together. It is a new language, which can be shared by many, verbally and non-verbally. Because paintings (just as other forms of art) provide symbolic as well as real meeting grounds of the spiritual and our day-to-day experiences, they solicit our reaction no matter whether our engagement with the actual piece of art ends up in affection or dislike, in affirmation or disapproval. In the end, all artwork manifests a story. She wants to tell that story -- namely as it reflects the history of women -- in its many iterations.
Her mission is to tell -- over and over -- the often untold stories about women via abstract portraits. Abstracts have the ability to be truer than non-fiction in that they gather traits, thoughts, and experiences into an attractive and meaningful composite. Hers offer an offbeat quality through stark expressionistic imaging. Thus, they are meant to evoke (or rekindle) a wide variety of thoughts and emotions, bear witness, affirm individual experiences, engender discussions, and –at their best-- provide the viewer with both aesthetic pleasure and intellectual challenge.
Her art addresses women and men who want more than a realistic depiction of any given subject. (That’s best left to the photographer.) Instead, she embraces and mirrors the edginess of our existence in her art– that of struggle and achievement, of the surreal in the real, while opening up pictorial spaces for various forms of personal interpretation and enjoyment. Her pieces are one of a kind. They celebrate key existential moments, questions, and insights, while being intentional about bearing specific witness to women’s experiences. At the same time, her artwork memorializes women’s uniqueness within the human fabric.
Her pieces are life-long companions, unique gifts to yourself and those around you who appreciate the confluence of global styles of thought and depiction. In her art, she aims to honor both past and present traditions in the arts, namely as they manifest the interchange of American and European traditions.
Her pieces range in size (from 4x6 to 36x48) and fit a traditional, contemporary, eclectic, residential or corporate environment.
Gerburg Garmann’s main medium is acrylics. Stylistically, she favors Abstract Expressionism. Two of her works, “Eliza’s Bird,” and “Places & Faces” were recently selected for Caladan Gallery’s (Boston) exhibit titled Symbolism in the 21st Century.
Her painting “Nature’s Choreographer” was featured in a subsequent international exhibition ‘The Eye of Nature’ by Caladan Gallery.
From 2006 – 2008, Gerburg Garmann was a resident artist at the Sugar Creek Art Center in Thorntown, Indiana, where over 20 of her paintings were featured as part of her solo exhibition Places and Faces. (July 2007-August 2007)
A new piece entitled “Should The Quintessential Prerequisite of Poetry Be A Window” (Poetry and accompanying artwork) has been featured in the 2010 March edition of the German journal ‘Die Gazette. Das politische Kulturmagazin.’
She recently received a commendation for her poem ‘Eliza’s Bird’ from the British art magazine ‘Aesthetica’.
Her works " Danse Macabre", " “Orange Morning”, “Dancer”, “Klee’s Woman”, “Weites Feld”, “Größenordnung”, “Durchblick”, and “Crazy Chess” are featured in issue 39, 2011 of ‘Dichtungsring’.
“Stepping forward”, “Love IV”, “Song For Her Children”, and “Life’s Essentials” are featured in the 2011 summer issue 13 of ‘Avatar’.
“Ars oblivionalis”, “Aurora”, “Desire”, “The Month of Haymaking”, and “Die Nachtigall 2” are featured in issue 40, 2011 of ‘Dichtungsring’.
“So You Stole My Cherries Too” is featured in the summer 2011 issue of ‘The Midwest Coast Review’.
“Cityscape” has served as the cover of the October 2011 issue of ‘Numinous’.
“Living Quarters” was published in issue 6 (2011) of ‘BRICKrhetoric’.
Her poem “Nocturne” was published in the June 2011 edition of ‘The Criterion’.
Her poem “Evening Hymn” was published in the November 2011 issue of the ‘The Foundling Review’.
Her poem “I am happy to report” was published in the summer 2011 issue (No. 22) of the ‘Tipton Poetry Journal’.
Her poem “Alto Rhapsody” was published in the Fall 2011 issue (No. 5) of the ‘Muddy River Poetry Review’.
Her German translation of Philip Larkin’s poem “Money” was published in the 2011/2012 winter issue of ‘Die Gazette.’
Her artworks “Dream Ticket” and “Reprise” were published in issue 6 2012 of ‘Breakwater Review. A Journal for the Arts.’
Her poem “Go meet them on the Square” was published in the Spring 2012 issue of ‘The Citron Review.’
The following poems and artwork were published in the April 2012 issue of ‘IABLIS – Jahrbuch für europäische Prozesse’:
“Scham schwistert von Zunge zu Aug” (image & text), “Verschämt” (image), “Desavouiert” (text & image), “Schamrot” (image), “Morgenmarsch, trotz alledem” (image), “Des Eiders Kreuzweg” (text & image),“Landgang” (text & image), “Beim Unfug der Wolken”(text & image).
Her poem “Hunt” was published in the May 2012 issue of ‘Extracts’.
Her poems “Swallowed Daylight Whole” and “Souffrance on the Signed Scale” have been published in the 2012 anthology of ‘Poetry Quarterly’.
Her poem “On Fighting Nausea” has been published in the 2012 winter issue of the ‘Tipton Poetry Journal.’
Her translation of Marc Hudson’s poem “Caedmon” appeared in the 2012 June issue of ‘Die Gazette’.
Poetry/Art exhibit “Poetics of Imaging” at the Athens of Indiana Arts Studio and Gallery 7 July 2012 – 11 August 2012.
Multi-Poet-Reading on 11 August 2013, concluding exhibit ‘Poetics of Imaging’ on 11 August 2012 at the Athens Art Gallery, Crawfordsville, IN. Participating poets: Joseph Heithaus, Marc Hudson, JL Kato, Kevin McKelvey, Mary Sexson, and Gerburg Garmann.
Her poems “Foreignness” and “My Little Silverfish” appeared in the September 2012 issue of ‘The Black Herald Press. Literary magazine – Revue de littérature.’ Both poems are featured simultaneously in their French translation by Anne-Sylvie Salzman.
Her artwork “Gothic Dream”, appeared on the back cover of Volume 9, Issue 22 of the ‘Birmingham Arts Journal.’
Her poem “Right Turn” appeared in the August 2012 Issue of the ‘Indian Review’.
Her poem “Revelation on a So So Night” appeared in the December 2012 Issue of ‘The Criterion’.
Her book “Unterwegs, im Kopf” (a collection of 60 poems and 59 accompanying paintings) was published by IGEL Verlag, Hamburg (Germany) in January 2013.
Her poem “Competition” is featured in the March-April 2013 issue of ‘Ragazine’.
She is one of the participating poets in the 2013 Pulitzer Remix Project and will create 30 poems based on James Agee’s ‘A Death in the Family’. One poem daily will be published during April – the Poetry Month.
On April 15, 2013 she gave a poetry reading with Joe Heithaus at noon in the Artsgarden in Indianapolis.
She is Brickstreet Poetry’s featured September 2013 poet.
‘gangway #45’ includes her artwork : ‘Surviving Among Flying Objects’, ‘Rosinante Tholing’, ‘Time Running’, ‘Fierce Universe’, ‘The Taming of Colliding Worlds’, ‘Walking on Pins & Needles’, and ‘Résistance de rigueur’.
Her artwork Autumn, Seriously' is included in the 2013 issue “Wayfarers All” of the ‘American Athenaeum.’
Her artwork “Odalisque” was the December 2013 winner of the Indianapolis Museum of Art’s competition ‘Inspired by Matisse.’
In April 2014, she was one of the featured poets-- along with Marc Hudson and Nik Jones -- at Wabash College for an evening of 'Ekphrasis Poetry Readings.'
Her poem '‘Primal Pleasure of Paint" is published in the March 2014 issue of ‘Blue Lake Review.’
Her translations of Rebecca Watts’ poems “To Guillaume Apollinaire” and “Letter from China” into German appear in the 2014 March issue of ‘Die Gazette. Das politische Kulturmagazin’.
Her poems “Un café sólo” and “Aline” (including the accompanying artwork) appeared in both English and German in the Fall 2014 (No 43) issue of ‘Die Gazette. Das politische Kulturmagazin.’
Her poems “Your adolescent dress cut off just above the knees” and “What if a tree could corrode exactly like metal” appeared in ‘Narrative Northeast’, Issue 2, Winter 2014.
At the 2014 AIS Conference ‘Interdisciplinary Public Problems, the Global Community, and Diversity’ at Michigan State, she presented her research on “Establishing an Integrated Mentoring Program for and Interdisciplinary Studies Program”.
At the 2014 Mentoring Conference ‘Developmental Networks: Mentoring & Coaching at Work’ at the University of Albuquerque, she presented a paper titled “Establishing an Integrated Mentutoring Program at the Undergraduate Level”.
At the 2015 HERA Conference ‘Beyond the Binary’ in San Francisco she chaired the panel ‘Poetic Multiplicities’ and presented a multimedia performance/research piece (research/poetry/painting/composition) titled “Word – Image – Sound: A Multimedia Experience of Friederike Mayröcker’s and Ulla Hahn’s Poetry”.
She delivered the Keynote at the 2015 ISSL – ‘6th International Symposium on Service Learning’ at the University of Indianapolis, IN, titled “Something Bold This Way Comes: The 21st Century Tempest of Curricular Place-making.”
At the same conference, she also presented on “Conceptual Frameworks: Embedding Service Learning into Undergraduate Interdisciplinary Programs.”
In October 2015 she presented her paper '‘Between the Common Good, Goods in Common, and the Greater Good: Stephen Hartke’s Opera 'The Greater Good" at the 37th Annual Association for Interdisciplinary Studies Conference 'Impact for the Common Good’ at Merrimack College.
In February 2016, Narrative Northeast published her poem 'Diva's Post Valentine's Dance', and her accompanying artwork 'The Heart of the Matter.'
In March 2016, she presented her paper 'Now What? Reconceptualizing Modern Language Programs" as part of the ACLA Seminar, "Crisis in the Humanities and Change in Interdisciplinary Practices" at Harvard.
Wilderness House Literary Review published her piece 'Barn Window' in November 2016: https://www.whlreview.com/no-11.3/art/GerburgGarmann.pdf
Birmingham Arts Journal published her piece 'Dreaming of Birds' in Volume 13/Issue 3, 2016.
Cardinal Sins included her piece 'Amélie' in the journal's Fall 2016 issue.
In December 2016, she participated in a BrickStreet poetry reading at Athens Arts in Crawfordsville.
She organized the first and second interdisciplinary conferences 'Cross-Pollination(s) 1 -- All That Jazz' (2015) and 'Cross-Pollination(s)2 -- Interdisciplinary Perspectives on Diversity' (2017) at the University of Indianapolis. As part of the second conference she gave a paper titled 'The Political Beauty of Design' and facilitated the following panels: 'Challenges and Benefits of Diversity in the Workplace: Observations by Staff and Students,' and 'Multilingualism and Diversity – A Student’s Perspective.'
At the 2017 HERA conference she co-presented with Dr. Paul Levesque on 'Global Visions, Local Dance: From Dance Theater to Dancing Pixels. The Art of Pina Bausch and Adrien M. and Claire B.'
She was elected to the HERA Board in 2017.
Her co-authored presentation (with Dr. Paul Levesque) 'SHUTTLE DIPLOMACY: Building Alliances between the Practices of Listening, Speaking, Anchoring, and Performing Diversity in a Service-Learning Setting' was accepted for the 2017 ISSL conference in Galway, Ireland.
Athens Arts Gallery, Crawfordsville, currently features her most recent work in a solo show titled 'Face-to-Face' from 29 April - 11 June, 2017.
The Birmingham Arts Journal featured her piece:
"Calling the Birds" in 4-2017 volume 14 # 1.
In April 2018, she presented at the Humanities Education and Research Association's (HERA) conference in Chicago: "When the Humanities Are Suffering from "Humanititis" -- Professional Dis-Ease as Its Own Remedy."
In July 2018, she will conduct a workshop titled "Movement, interaction, play: Three paintings as embodiments of empathy, conversation and entrainment in motion" as part of the international conference 'Movement. Brain. Body. Cognition' at Harvard.
The following artwork and poetry is forthcoming in 2018:
"Pandemonium and other pieces" in 'Glassworks.' (Fall 2018 issue)
"Slinking over, again, to a Bowl of Luck" in 'The Bookends Review.'
"Conversations about Dance" in 'Abstract: Contemporary Expressions - Fine Art Images.'
"Reptile Dancer behind Wire Fence" in 'Toe Good.'
"Sequenzen" and "Zeitbares" in 'Die Gazette -Das politische Kulturmagazin, München, Germany.
Athens Arts Gallery and IVY Tech in Crawfordsville, Indiana, currently feature a variety of her paintings.
Her paintings are collected locally and internationally.
Gerburg Garmann accepts commissions.
To view more of her paintings, please visit:
University of Giessen, Germany,
Assistant Dean, Interdisciplinary Studies & Service Learning
- Abstract Expressionism
- Modern Languages