Exhibitions Archive 1990 – 1999

The Beaver College Art Gallery is pleased to present its biennial “Works on Paper” exhibition, a juried show this year featuring 31 area artists, from September 9 through October 24, 1999. This year’s exhibition was selected by James Elaine, Artist and Curator of Contemporary Projects, UCLA Hammer Museum, (formerly Curator of Contemporary Exhibitions/Viewing Program Coordinator, The Drawing Center, New York).  

The exhibition opens with a reception on Tuesday, September 14 at 6:30 PM beginning with a lecture by Museum of Modern Art Department of Drawing Curator Laura Hoptman to be presented at Beaver’s Stiteler Auditorium, directly adjacent to the gallery.  

Elaine chose 34 works from 710 entries submitted by a record total of 371 regional artists. The artists–both emerging and established–are Susan Arthur, Joe Begonia, Matt Bergen, Randy Bolton, Marina Borker, Astrid Bowlby, Mark Campbell, Geoffrey DeMasi, Kevin Finklea, Alan Goldstein, Richard Harrod, Joseph Ives, Leroy Johnson, Brad Kalin (North Wales), David Kettner (Melrose Park), Deborah Kogan (Wyndmoor), Rodger LaPelle, Joanne Maynard (Doylestown), Jeremiah Misfeldt, Joseph Moser (Oreland), Steve Riedell, Scott Rigby, Paco Rodriguez, Judith Taylor, Geri Tuckett, Buy Shaver, Nancy Sophy, Kevin Strickland, Anne Seidman, Matt Wine (Melrose Park), Barbara Woodall and Base Kamp–a collaborative, not-for-profit studio/gallery run by David Dempewolf, Justine Matherly, Scott Rigby. (Unless otherwise indicated, all the artists listed reside in Philadelphia.)

Beaver’s “Works on Paper” exhibition remains one of the few juried shows in the area selected from actual artworks, as opposed to 35mm slides. This year’s show, while presenting a range of media–including photography, collage, and text-based conceptual projects–celebrates the formal economy of drawing and the virtues of paper as material support. Examples of interest include David Kettner’s graphic analysis of a child’s depiction of his father, spectral abstractions in oilstick and walnut oil by Alan Goldstein and Nancy Sophy, Steve Riedell’s spiralling discs of collaged song lyrics, and Joe Begonia’s graphite abstractions inspired by loudspeaker designs. A nocturnal, 

suburban malaise emerges as the theme of works by Susan Arthur, Matt Bergen, and Mark Campbell. Base Kamp’s Failed Attempt at Shameless Self Promotion is a topical exercise documenting the artists’ ironic and exploitative encounters with Vito Acconci, Kiki Smith, and Sol LeWitt at recent Philadelphia receptions for these “famous artists.”                                                                                      

Laura Hoptman’s lecture will place Beaver’s “Works on Paper” show in a broader, contemporary context. Scheduled to begin at 6:30 PM on September 14th in Stiteler Auditorium, it is entitled “Drawing is a Noun: Working on Paper Today” and will address those factors Hoptman believes distinguish current drawing from work made as recently as 15 years ago. Hoptman’s curatorial endeavors at MoMA include “Sight Gags: Grotesque, Caricature, and Wit in Modern and Contemporary Drawing,” “Drawing on Chance,” and highly acclaimed shows for MoMA’s “Projects” series featuring Maurizio Cattelan, John Currin, Elizabeth Peyton, and Luc Tuymans.   

A public reception for the participating artists will commence in the gallery immediately following the lecture.

Over the course of the exhibition, over $1,200 in cash will be awarded to five participating artists, including the Mildred Bougher Award ($500) and the Beaver College purchase award ($300). In addition, the Philadelphia Museum of Art will select a work for consideration for its permanent collection. All exhibiting artists also become eligible for inclusion in the gallery’s biennial “Closer Look” series. These group shows–each selected by an independent regional curator–feature 3 to 5 artists in greater depth while highlighting thematic relationships among their works.

The 1999 “Works on Paper” exhibition is supported by grants from the Samuel S. Fels Fund, the Pennsylvania Council on the Arts, and the Friends and Advisory Board of Beaver College Art Gallery.

Beaver College Art Gallery is pleased to present “Painting Pictures–rendering the [photo]real,” a group exhibition of works by Matthew Antezzo, Judie Bamber,  Peter Cain, Marilyn Minter, Mary Murphy, Richard Phillips, Paul Winstanley, and Kevin Wolff. Exploring the use of photographs as subjects for contemporary paintings, the exhibition will be on view from February 20 through March 21, 1999.  Educational events include a gallery talk by exhibition curator, Richard Torchia, scheduled for Thursday, February 25 at 12:15 PM in the art gallery, and a lecture by participating artist, Indianapolis-based painter Kevin Wolff on Thursday March 4, at 6:30 PM in the Stiteler Auditorium, Murphy Hall. Wolff’s lecture will be followed immediately by a public reception in the Art Gallery.

“Painting Pictures” presents fourteen paintings on canvas, aluminum, wood, and paper that consciously employ photographs as their subjects in the literal, often labor-intensive manner of “photorealism” but with a range of intentions, procedures, and effects that would have been unlikely in 1970 when this term was first used to name the work of painters Richard Estes, Robert Bechtle and others. The practice of realistically transcribing photographs into paint on canvas, sometimes disparaged as a conservative derivation of pop art driven by a numbing technique, has nevertheless persisted into the 1990s. Spurred, perhaps, by the current reconsideration of seventies culture, in the past five years the word “photorealist” has been difficult to suppress as an effective term to describe the work of numerous critically acclaimed painters. 

The exhibition serves as a way to mark the current impact of photography on painting, as well as to index critical shifts in both practices over the past thirty years. Works by Peter Cain (1959-1998), Kevin Wolff (Indianapolis) and Paul Winstanley (Great Britain) demonstrate photography’s new role as a highly adaptable source of both verisimilitude and abstraction. Mary Murphy (Philadelphia) and Judie Bamber (Los Angeles), use photos as a way to make an almost tactile, visceral contact with the recent past or as a method of mitigating personal loss. In the work of New York-based artist Matthew Antezzo, the material transformation from print to paint unleashes ideological and psychological content only latent in the original photographs.  Other works in the exhibition demonstrate the lessons of 1980s appropriation art (Richard Phillips) the contemporary resurgence of figuration (Marilyn Minter), and the cultural primacy of painting despite the ubiquitous presence of photography within the mass media.

The exhibition is funded by grants from the Arcadia Foundation, the Pennsylvania Council on the Arts, and the Advisory Board and Friends of the Beaver College Art Gallery.  

Since 1993 Matthew Antezzo has been basing his large-scale, grisaille paintings on photographs documenting performances and installations from the late 1960s and early 1970s. He selects works such Maggie Lowe’s Explosion  (in which the artist detonated a pair of Hostess “Snoballs”) and whose existence is entirely dependent on its having been published in an art magazine (in this case, Art in America., Jan-Feb 1971,  also the title of the work).  While Antezzo’s translation of Lowe’s convention-challenging performance into an heroically scaled oil painting is not without its irony, his canvas strives to rescue an ephemeral gesture from certain cultural amnesia. Antezzo’s work can thus be read as an act of affection, if not for Lowe’s work in particular, for the epoch of radical experimentation for which it is emblematic.  

Photographs from 1960s/70s publications also provide the sources for the recent paintings of Richard Phillips. These large-scale canvases, several of which were included in 1997 Whitney Biennial, typically depict the close-cropped faces of fashion models rendered at billboard scale and in a manner that equates the sensuous reality of oil paint on linen with the artifice of cosmetic beauty. In Transfixed, the model’s head is enveloped in a shadow of deep purple pierced by a vignetted spotlight that transforms her face into a blank mask blinded by glamour. 

Phillips’ indulgence in the surface of painting as analog for the superficial allure perpetrated by the fashion industry becomes the target of works by Marilyn Minter. The two enamel paintings on aluminum eschew her signature, Ab-Ex “drips” in an effort to exploit the fetishism of what Minter recently referred to as “photo-shop realism.” Based on photos she scans into a computer, digitally alters, and then transcribes into shiny paintings on metal panels, often applying the enamel with her own fingertips, works such as Finger Toes Study expose forms of horror that can lie beneath glamour’s thin veil. In this tightly cropped collage, Minter seamlessly joins a hyper-real image of a glossy fingernail with a similarly cropped detail of a frosted toenail, suggesting that model’s hand has been monstrously deformed.

Judie Bamber employs her technical virtuosity to both ideological and personal ends. Her Untitled #1 is a life sized, tightly cropped close-up of female genitals. Scrupulously painted in oil on a piece of wood 6” x 1 3/4”  x 2”, the work has an object-like (even phallic) presence that reverses Freudian readings of “female lack.” Based on a photograph, its extended sense of time and focused looking transcend the limits of camera vision and subvert taboos in viewers male and female, gay and straight. Bamber is also represented by two 10” x 14” watercolors of meticulously rendered photographs of her father (who died as a young man while she was still a child). A sunstruck black and white beach portrait (from 1966) and a flash-filled side-view of her father typing (based on a photo taken three years later and printed after his death) stubbornly record every nuance of the faded, original prints.  Despite their fidelity to the snapshots, Bamber’s watercolors possess an elusive clumsiness that sidesteps sentimentality while subtly asserting her felt presence.

Mary Murphy has also cultivated a crafted approach to transcribing family photographs into psychologically charged paintings.  Recognized in Philadelphia for her abstract paintings of interwoven, painted bands, in recent years Murphy has applied her fascination with the grid as image to the grid as an instrument of depiction. Mom, Dad, Maureen and Me translates a detail of a group portrait into a mosaic of 1200 one inch square gray tones, each loosely brushed and smudged into the next. The resulting distortion of detail accentuates facial features and anomalies, while alluding to the struggle of preserving identity within the often unspoken and repressive structures of family dynamics. 

Indianapolis based artist Kevin Wolff is represented by two canvases that relate directly to his series of paintings of reflections exhibited in the 1993 Whitney Biennial.  In Wall, False Hole, Mirror, Wolff depicts a photograph he took of a circle of black paper affixed to a mirror (unfocused) and a found photograph of an interior (beyond the mirror) into which a real hole has been cut. Mourning Picture represents a clipping (from a Spanish rock magazine) of two young men attached to a mirror tilted at an angle beyond which an inverted bouquet of roses hangs. One of the men, flattened and distorted by foreshortening, directs his eyes at the other, whose head has been cut out in a flower-shaped flap that hinges forward, parallel to the picture plane, his face and the scalloped edges that frame it sharply in focus. Both paintings’ play of gazes, reflections, and multiple methods of representing space suggest the baroque reflexivity of Valesquez’ Las Meninas, a work critic Hal Foster has suggested as a paradigm of photorealist practice.

Engaging cerebral puzzles are also posed by a pair of Los Angeles streetscapes by Peter Cain. Mobil and Glendale Boulevard might suggest the obsessive chaos of Richard Estes’ urban views were it not for Cain’s looser brushwork and suppression of all the usual commercial signage from these images of a gas station and convenience store. Devoid of the text and logos they would normally support, the blank display panels and banners assume an air of eerie expectation as they  become more perfectly “new” again–as if they were models of themselves, uncompromised by actual application in the real world. Cain’s cityscapes participate in an unexpected dialogue not only with Edward Hopper but with Hans Hoffman and late Mondrian. Vacant of figures,they suggest a world customized for cars–the subjects of Cain’s earlier paintings (exhibited at the 1993 and 1995 Whitney Biennials) that earned him a cult following before his untimely death of a cerebral hemorrhage in 1997 at the age 37.

The deadpan depiction of cars, trucks, commercial graphics, and urban textures–glossy or gritty–attracted many of the original photorealists. This preoccupation with surfaces had more to do with the formal, pictorial, and illusionistic possibilities inherent in the appearance of these subjects than with any impulse toward critique or transformation. In a pair of 1989 paintings depicting the walls of a graffiti emblazoned underpass, London-based painter PAUL WINSTANELY demonstrates how the same, grungy urban subjects might be redeemed by the similar techniques. Rendered in foreshortened perspective, the cropped details of opposing walls, certain details obliterated by a blinding light at the terminus just past the frame, the uninflected pristine surfaces of these canvases imitate the texture of air brush–the very medium depicted in the painted image. The quotidian is rendered as a shimmering passage to the infinite.      

Funded by the Arcadia Foundation, the Pennsylvania Council on the Arts, and the Advisory Board and Friends of the Beaver College Art Gallery.

The Beaver College Art Gallery is pleased to present “Not the old, not the new, but the necessary,” an exhibition of sculpture, photographs and video by artist Paul Ramírez-Jonas on view from November 11 through December 17, 1998. Titled after a 1920 revolutionary slogan crafted by Russian constructivist Vladimir Tatlin, the show is a compact survey of works by this New York-based Latin American sculptor and chronicles his nostalgia for technological failures and utopian ideals brought down to earth and into the light of the everyday. Among the earliest works included are examples from Heavier Than Air (1993-95).

For this project Ramírez Jonas used white cotton fabric and wood slats to construct replicas of late-19th century “flying machines” developed by inventors such as Alexander Graham Bell, Lawrence Hargrave, Walter Brooks and others – all of whom were left in the dust by the Wright Brothers. Ramírez-Jonas equipped each of these kites with disposable cameras (triggered by mechanical alarm clocks), which, when flown off New York’s Robert Moses beach, snapped aerial views of the shore. Each of the resulting prints depicts a length of colored string stretching from the base of the airborne kite (just out of the picture frame) to a tiny figure below – Ramírez-Jonas clutching the other end of the tether. Objective proof of the flight of each craft, these dizzying, vertiginous images also capture the romance of invention despite the artist’s patent awareness of the impossibility of recreating history. This sense of exploration at a commonplace frontier is especially apparent in a projected videotape from 1997 entitled A Longer Day. Charged with the Einsteinian possibility of using speed to stretch time, this deceptively straightforward work is driven by a mind-over-matter aesthetic and the myth of “westward expansion.”

Leaving his New York studio at sunrise with his video camera pointing directly out his windshield, Ramírez-Jonas drove due west with the express purpose of taping the sunset (midway through Indiana), which he prolonged and repeated by traveling slightly faster than the speed limit. This optimistic work is paired with Red Ball (1997), a 73”-diameter slice of the top of what would be a 40-foot diameter rubber sphere. Standing on this silicon mound, we are reminded of the curvature of the earth. This natural fact – effectively camouflaged by the scale of our planet – is responsible for a host of persistent phenomena that form the core of many of the artist’s projects, A Longer Day notwithstanding.

The most recent work in the exhibition, “Not the old, not the new, but the necessary” (1998), is a reinterpretation of Tatlin’s 1919 Monument to the Third International. This triptych of color photographs depicts three views of a Babel-like tower of studio paraphernalia – a sculpture stand, various chairs, an LP of salsa music, an electric fan, plastic buckets, a text on Proust, a jar of water, etc., illuminated only by the headlight of a toy locomotive speeding up and down the pile on a moebius-like track. Taken with 20-minute exposures, these photographs render the circuit of the train as a perfect double spiral, a form whose mathematical precision contrasts sharply with the quotidian chaos of the ad hoc structure that supports it. The work becomes a reminder of the paradoxes that distinguish Tatlin’s Monument, a tower whose technological idealism guaranteed its practical failure but ensured its potency as a symbol of international socialism. Ramírez-Jonas’ pragmatic reiteration, like all of the artist’s works, is fueled by a lucid, do-it-your-selfer’s sense of purpose and immediacy. Writing about the pieces he has selected for this exhibition, the artist remarks that the works look both forward and backward in time with a sense of wonder and joy that embraces the constancy of the physical world. The pieces also suggest that human endeavors are part of that constancy as well. They offer a utopian vision not of a better tomorrow, but simply of a present that will always have a tomorrow and a yesterday. Ramírez-Jonas was born in Los Angeles in 1965, and was raised in Honduras. He moved back to the United States in 1985 to attend Brown University. He received his MFA from the Rhode Island School of Design in 1989 and moved to New York later the same year. In addition to three solo exhibitions at Postmasters Gallery in New York (in 1994, ‘96, and ‘97), and London’s White Cube (1994), his recent efforts include projects at Rojer Björkholmen Galleri (Stokholm, Sweden), and Studio Guenzani (Milan). He is currently preparing a large-scale clockwork performance for the city of Utrecht, Holland that premiers this spring.

The exhibition will be accompanied by “Anything but the Present,” an illustrated conversation between the artist and Kirby Gookin (art historian, critic and curator) scheduled directly prior to the opening reception on Wednesday, November 11 at 6:30 PM in Stiteler Auditorium, Murphy Hall, on the Beaver College Campus.

The exhibition and lecture are funded by the Arcadia Foundation, the Pennsylvania Council on the Arts, and the Friends and Advisory Board of the Beaver College Art Gallery.

Installation view, “Period Room: A Project by Amy Hauft,” Beaver College Art Gallery

Juror: Mark Rosenthal, Curator, The Solomon R. Guggenheim Museum, New York City, New York.

Participating Artists

Anthe, Jennifer Baker, Pay Boyer, Charles Burwell, Yane Calovski, Mark Campbell, Pete Checchia, Susan Crowder, Susan Deseyn, William Drake, Sandra Eliot, Tom Ferris, Hyunsoo Han, Marilyn Holsing, Judith Jacobson, Jeanne Jaffe, Kocot and Hatton, Anna Kuo, Shelly Inez Lependorf, Benjamin Long, Virgil Marti, Quentin Morris, Suzanne Okamoto, Sue Patterson, Stuart Rome, Lynca Schmid, Rita Siemienski Smith, Concha de la Serna, and Joseph Sweeny.

The Beaver College Art Gallery is pleased to present “Kay Rosen: ABC (At Beaver College)” an exhibition of murals, paintings and drawings employing alphabetical sequences, on view from February 16 through March 17, 1998. The opening reception will take place on Monday evening, February 16, from 6:30 to 8:00 PM beginning with a lecture on Rosen’s work by Tom Sokolowski, Director of The Andy Warhol Museum, in the Stiteler Auditorium of Beaver’s Murphy Hall.

“ABC” provides an unusual opportunity to examine a series of integrally related pieces by an artist recognized for her innovations in the exploration of text as image. Each of the eight works in the exhibition draws on the deeply embedded, universal order of the English alphabet to reveal what Rosen refers to as “unofficial and coincidental encounters between structure and meaning.” In these characteristically bold and deceptively simple pieces (ranging from 1988 to the present,) Rosen mines the alphabet for examples of “pictorial onomatopoeia,” unearthing startling relationships between letter sequences as they are written, spoken, and named.

White Poodle (1996) perhaps best exemplifies Lucero’s punning, syncretic approach. A metal armature inserted into the neck of a headless lawn ornament supports three glazed vessels. The one in the center, deftly painted with the sullen face of a dog to exploit the curved volumes of the pot, replaces the animal’s missing head. Near the folds in the long-necked vessel to the right, painted fingers pinch the clay, pointing to Lucero’s practice of altering pots wheel-thrown by an assistant. The floating “bubbles” on the third vessel and the metal rings, clamps, and stands (obtained from a chemistry set) suggest laboratory activity, confirming a kinship to “Frankenstein’s monster” and other creatures assembled from incongruous fragments. Lucero’s aesthetic prosthesis, however, not only re-animates and updates the broken garden toy, but refreshes our interest in it, creating a bold new breed of ceramic sculpture in the process. 

Pink Nude (1995) resurrects a Latino santo figure, Knight (1995) recovers a dyed plaster “conquistador,” Luba Carolina (1995) repairs a cracked wood African sculpture, and Horse (1996) recuperates a decapitated equestrian statue. Treasure (1995) christens a drab miniature ceramic house with a sparkling coat of yellow “paint” dripping from a teapot. A tree once used as a theatre prop (Cedar, 1996) is put into service as a “bottle rack.” (Thinking of Duchamp’s “assisted ready-mades” here is apt, but ultimately limiting.) In each case, the cast-off object has been “reclaimed” by vessels potent with references to vernacular traditions such as the Native American totem pole, the bottle tree, and “face jugs”crafted by plantation slaves, as well as the eccentric vessels of Mississippi potter George Ohr, and other indigenous genres.

Lucero’s embrace of such explicit ceramic traditions is complicated by his conscious detachment from conventional attitudes toward clay, for example, his unapologetic use of commercial glazes and his adoption of “appropriationist” strategies developed by sculptors such as Haim Steinbach in the 1980s, who left his consumer goods and artifacts intact, but ideologically transformed by their presentation. Lucero uses pots to perform similar shifts in context and meaning, capitalizing on the medium’s fluid sculptural and cultural connotations. “In Lucero,” writes critic John Perreault, “everything, including ‘ceramics,’ is in ‘quotes.’ ”

Translated into two dimensions using found drawings, Lucero’s “reclamation” strategy operates more surreptitiously, but with no less invention. Exploring the pictorial possibilities presented by the negative spaces enveloping these earnest amateur figures, Lucero inscribes comic faces, strutting limbs, and third-world imagery to camouflage authorship while honoring difference. Each re-finished drawing becomes an unwitting collaboration that is all the more haunting upon the discovery, in some cases, of original dates and signatures.

Both the drawings and sculptural works are hybrid, quasi-surreal, history-sacking, boundary-busting, cross-cultural creations that defy the simple polemics of the machine vs. the handmade, high vs. low, and crafts vs. fine arts. Although Lucero’s approach could be regarded as irreverent, the net effect is celebratory. Restoring the vitality and aesthetic utility of these forlorn artifacts and sketches, he conveys what curator Barbara Bloemink has called “the ultimate triumph of visual cultures over anonymity, geographic displacement, and reigns of cultural conformism.”

Lucero’s exhibition continues the gallery’s interest in exhibiting innovative ceramic sculpture established by its shows for Daisy Youngblood in 1992 and Ken Price in 1995. With its focus on works from the “Reclamation Series,” this exhibition complements the artist’s traveling mid-career survey on view at the Renwick Gallery (National Museum of American Art) through January 4, 1998.

Currently a resident of New York’s East Village, where he has lived since the early 1980s, Lucero was born in Tracy, California in 1953. He received his B.A. from Humboldt State University before studying at Seattle’s University of Washington. Initially identified as a painter inspired by bay-area funk, Lucero chose instead to pursue ceramics because he was fascinated by the possibilities of using glazes as a way to paint on three dimensional forms. Early acclaim came with his large hanging figures assembled from clay shards and his “Dreamers” of the mid-1980s, sleeping heads glazed with visionary landscapes. The recipient of a Ford Foundation Fellowship and three Individual Artists Grants from the National Endowment for the Arts, he is included in public museum collections across the country, in Mexico and Korea. His retrospective, organized by The Mint Museum of Art (Charlotte, North Carolina), concludes it’s tour this spring at the Carnegie Museum of Art, Pittsburgh. Lucero’s work is represented in New York by the David Beitzel Gallery.
“Michael Lucero: Confounding Artifacts” is funded by grants from the Arcadia Foundation, The Pennsylvania Council on the Arts, and the Advisory Board and Friends of the Beaver College Art Gallery.

This exhibition is accompanied by a publication, Blue [NY]. For more details, inquire at gallery@arcadia.edu.

PRESS RELEASE

The Beaver College Art Gallery is pleased to present “Blue (NY)” a selection of new photographs by artist Donald Moffett on view from September 17 through October 29, 1997. The opening reception will take place on Wednesday evening,  September 17, from 6:00 to 7:30 p.m. in the gallery.

Installation view of “Blue (NY): Photographs by Donald Moffett,” 1997, Beaver College Art Gallery. 

Blue [NY]
Richard Torchia
1997

“In the fall of 1997, the Beaver College Art Gallery [now Arcadia Exhibitions] introduced Blue (NY a series of photographs by Donald Moffett depicting cloudless expanses of sky above Manhattan. Presented in diverse formats (glazed and unglazed, with and without mats, bordered in black or white frames, or laminated to aluminum and mounted flush to the wall), the work was distinguished by its multiplicity of interpretations” (Richard Torchia, Curator.) Includes photographs of the artist’s work as well as an essay by Torchia.

The Beaver College Art Gallery is pleased to present its biennial Fine Arts Department Faculty Exhibition. This show, featuring work by both full and part time faculty members in the department, will be on view from February 20–March 16, 1997.  An opening reception in honor of the faculty will be held on Wednesday, February 26 from 4:30–6:00 PM in the Art Gallery. The public is cordially invited to attend.

Exhibiting faculty members in this year’s exhibition include: Alma Alabilikian; Betsey Batchelor; Nancy Brandt; Celeste Callaghan; Anda Dubinskis; Robert Mauro; Karen Misher; Todd Noe; Scott Noel; Scott Rawlins; Carol Saraullo; Cynthia Swanson; Jas Szygiel; Judith Taylor, and Paula Winokur. The work on view spans a broad range of practices and activities including painting, sculpture, graphic design, printmaking, medical illustration, drawing, and interior design. Such a diversity of disciplines indicates the breadth of professional training available in the Fine Arts Department.

“We are proud of our faculty’s achievements and look forward to this biennial presentation of their work to the community,” notes Gallery Director Paula Marincola. “We know the exhibition will have special significance to students; alumni, and the Beaver College audience.”

The Beaver College Art Gallery is pleased to present “A Closer Look 2,” the second in a biennial series that focuses upon area artists. “A Closer Look 2” has been organized by guest curator Richard Torchia, and will include work by Drew Dominick, Deborah Margo, Steve Riedell, Susan Tiger, and Alan Wiener; it will be on view from January 16 through February 14, 1997. A conversation between Torchia and artist/art critic Eileen Neff, with material contributed by the exhibiting artists, will be presented on Tuesday, January 28, at 6:30 PM in Stiteler Auditorium, followed immediately by a reception in the Art Gallery in honor of the artists. Both events are free and open to the public.

Ingrid Schaffner, a well known New York critic, author, and independent curator, will present a lecture about the exhibition on Tuesday, November 19 at 6:30 PM in The Little Theater. A reception in the Art Gallery in honor of the speaker and exhibiting artists will immediately follow. Both events are free and open to the public..

“Patterns of Excess” includes painting and sculpture by ten artists: Carole Caroompas, Jim Isermann, Larry Mantello, Virgil Marti, Stuart Netsky, Lari Pittman, Christian Schumann, Jessica Stockholder, Lily van der Stokker, and Fred Tomaselli. The “patterns” invoked by the show’s title refer not merely to repetitive motifs, but to means of construction that privilege additive processes such as accumulation, layering, and juxtaposition. Highly wrought, this work emphasizes its own physicality and is marked by intense color, surface density and compression, and the incorporation of “low” materials, with a predilection for glitz, kitsch, and references to consumer culture.  

Often conjoining abstract and figurative elements, the work in this exhibition sets up a tension between representation and figuration. It is based in a transmuted decorative impulse, also indebted to Pop and Op art, that centralizes visual pleasure’s aesthetic and polemical value. It consciously pushes beyond simple formal and conceptual notions of the decorative, however, to deliver unexpected messages. For example, these works address the politics of sexuality, including gay survival and feminism (Caroompas, Netsky, Pittman); draw upon the realms of domestic craft and decor to parody prescribed forms of taste (Isermann, Marti); celebrate modes of juvenilia as icons of beauty and sentiment (Mantello, Schumann, van der Stokker); undermine pieties about the conflation of art and social life through poetically allusive assemblages (Stockholder), and allude to a liberated state still possible within the context of visual art (Tomaselli). The conscious extravagance of such work, its deliberate “impurity,” functions in effect and intent as a declaration against repressive aesthetic and socio-cultural practices, while always engaging and rewarding the viewer on a sensory level.

Caroompas, Isermann, and Pittman live in California; Mantello, Schumann, Stockholder, and Tomaselli live in New York; Marti and Netsky are from Philadelphia, and van der Stokker lives in Amsterdam. “This geographical diversity,” notes Gallery Director Paula Marincola, “attests to the widespread interest on artists’ part in this energetic and dynamic approach to artmaking. Such work compely a timely investigation.”

Ingrid Schaffner, who will lecture about the exhibition’s concept and artists, will also contribute an essay to its forthcoming catalogue. Schaffner has written extensively about contemporary art for Artforum, Art in America, Sculpture, Parkett, and Art & Antiques magazines. She has contributed essays to exhibition catalogues for several institutions including the Carnegie Museum in Pittsburgh, and the Solomon R. Guggenheim Museum in New York City.  She recently wrote the catalogue essay for the Philadelphia Institute of Contemporary Art’s Jeanne Silverthorne show. Schaffner also has curated exhibitions such as “Richard Artschwager, Photo/Works 1945-1996,” “Like Young: Twelve New York Painters,” and received particular attention for “The Return of the Cadavre Exquis,” a show that involved contemporary artists in the collaborative surrealist drawing game of Exquisite Corpose, which originated at the Drawing Center in New York and traveled around the country. “Patterns of Excess” has been funded by the National Endowment for the Arts, a federal agency,the Pennsylvania Council on the Arts, and the Advisory Board and Friends of Beaver College Art Gallery.

The Beaver College Art Gallery is pleased to present “Ken Price: A Selected Survey” November 9 through December 20, 1995, located in the Spruance Art Center on the campus. Price will present a public lecture in conjunction with the exhibition on Tuesday, November 28, at 7 PM, in Stiteler Auditorium, followed by a reception in his honor in the Art Gallery. Both events are free and open to the public.

Ken Price is one of the most important ceramic sculptors to have emerged in California since 1945. Using glazed and painted ceramic as his primary medium, Price is renowned for producing forms of startling beauty, color, and mystery.  While often small in scale, his variations on traditional forms such as the cup and the vase, and his free-form biomorphic sculptures, are surprisingly powerful with large frames of formal references. These works play out in clay aspects of both surrealism and geometric abstraction.  Eluding easy characterization, his work forcefully spans the divide between fine art and crafts, occupying a unique position and demanding recognition as the oeuvre of a mature and major talent.

Installation view, “Ken Price: A Selected Survey (1960-1995),” Beaver College Art Gallery

The Beaver College Art Gallery is pleased to inaugurate “A Closer Look,” a new biennial series that will focus on area artists. The first exhibition in the series will include work by Carolyn Healy, Michael Macfeat, Quentin Morris and Anne Seidman, and will be on view from January 18 through February 15, 1995. An exhibiting artists’ roundtable discussion, moderated by artist and art critic Mary Murphy, will be presented on Wednesday, January 15, at 6:30 PM in Stiteler Auditorium. The opening reception in honor of the artists will take place in the Art Gallery immediately following the roundtable discussion. The discussion, exhibition and reception are free and open to the public.

“A Closer Look,” which will alternate years with the Art Gallery’s long-running “Works on Paper” juried show, has been initiated in order to present in greater depth the work of selected area artists who have previously exhibited in the “Works on Paper” show and whose achievements warrant greater attention. It will also point out significant relationships among artists working in this community. This year’s exhibition has been curated by Gallery Director Paula Marincola; guest curators will be invited to participate in the selection process in future years.

“We wanted to find more ways to serve the needs of the many talented artists working in our area,” notes Marincola, “and we believe this new biennial series will allow us to present deserving artists’ work in greater depth as we diversify our program.”

This years’ “A Closer Look” includes painting, sculpture and drawing, and opens a comparative dialogue between abstraction and assemblage as articulated in the work of the four exhibiting artists. Healy, for example, constructs objects from found materials in improvisatory ways that are sometimes toy-like and whimsical; sometimes poetic and moving. Macfeat’s spare sculptures are indebted to a post-minimalist emphasis on materiality. His unexpected placements and juxtapositions of materials often have a deliberately flatfooted kind of visual humor. Morris’ enigmatic, large circular abstractions, exclusively black monochromes, plumb the inventive possibilities that can be derived from deliberately limited means. His works are imbued with spirituality, but the socio-economic connotations of the color black – Morris is African-American – are also components of the paintings’ overall meaning. The repertoire of forms in Seidman’s gestural drawings are arrived at through both intuition and computer generated arrangements. Their combinations and relationships activate pure white fields and, while remaining completely abstract, evoke references to natural and man-made forms and objects.

All of the artists included in “A Closer Look” have exhibited frequently in the Philadelphia area at the Institute of Contemporary Art, University of the Arts, the S.S. White Building, Vox Populi and various commercial spaces, as well as in venues outside the city. Morris and Seidman are represented by Larry Becker Contemporary Art, Philadelphia; Healy and Macfeat are currently independent agents although both have formerly been affiliated with area galleries.

“A Closer Look” has been funded by The Arcadia Foundation, the Pennsylvania Council on the Arts and the Friends of Beaver College Art Gallery. The roundtable discussion has been funded by The Montgomery County Foundation.

The Beaver College Art Gallery is pleased to present “The Social Fabric,” a thematic exhibition that includes emerging and established artists who have made substantial bodies of work using cloth as both a medium and metaphor for the complex interweaving of objects and values in our society, November 9 through December 20. The exhibition is free and open to the public.

Press Release

GLENSIDE, Pa. – An exhibition of work by New York artist Felix Gonzalez-Torres will be on view at Beaver College Art Gallery, 450 S. Easton Road, Reb. 14 through March 14.

Born in Cuba in 1957, Gonzalez-Torres manipulates and combines characteristics of sculpture, photography, printmaking and performance in his work. He is perhaps best known for his installations of immense quantities of individually wrapped candy heaped in the corners of a room or spread out on the floor.

The Beaver College Art Gallery is located in the Spruance Art Center on the campus at Church and Easton Roads. The gallery is open to the public Monday through Friday 10 a.m. to 3 p.m., Sunday 1 to 4 p.m. and by appointment. Admission is free.

Noted artist Tim Rollins, who recently published a book-length interview with Gonzalez-Torres, will discuss Gonzalez-Torres’ art at a free lecture Thursday, Feb. 24 at 6:30 p.m. at the Little Theater, also located on the Beaver College campus.

Gonzalez-Torres employs a spare aesthetic that is indebted to post-minimalism and conceptualism and is infused with emotional and socio-political content. Themes of loss and love are predominate in his work, along with critical examinations of power and virility.

Los Angeles Times art critic David Pagel noted, “Gonzalez-Torres’ ‘Minimalism’ scrutinizes neither the facts of perception nor the reality of arts materials, but the social forces that hold us together and tear us apart.”

His well-known candy piles recall the corner works of Robert Smithson and the scatter pieces of Robert Morris. They exhibit abundant formal beauty while embodying the notion of a work of art as an object of consumption and gratification. He often invites viewers to take a piece of candy away with them, to undermine the idea of exclusive ownership and alter the elevated status of the art object.

Three Gonzalez-Torres works will be presented at Beaver College Art Gallery, including Untitled (Public Opinion), which is comprised of 900 pounds of foil-wrapped black licorice rods. This work, part of the permanent collection of the Guggenheim Museum, was created during the Gulf War and alludes to the manner in which public opinion was manipulated by the government and the media during that conflict.

Gonzalez-Torres also will exhibit several of his photostat “Date” works and a collage at Beaver College Art Gallery.

A variety of other kinds of works, including draperies, mirrors, lights and another candy pile will be exhibited at a concurrent show at The Fabric Workshop in Philadelphia Feb. 14 from 5 to 7 p.m. at The Fabric Workshop, 1315 Cherry St. Admission is free.

Gonzalez-Torres has had his work exhibited internationally with solo shows in Paris, Stockholm, Vienna, and Milan. He has been involved in numerous group exhibitions, including the 1991 Whitney Biennial and a current three-person exhibition at the Camden Arts Centre in London. The Philadelphia Museum of Art recently acquired and installed one of his works.

Gonzalez-Torres is the recipient of two artists’ fellowships from the National Endowment for the Arts, a Polock Krasner grant and a DAAD Artist-in-Residence grant. His exhibition at Beaver College Art Gallery. Tim Rollins’ lecture on the artist is funded in part by a grant from the Montgomery County Foundation.

Beaver College is a co-educational, independent, comprehensive college in suburban Philadelphia, offering undergraduate and graduate study to more than 2,300 students annually. The Beaver College Center for Education Abroad, one of the largest campus-based study abroad programs in the country, serves an additional 1,200 students each year from nearly 200 American colleges and universities.

Text taken from original press release

Glenside, Pa. – “If You Only Knew,” a mid-career retrospective installation by Philadelphia artist A.P. Gorny, will be on view from November 9 through December 19 at the Beaver College Art Gallery. The Gallery is located in the Spruance Art Center on the campus located at Church and Easton Roads. November 9 will also feature a discussion between the artist and Judith Tannenbaum, associate director of the Institute of Contemporary Art, Philadelphia, beginning at 6 p.m. in Stiteler Auditorium. A reception in Gorny’s honor will follow in the Gallery. These events are free and open to the public. 

Gorny has a considerable reputation in the Philadelphia community as a printmaker, photographer, installation and performance artist, and teacher. The installation at Beaver College represents an effort by the artist to summarize and survey his career to date. As is typical of Gorny, the work will be dense with complex, sometimes hermetic symbolism, informed by the artist’s voluminous reading and intensely personal, idiosyncratic approach. 

“If You Only Knew” borrows its title from a poem about unacknowledged passion addressed to a mysterious loved one by the French Surrealist poet Robert Desnos. In the front of the Gallery, a chambered wall will be papered with images of bouquets taken by the artist over the course of 20 years. Each bouquet will enclose, within its foliage, a hidden lens through which the viewer peeps inside the wall at upside-down images of various “objects” of the artist’s desire. The acronymic title of this part of the exhibition, H.W.N.C.N.B.M. alludes to the ineffable, inexpressible nature of love. 

The rear of the Gallery will be enclosed with entry possible only through a small portal. This room, entitled “Mise-en-abyme,” will be entirely papered in gold. Inside, at its far end, will stand a rectangular reflecting-pool/altar/sepulchre. Mounted above the water, an old cast iron stove will spout three jets of fire.From the ceiling an overhead cupola will reflect a chain of burnt-in images in the pool below. 

Outside of the gallery, a conical pile of the artist’s old prints and drawings tied in bundles with black ribbons will await their ritual burning on a wooden pyre. The portion of the exhibition, designated as the “Auto-da-fe” and planned to take place during the exhibition’s opening, will be marked by a stone cairn that will remain outside the Gallery during the entire exhibition.

“A.P. Gorny is one of Philadelphia’s most interesting and prolific artists,” notes Gallery Director Paula Marincola. “And since part of our mission is to recognize and foster the efforts of artists in our own community, we are gratified to be able to offer him this opportunity to create an ambitious work especially for the Beaver College Art Gallery.”

Gorny, represented in Philadelphia by Locks Gallery, received his MFA from Yale University. He has taught at Tyler School of Art, Bryn Mawr College and Samuel S. Fleisher Art Memorial, and is currently a full-time faculty member at the University of the Arts. Exhibited nationally, his work is in the collection of the Guggenheim Museum of Art and the National Gallery, Washington, D.C., among others. Marincola will document the exhibit in a forthcoming publication. The exhibition and catalogue have been funded by the Dietrich Foundation; Arcadia Foundation; the Pennsylvania Council of the Arts and the Friends of Beaver College Art Gallery.

Juror: Robert Storr, Curator, Department of Painting and Sculpture, Museum of Modern Art, New York City, New York.

Participating Artists

Betsey Batchelor, Joseph Begonia, Nicholas Coviello, Lynnette Detweiler, Drew Dominick, Kevin Finklea, Christopher Giglio, Barry Goldberg, A. P. Gorny, Neysa Grassi, Carolyn Healy, Mei-Ling Hom, Lydia Hunn, Hank Jaffe, Virgil Marti, Quentin Morris, Mary Murphy, Stuart Netsky, Gerald Nichols, Darwin Nix, Kevin O’Neill, William Jude Rumley, and Anne Seidman.

1992 Press Release

“…The Beaver College Art Gallery opens its annual, juried ‘Works on Paper’ exhibition Thursday, April 2, with a public reception, 7 to 8:30 p.m., in the gallery on campus at Church and Easton roads.

“Supported in part by a grant from the Pennsylvania Council on the Arts, the show includes 26 works by 23 area artists. In conjunction with the exhibition, exhibiting artists will present informal gallery talks on Wednesday, April 8 at noon in the Beaver college Art Gallery. The exhibition and gallery talks are free and open to the public.

“Robert Storr, curator of Painting and Sculpture, Museum of Modern Art, New York, served as juror for this year’s exhibition, selecting the participants from 509 submissions by 307 artists. Works selected include photographs, drawings on paper and wood, mixed media collages, a digitized video and relief print, woodcuts, lithographs, a performing object-sound drawing and work on paper composed with Valium and AZT.

“The majority of the artists in the exhibition are from Philadelphia and include Betsey Batchelor (19119), Joseph Begonia (19128), Nicholas Coviello (19118), Lynnette Detweiler (19146), Drew Dominick (19122), Kevin Finklea (19123), Christopher Giglio (19143), Barry Goldberg (19106), A. P. Gorny (19106), Carolyn Healy (19143), Mei-Ling Hom (19146), Lydia Hunn (19147), Virgil Marti (19106), Quentin Morris (19146), Mary Murphy (19106), Stuart Netsky (19103), Gerald Nichols (19104), Darwin Nix (19106), William Jude Rumley (19144), and Anne Seidman (19147).

“Other artists selected include: Neysa Grassi of Ardmore; Hank Jaffe of Jenkintown and Kevin O’Neill of Norristown.

“‘We continue to be gratified by both the high number of submissions t this exhibition and the excellent quality of the work. This year the competition was especially keen,’ noted Beaver College Gallery Director Paula Marincola. Prizes and awards will be announced within the next two weeks and these include: The Philadelphia Museum of Art Award; the Beaver College Purchase Award; the Mildred Bougher Award; the Director’s Prize and the Friends of the Beaver College Art Gallery awards for emerging artists.

“The ‘Works on Paper’ exhibit runs from April 2 through 22. Gallery hours are 10;30 a.m. to 3:30 p.m. Monday through Friday and 1 to 4 p.m. Sunday. For more information, please cal (215) 572-2131.”

The Beaver College Art Gallery is pleased to present “Residue Politics,” a thematic exhibition with artists Nayland Blake, Jennifer Bolande, Greg Colson, David Hammons, Mike Kelley, Christian Marclay, Karen Kilimnik and Christy Rupp, on view from November 14 through December 20.

There will be a public lecture by Germano Celant, curator for contemporary art, Solomon R. Guggenheim Museum, New York City, on Thursday, November 21, 6:00 PM in Stiteler Auditorium, followed by a reception in the art gallery. Both events are free and open to the public.

“Residue Politics” focuses on a new generation of American assemblage artists, indebted to Arte Povera, process art and conceptualism. Each of these eight artists restructures found and/or left over, discarded or otherwise marginal materials for both aesthetic power and a larger connection to and reflection of the social order, touching on a continuum of socio-political themes. For example, they comment upon the domestication of political corruption (Blake); caricature the sentimentalization of childhood (Kelley); configure tableaux torn from the American landscape of social and domestic violence (Kilimnik); memorialize the relics of popular culture as they examine their underlying sexual and economic ideologies (Marclay); reconstruct the complex layering of black culture and identity (Hammons); investigate our troubled relationship with nature (Rupp); and crate metaphors for the dislocated experience of late 20th Century culture (Bolande, Colson). Marclay and Kilimnik each created new installations especially for this exhibition.

“’Residue Politics’ attempts to direct attention to the substantive issues underlying a stylistic phenomenon,” notes Gallery Director Paula Marincola. “In drawing our attention to that which has been overlooked and often suppressed, the works in this show speak in a variety of compelling voices to a realm of shared information and experience.”

Of the artists in the exhibition, Bolande, Hammons, Marclay and Rupp live in New York City. Blake lives in San Francisco, and Kelley and Colson live in Los Angeles. Kilimnik lives in Philadelphia. Blake, Kelley and Marclay were included in the 1991 Whitney Biennial.

Celant, who is a contributing editor at “Artforum” and “Interview” magazines in addition to his duties at the Guggenheim Museum, will lecture Thursday, November 21, 6:00 PM in Stiteler Auditorium on the affinities between European Arte Povera and its “Americanized” version as manifested in the “Residue Politics” exhibition.

Celant is the critic and curator most loosely associated with the Arte Povera movement in Europe and is well known for his critical writing as well as for severa, major museum exhibitions that he has organized for institutions in the U.S. and abroad. He has written books on Joseph Beuys, Piero Manzoni, Jannis Kounellis and Michelangelo Pistoletto, among others. He is currently working on several shows, including a European retrospective to open at the Guggenheim Museum in 1992.

A catalogue will be forthcoming documenting the exhibition with an essay by Celant and an introduction by Beaver College Art Gallery Director Paula Marincola. The catalogue and exhibition both have been funded by the National Endowment for the Arts in Washington D.C., the Pennsylvania Council on the Arts, the Dietrich Foundation, the Friends of Beaver College Art Gallery and the Beaver College Department of Fine Arts.

There will be a public reception in honor of the featured artists on March 13 from 4:30 to 7:00 PM in the Gallery. The reception is open to the public and free of charge.

Faculty members participating in the exhibition include: Alma Alabilikian, Betsey Batchelor, Celeste Callaghan, David Eagan, Holly Goeckler, Judith Heep, Dennis Kuronen, Mary Ella Marra, Robert Mauro, Rebecca Michaels, Karen Ott, Mary Lou Stewart, and Paula Winokur. Their works represent a wide range of disciplines including painting, photography, printmaking, metals, interior design, ceramics, and graphic design.

“Faculty Exhibition, 1991,” Beaver College Art Gallery

Beaver College Art Gallery is pleased to present “Scrap” by New York artist Rona Pondick from February 6 to March 3, 1991 at the Beaver College Art Gallery, located in the Spruance Art Center.

There will be an artist’s lecture on Wednesday, February 13, 1991 at 6:00 PM in the Little Theatre, followed by a public reception in the gallery in honor of Pondick. Both events are open to the public and free of charge.

Pondick, described as “one of the most important and original female artists” by Village Voice art critic Elizabeth Hess, is one of a new generation of Arte Povera artists who employ aesthetically potent cast-off and discarded material to create their work. Pondick, who received her MFA from Yale University where she studied with Joel Shapiro, has her roots in minimalism, but her art has been compared in psychological content and use of materials to sculptors such as Louise Bourgeois and Eva Hesse.

Installation view, “Rona Pondick: Scrap,” Beaver College Art Gallery

Since the mid-seventies, Lipski has utilized his remarkable formal intelligence to transform the mundane identities of a variety of found and purchased materials ranging from the smallest domestic articles to industrial supplies and hardware. These objects undergo various manipulations — weaving, stacking, wrapping, joining — and are structured within simple configurations that combine the iconic simplicity of a minimalist presence with the unexpected, often revelatory wit of a surrealist sensibility.

In his most recent series, “Who’s Afraid of Red, White, and Blue?,” Lipski applies his familiar creative strategies to a new subject — the American flag. Works from this series will be simultaneously on view at Beaver College Art Gallery, The Fabric Workshop, and The University of the Arts and include several imaginative variations on this new theme. At Beaver College, Lipski will exhibit a large-scale, eight-foot in diameter wrapped flag ball on the campus with a complementary indoor exhibition of smaller-scaled flag balls. Other aspects of this project to be seen at the collaborating institutions include two-dimensional constructed, monochromatic and plaited flags of many different scales and materials. Lipski has been in residence at The Fabric Workshop, and many of these new works were constructed during his residence there. Other aspects of “Who’s Afraid of Red, White, and Blue?” will be seen at the Corcoran Gallery of Art in Washington D.C.

According to Paula Marincola, director of Beaver College Art Gallery, “The Flag as both pop and political symbol has proved a fascinating subject for contemporary artists. Jasper John’s flag paintings of the late fifties and sixties come immediately to mind, but Roy Lichtenstein, Andy Warhol and more recently, Vito Acconci and Robert Longo, among many other artists, have utilized this subject matter in various ways. The impetus for Lipski’s imaginative reconstructions of the flag was partly motivated by his response to recent attempts to legislate its usage.” “Lipski is a strong advocate of artistic freedom of expression and asserts that ‘you can make art out of anything in the work,'” said Marincola.

“But his flag series is also a natural outgrowth of his longtime interest in subjecting found objects to a playful series of structural permutations that expand their metaphorical resonance and interpretive possibilities. He is emphatic that this latest work be viewed primarily in an aesthetic context, and it is from the application of a cool, essentially formalist methodology to the presentation of a highly charged image that this work derives its power.”

The Beaver College Art Gallery is pleased to open the 1990–91 season on September 17, 1990 with a thematic exhibition entitled “Culture in Pieces: Other Social Objects.”

The exhibition, displayed in the Spruance Art Center on the campus, will continue through October 24, 1990 and includes the work of nine artists: John Armleder, Saint Clair Cemin, Lauren Ewing, Robert Gober, Tishan Hsu, Annette Lemieux, Eileen Neff, Joel Otterson, and Steve Wolfe.

There will be a public reception, Tuesday, September 18, 1990 from 7:00 PM to 9:00 PM. Robert Gober, one of the most discussed sculptors working today, will speak in Beaver’s Little Theatre at 6:00 PM, immediately proceeding the reception. Both events are free.

All of the artists in this exhibition create metaphorical redescriptions of everyday objects, which we interact with in intimate ways. These works, including a lead covered bureau, an attenuated blackboard, a wall-mounted pewter drain, a black velvet bed shaped like the continent of Africa and a silver vinyl diner booth, poignantly or humorously evoke a range of mundane experiences from ordinary social contexts that connect to the larger world of meaning.

Installation view, “Culture in Pieces: Other Social Objects,” Beaver College Art Gallery

An opening reception will be held on April 11, 1990 from 7:00 to 9:00 PM on the campus at Church and Easton roads. On April 18, 1991 an informal gallery talk with the exhibiting artists will be held at 3:30 PM in the gallery. Both events are free and open to the public.

Supported in part by a grant from the Pennsylvania Council on the Arts, the show includes 34 works by 29 area artists. Robert Smith, art critic for the New York Times served as juror for this year’s exhibition, selecting, according to Paula Marincola, gallery director, “a lively and diverse group of works” from 326 submissions.

Installation view, “Works on Paper, 1990,” Beaver College Art Gallery

Beaver College Art Gallery is pleased to present Phoebe Adams on Thursday, February 8, at the Beaver College Art Gallery, located in the Spruance Art Center.

The exhibit includes a selection of Adams’ work from 1985 to 1989 and is the first career summary for this artist.

Installation view, “Phoebe Adams: Selected Works 1984-1989,” Beaver College Art Gallery