112 15 4189 https://omeka.wilkes.edu/omeka/files/original/1e59cba00bdc839bedf0b18f65d5b6ec.pdf 0a8dffa8859f71bdd8c2e0880894c7aa PDF Text Text �������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2004 August 23 Faculty Exhibition 2004 Creator An entity primarily responsible for making the resource William Sterling Sharon Bowar Nina Davidowitz James Lennox Herbert Simon Jean C. Adams Richard A. Fuller David Leonard Date A point or period of time associated with an event in the lifecycle of the resource 2004 August 23 - October 10 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition proudly continues a long tradition at the Sordoni Art Gallery of showcasing the unique achievements of the Art Faculty at Wilkes University. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Wilkes University faculty Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/e49e678b5a45a0666820ff5fd83b6cf6.pdf ff1cd98bdef8f721675a0f7ab387f4f3 PDF Text Text A E A A N �Michael Kenna: lapan January r7-March 4, 2oo5 Opening Reception: Sunday, January t6, zoo5 3 to 5 P.M. Sordoni Art Gallery Wilkes University r5o South River Street Wilkes-Barre, PA 18766 $7o) 4o8-43z5 Gallery Hours: Noon until 4:3o e.u., daily sordoni.wilkes.edu The following Exhibition U nderwriters provide general exhibition support: Friends of the Sordoni Art Gallery M&T Bank Pennsylvania Council on the Arts Andrew f. Sordoni, III Wilkes University BusinessCouncil Creative Business Interiors First Heritage Bank Quaker Oats Westmoreland Club Marquis Art & Frame Design: John Beck Printing: Llewellyn & McKane, Inc. O Michael Kenna, Courtesy Robert Klein Gallery, Boston ��TlrnLgh enQtt rf landscapes are filled witlt tlrc evidence of people, his plntos of iriinnte hunnniht. Serene and m,tsterious, thel: pause at the interim of past and present, night and da1', in scenes that invite reterie and reflectior-r. . . . With clarih' and retrlisnt and abstraction, sintplicih', Keruta's images suggest ratlrcr tlnn dcscribe, offering up iust a few elentents of the lartdscape, leat,it-tg tlrc picture. "ln it to the t,iewer to this \^td)', 1i1), pl-Lotos contplete are ntore like huiktt tltan prose." liont 'Miclnel Kenna,' Irttcn'iev, bt, Claire Sykes, April zooj ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2005 January 17 Michael Kenna: Japan Creator An entity primarily responsible for making the resource Michael Kenna foreword by Claire Sykes Date A point or period of time associated with an event in the lifecycle of the resource 2005 January 17 - March 4 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Though empty of people, his photos of intimate landscapes are filled with the evidence of humanity. With clarity and simplicity, Kenna's images suggest rather than describe, offering up just a few elements of the landscape, leaving it to the viewer to complete the picture. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Michael Kenna Japan photography Rights Information about rights held in and over the resource Michael Kenna, Robert Klein Gallery https://omeka.wilkes.edu/omeka/files/original/db778d6f55791c44da2c3f9cb52bd27c.pdf d86acc2e93cb0a1c2b7e5bcc35281ded PDF Text Text ���������������������������������������������� https://omeka.wilkes.edu/omeka/files/original/cd233d06aca4dd771c7af3e4efe8df60.pdf 9787bf76de15aab7d28e8049d8a6f1c2 PDF Text Text �THEN AS NOW �THEN AS NOW Exhibition Curated by Ronald R. Bernier, Ph.D. and Karen Evans Kaufer Catalogue Essay by Ronald R. Bernier, Ph.D. E.S. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA 2005 Dr. Roy E. Morgan Exhibition March 20—May 22, 2005 Sordoni Art Gallery Wilkes Universin’ Wilkes-Barre, Pennsylvania �ACKNOWLEDGE. V't has been a privilege and a pleasure to work v.ith the I artists included in this exhibition and with their gallery .JJ- representatives, including PPOW, Forum, Marlborough. and Alexandre galleries in New York, Peter Miller Gallen’ in Chicago, and the Seven Bridges Foundation in Green­ wich, Connecticut, all of whom have given generouslv of their time and expertise throughout this project. Its richness would not have been achieved without their efforts. This catalogue is dedicated to them. This exhibition honors the late Dr. Rov E. Morgan. C~. at St; -r. Assael. At Mother, 2001, oil, wood panel, canvas, and steel, 110 X 156 X 42 inches (detail), . c:t.:Fa-rum Gallery. New York , 2< Art Gallery, Wilkes University 5 St rd: 150 S.-adi River Street Wilkes-Barre, Pa 18766 I<leph ■ t.s - ~ h—408—4325 l ax 570-408—7733 sotHohl'a ••• t. >:i • Catalogue J.: i : ■: iikv~.edu ; ...... J By Oak Lane Printing Inc. J'.’in Beck jjr. A cl;,-- ic American face designed by Bruce Rogers ISBN (1-942945-26-3 forme longti �ACKNOWLEDGMENTS W' ■ has been a privilege and a pleasure to work with the I artists included in this exhibition and with their gallery former arts and drama critic for The Times Leader, and longtime friend and supporter of the Sordoni Art Gallery. JL .cpresenrarives. including PPOW, Forum. Marlborough, and Alexandre galleries in New York. Peter Miller Gallery March 2005 in Chicago. and the Seven Bridges Foundation in Green­ wich. v onnecticut, all of whom have given generously of Ronald R. Bernier,Ph.D. their rime and expertise throughout this project. Its Director richness would not have been achieved without their erforts. This catalogue is dedicated to them. This exhibition honors the late Dr. Roy E. Morgan, Karen Evans Kaufer Associate Director 110 x 156 X 42 inc.'.-.cetcd I hen as A\nv / 5 �G? fcaiuwni into the future so that yourface is lit up by the past. —Odd Nerdrum aving survived the formalist reductions of point being that all cultural production is conditioned by Modernism and the theoretical acrobatics of tinle the past. Yet for the artists considered here, it is neither Postmodern, painting is once again at ease in modish appropriation nor reactionary surrender to picto­ the company of the Real, that is to say, it is once again rial illusion and its easy narrativity, but rather a deliberate prompted by optical experience and pictorial illusion, once and skilled simulation of craft, a mastering of past paint­ again distinguished by observational skill, technical mas­ ing styles and practices which requires a more thoughtful tery, and recognizable subject matter.1 But it is a different relationship—visual and intellectual, on the part of both and edgy sort of Real; it both is and is not a re-presenta­ artist and beholder—with that past. Integrating past into tion of reality. There is recognition, but it is extended well present is complex; it involves any number of psychological beyond likeness. In some instances, as is the case in this and epistemological processes and negotiations, including exhibition, recent painting has deliberately positioned nostalgia and memory, authenticity and authorin'—and itself—self-consciously and self-critically—within the the always troublesome issues of 'influence,’ ‘priority,’ and genealogy of its own tradition, appropriating, reframing, 'originality.' How might contemporary' art, we are prompted and recasting Old Master forms, figures, and styles in a to ask, in its active intervention in, and manipulation of, visual and intellectual dialogue with Art History, mixing the material of the past, complicate the idea of precedent historical allusion with contemporary self-awareness. As as origin? To put it another way: Is meaning transferred one critic has recently put it: "It brings together the from original to quotation, or do Art's meanings necessar­ spirituality and humanism of the Old Masters and the ily shift over History’s spatial, temporal, and conceptual innovation and criticality of the Modern Masters. It is a distance? Literary theorist Harold Bloom addressed this New Old Master art.”2 issue for poets with his notion of the ‘anxiety of influence,’ Of course, at some level, all works of art are about wherein a new poetic style, he argued, may be achieved art. Visual culture, particularly in the appropriation mania "that captures and oddly retains priority over their precur­ of the 1980s, was blatant in its pilfered references from the sors, so that the tyranny of time is almost overturned.”4 past, its ironic parody and clever pastiche. As Tom McEvilly What I wish to argue, at least with regard to the images succinctly announced in 1992: "In the beginning was the assembled here, is that certain forms of expression mat­ Word—and since then there’s been quotation. ’3 The act appeal to the past, while not entirely submitting to it. of quotation, on this view, was thought to affect a critique These images are neither purely nostalgic tor nor wholly of the Modernist cult of originality and authority, the critical of the past. Rather, at issue is a productive collision Then .is Mw / 7 �between, as Walter Benjamin put it, the Now and the Then: “It isn’t that the past casts its light on the present or the present casts its light on the past: rather, an image is that in which the Then and the Now come into a constellation like a flash of lightning.”'' What exactly, then, is conceived in this intimate coupling of Then and Now, past and present? This is what this exhibition seeks to explore. The term ‘neo-pre-Modernism’*’ might best describe the strategy of simulation at work in the painting of Swedish-born, classically-trained artist Odd Nerdrum, whose seemingly retrograde figuration and painterliness— and, as one critic put it in 1964, his "old masterly _ _________ gravy — earned him the reprobation of his instructors subordinated to Reason. For Nerdrum, science and ern-day ascetics.12 “Light,” Assael explai ■ humanism are profoundly at odds; thus nature, and about it. It reveals and at die same time nc ..-n consequently the body, tangible and physically present, where it comes from or where it goes.. . . 1’eopL thought pulsating flesh and blood, are seen as the antithesis of of light as having a mystical quality because it Llowed reason. What we see consistently in Nerdrums work, them to see something more clearly.... So light was metaphorized in color and texture, are bodies and other glass.1 It L v holly imagin of optical obs Sharon E associated with truth, and truth was something that was natural substances, consisting of mass and weight, sensu­ allegorical pai revealed.”13 As in the chiaro-scuroed images of the past he ally plausible and convincingly portrayed—“a mix of archaeological simulates, the oscillation of light and dark structures a academic pair profound emotional and psychological meaning, catching Samt Lucy, p; the ambiguities of the defiant and impenetrable strength excrement, blood and flesh,” as the painter himself put it.10 1 Unlike Nerdrum, with his visionary and primeval allegories, Steven Assael arranges contemporary figures in of these costumed tou;ighs anti their vulnerability and desire holding a plai gouged out it urban settings, bur in a sensibility informed by Old for identity and recognition. here on a logs Masters, calling to mind the religious altarpieces of the Brett Bigbee, classically trained at the Pennsylvania medieval tow> of the Tempi and fellow students at the Art Academy of Oslo. The critic Gothic, Renaissance, and Baroquile eras. At Mother (2001) is is referring to Nerdrums reframing of the forms, colors, a colossal triptych attached to a sculpted platform with Academy of Fine Arts, an institution with a notable legacy of American Realism reaching back to Thomas Eakins, surfaces, and substances of Rembrandt, and the glowing, moving doors that open and close. When open, the door adopts a much subtler and more distilled approach to Old almost religious tenebrism and portentous subject matter panels feature the arrangement of five figures emerging Master traditions. Bigbee’s laconic domestic idylls and into one sing of that seventeenth-century Dutch Master. The painter into a miraculous golden light, which takes on an uncanny tender images of his own family recall the linearity, geom­ of the paintii explained his choice of artistic ideals: “I have always found resemblance to a classical pieta, lived in the present but etry, frontalitv, and quiet stillness of an iconic Piero della which we car Rembrandts world more humane than Picassos. . . . The belonging to the dead past. The panels surrounding the lifespan of a work of art is proportional to its human doors feature two outside figures that confront the viewer Francesca Madonna, the pervasive and all-over brilliance of colored light in Netherlandish painting, and a recasting of of the painti otherwise directly with a look that recalls the sacra conversazione (holy Botticellis allegorical Venuses, as in the portrait of his content. ‘ But as Donald Kuspit has effectively argued in which saints from different epochs are joined in a works a traditional method of painting, tirelessly building more ambitii unified space and seem to be conversing either with each up layers of colors, glazes, and carefully wrought detail, tradition of other or with the audience. “The mighty dead return,” as producing visual illusions with an eloquence that evokes a in its subject Harold Bloom might have put it, "but they return in our heightened reality verging on the hallucinatory. Bravura action and n colors, and speaking in our voices.”11 brushstroke is gone. Everything in this picture is finer, themes of s< smoother, more orderly than the real world of Nerdrum’s works withii contemporary underground world of ‘Goths,’ pierced, “excrement, blood, and flesh.” Bodies arc without struc­ signed to be tattooed, and leathered, characters with a visceral edge, but ture. the rendering of the surface of the skin reveals no drawing fro: underlying skeleton: that skin is smooth, there are no evocative an wrinkles, blemishes, or even sharp shadows. Even the walls common an of the interior space are perfectly smooth—no molding is dane of sub nostalgia ... but a way of aging the present, making clear that it is born with a patina, that it is time-bound—bound 'Neo-pre-Modernism’ describes a kind of reaction ism, in painting which, like Nerdrums, seeks to restore the spirituality of a pre-Modern utopia with renewed empha­ sis on ritual, myth, nature, and significant human values. The artist positions his archetypal narratives, as in White Heriuaphrcdite of 1992—96, as a defense against a loss of beaut}- in the contemporary world, where Nature is 8/1 Im as Now While s tics of Bigbc conversation) altarpieces of the early Italian Renaissance, against the formalist and rationalist authority of Modern­ zon, the God wife, Ann with Plant (1990—91). Bigbee painstakingly re­ about Nerdrum’s use of the past, his “"traditionalism traditionalism is not by time from the beginning of its appearance.”9 uted to Bram And indeed Assael’s dramatis personae are from the which—bathed in the glow of an ethereal light that sets up a tension between the tangible and the spiritual—betrays the artist’s own empathy and compassion for these mod- �nated to Reason. For Nerdrum, science and ern-day ascetics. “ Light, Assad explains, has a mystery chipped or warped, there is no distortion in the window about it. It reveals and at rhe same time no one knows tently the bod)’, tangible and physically present, glass.14 It is an ideal, a construct—neither wholly real nor where it comes from or where it goes. . . . People thought !g flesh and blood, are seen as the antithesis of wholly imaginary—far from the supposed ‘realist’ interests of light as having a mystical quality because it allowed What we see consistently in Nerdrum's work, of optical observation and transcriptive accuracy. them to see something more clearly. ... So light was orized in color and texture, are bodies and other associated with truth, and truth was something that was sm are profoundly at odds; thus nature, and Sharon Bowar makes similar reference to the religiousallegorical painting of the Italian Renaissance, and to the substances, consisting of mass and weight, sensu- revealed. jsible and convincingly portrayed—“a mix of simulates, the oscillation of light and dark structures a academic painter Alma-Tadema, in her Santa Lucia (2003). nt, blood and flesh,” as the painter himself put it.10 profound emotional and psychological meaning, catching Saint Lucy, patron saint of rhe blind, typically shown like Nerdrum, with his visionary and primeval the ambiguities of the defiant and impenetrable strength ;s, Steven Assael arranges contemporary figures in of these costumed tou;ighs anti their vulnerability and desire holding a platter that supports and presents a pair of eyes gouged out in martyrdom (witness to her faith), stands strings, but in a sensibility informed by Old for identity and recognition. here on a loggia overlooking a composite view of Todi, a , calling to mind the religious altarpieces of the Renaissance, and Baroque eras. At Mother (2001) is As in the chiaro-scuroed images of the past he Brett Bigbee, classically trained at the Pennsylvania archaeologically-detailed mis-en-scenes of nineteenth-century medieval town in Umbria, featuring the architectural sites of the Temple of Santa Maria della Consolazione (attrib­ al triptych attached to a sculpted platform with Academy of Fine Arts, an institution with a notable legacy of American Realism reaching back to Thomas Eakins, doors that open and close. When open, the door adopts a much subtler and more distilled approach to Old mature the arrangement of five figures emerging Master traditions. Bigbee’s laconic domestic idylls and into one single imagined view. The saint holds at the center liraculous golden light, which takes on an uncanny tender images of his own family recall the linearity, geom­ of the painting, not a platter but a vase of grape leaves in mce to a classical pieta. lived in the present but etry, frontality, and quiet stillness of an iconic Piero della which we can just make out the artist’s own eyes gazing out ig to the dead past. The panels surrounding the Francesca Madonna, the pervasive and all-over brilliance of of the painting, the only site/sight of color detail in the ature two outside figures that confront the viewer colored light in Netherlandish painting, and a recasting of otherwise monochromatic (colorblind) canvas.15 with a look that recalls the sacra conversazione (holy Botticelli’s allegorical Venuses, as in the portrait of his tion) altarpieces of the early Italian Renaissance, wife, Ann with Plant (1990—91}. Bigbee painstakingly re­ tics of Bigbec and Bowar, the paintings of Bo Bartlett are uted to Bramante) and, ar the highest point on the hori­ zon, the Gothic church of Santa Fortunato, combined here While sharing in some of the same formal characteris­ saints from different epochs are joined in a works a traditional method of painting, tirelessly building more ambitiously narrative in scope, grounded in the pace and seem to be conversing either with each up layers of colors, glazes, and carefully wrought detail, tradition of Grand Manner history painting, painting that with the audience. “The might)’ dead return, as producing visual illusions with an eloquence that evokes a in its subject matter typically depicts serious or exemplary heightened reality verging on the hallucinatory. Bravura action and references the staged configurations and epic brushstroke is gone. Everything in this picture is finer, themes of scripture, mythology, and literature. Like the Moom might have put it, "but they return in our nd speaking in our voices.”11 I indeed Assael’s dramatis personae are from the orary underground world of ‘Goths,’ pierced, and leathered, characters with a visceral edge, but bathed in the glow of an ethereal light that sets up between the tangible and the spiritual—betrays :'s own empathy and compassion for these mod- smoother, more orderly than the real world of Nerdrums works within that tradition, Bartlett’s paintings are de­ “excrement, blood, and flesh.” Bodies are without struc­ signed to be about ennobling human experience, while ture, the rendering of the surface of the skin reveals no drawing from the material of everyday life. They are underlying skeleton; that skin is smooth, there arc no evocative and distinctly contemporary combinations of the wrinkles, blemishes, or even sharp shadows. Even the walls common and the symbolic, imbuing even the most mun­ of the interior space are perfectly smooth—no molding is dane of subjects with a feeling of immense, often spiritual Then as Now / 9 �significance—the divine in the human, the infinite in the finite. Here in Golden Boy (2003) a young, innocent, preadolescent male child, viewed from below, stands rocket ship, a leitmotif to symbolize the anxiety and inevitability of transport to the unknown, a reminder of in the transience of the here and now, and so a kind of of Dotty Attie. In the Atelier of ’ ‘ / fifty-seven panels, each six inches squaw. Romani fragments, and takes its name from nineteenth-centurv abandoi obvious christological reference—suspended miraculously twenty-first-century vanitas. Amid the pageantry and French academic painter Henri Fantin-Latour’s <1 Studio in schmaltz of mythical zebras, performing seals, and the more di on the water’s surface, arms extended in cruciform gesture, the Batignolles Quarter (1870), a painting that famously graphs, a faint glow of ethereal light encircling halohke around his flora and fauna of Oz, is the ever-present reminder of immortalized Fantin-Latour’s circle of avant-garde friends human golden hair. The mortal child—shaman, profit, vision­ fragility and impending mortality—as the series of eleven and colleagues, including Monet, Renoir, and Bazille, each or ary—gazes directly but nonconfrontationally out of die unfolds, we count down from ten to blastoff. Sharing some depicted gathered round their seated colleague, Manet, (itself : canvas to engage the viewer as precious hero-saint bathed of the sentiment of Odd Nerdrum, Woodruff himself who, brush in hand, is himself poised in front of a canvas suf fern in the light of redemptive revelation. As Suzi Gablik has explains: "For me, one of the most important issues facing to paint, wc assume, this august male assembly.19 Replicat­ medica aptly observed: “The recalling and setting up of sacred my generation of artists is learning how to feel again—to ing Fantin-Latour’s painted patriarchy in miniature (in the megalh signs is the even more urgent task of an artist in times reconnect the heart with the head. The modernist disloca­ four panels ar upper left), Attie has extracted and displaced larged estranged from symbol and sacrament. . . . Before art can tion has made the visual arts suspect and appear elitist. quoted details from a number of other paintings from the Syndre be successfully remythologized, wc must, as a society, The experience of looking has been deadened. Artists have past and sutured them together, reassembled as fragments sciousi suspend our unbelief.”16 confronted every cultural taboo in our society but still and interspersed with bits of text that form a narrative of ‘unreal seem to be fearful of sentiment.'48 her own invention, one with convoluted plot, implied is we v malevolence, and, confirmed in the culminating grouping incide several Suspend belief itself is what is required by the alle­ gorical realism of Julie Heffernan and Thomas Woodruff. Also drawing on symbol, allegory, and imagination. In Woodruff s painting fantasy, magic, and operatic Julie Heffernan’s fantasy-fuelled, lavishly rhetorical of panels at lower right, male violence against women. As complexity take over, replete with homespun iconography canvases address individual identity, and more specifically, wc read/view, there is an unsettling feeling of scanty and and a veritable lexicon of symbols and hermetic codes, all femininity and its performance in the canon of Western missing detail, like a crime scene to be forensically stitched Old h in a sentimental illustrative style. As one writer tells us: art history. In her ornate Baroque interiors the artifice of together in the voyeuristic imagination. Moreover, the tenor “When one tries to source Woodruff's stylistic choices and Culture is often intruded upon by Nature (swirling birds), combination of word and image activates a tension be­ sion-c iconography, things get complicated. Victoriana or thrift as in Self-Portrait as Heavenly Body (2002), where the altered tween the artist’s present role as a contemporary artist in hardb store painting surrealism? French academic painting or female figure, delectably nude, is depicted as a nvmph her own social world and her place within the heritage of a nist— heavy metal album cover? Valentine or operatic tableaux?”1 among goddesses cavorting in a frescoed ceiling; she is male-dominated art system. In the difference between the open- The point here is that little is to be gained in the parsing presented, like painting itself, or like an objet d'art, as available modalities of attending—viewing and reading—a tively of visual sources; it is a whimsical melange, a personalized aesthetic beauty, something for collection, display, and distance is set up between Then and Now, original and of tir polyglot Babel, that derives from both high and popular pleasure. The viewer, his possessive gaze, however, is copy, past and present, Old Masters mediated through a menu culture with more than a few concessions to over-the-top L dislocated, put off balance by being made to assume the layer of present (female) voice, the text itself alluding to line, i camp and kitschy moral allegory. Mission Poesy (the Diviner) is unnatural and disorienting view up. While pastiching a ‘Fors one installment in a series of eleven gothic-peaked can­ language redolent of past visual traditions, Heffernan the silencing work of violence against woman. The net of borrowed references is cast even wider by vases—a nod to traditional history painting—collectively shifts the vocabulary away from its historically male bias Vincent Desiderio, former student with Bo Bartlett and a shu titled All Systems Co. In each canvas, amidst the carnival of creatures, costumes, and colors, Woodruff has placed a 10 / Then as Now towards an idiosyncratic and insistently female voice. In this there is shared motivation informing the work print Brett Bigbee at the Pennsylvania Academy of Fine Art, where he now teaches. His Contemplative Distance (2002), path' �ip, a leitmotif to symbolize the anxiety and irv of transport to the unknown, a reminder of of Dotty* Attie. In the Atelier of 1990—91, composed of while making oblique reference to rhe nineteenth-century* fifty-seven panels, each six inches square, reproduces in Romantic era's fascination with the irregular and the ence of the here and now, and so a kind of fragments, and takes its name from nineteenth-century rst-century vanitas. Amid the pageantry* and abandoned in Theodore Gericault’s portraits of the insane, French academic painter Henri Fantin-Latours A Studio in of mythical zebras, performing seals, and the more directly borrows from medical textbook photo­ the Bationdies Quarter (1870), a painting that famously* fauna of Oz. is the ever-present reminder of graphs, more modern forms of categorizing and labeling immortalized Fantin-Latours circle of avant-garde friends nd impending mortality—as the series of eleven human experience. In the triptych two male figures face and colleagues, including Monet, Renoir, and Bazille, each other either side of a blurred digitized photograph ve count down from ten to blastoff. Sharing some depicted gathered round their seated colleague, Manet, (itself replicated), documentary images of individuals itiment of Odd Nerdrum. Woodruff himself who. brush in hand, is himself poised in front of a canvas suffering from incurable—and visibly distinguishing— Tor me. one of the most important issues facing to paint, we assume, this august male assembly.19 Replicat­ medical disorders: on the left, a man afflicted with acro- ition of artists is learning how to feel again—to ing Fantm-Latour’s painted patriarchy’ in miniature (in the the heart with the head. The modernist disloca- four panels at upper left), Attie has extracted and displaced megally (a pituitary* disorder manifest in irregularly enlarged hands, feet, and face), and on the right, Down’s rade the visual arts suspect and appear elitist, quoted details from a number of other paintings from the Syndrome. They are human beings trapped in an uncon­ fence of looking has been deadened. Artists have past and sutured them together, reassembled as fragments sciousness of their own 'irregular’ reality. Or perhaps their J even* cultural taboo in our society but still and interspersed with bits of text that form a narrative of ‘unreality’ signals for the artist a deeper reality, one to which it : fearful of sentiment.'"' her own invention, one with convoluted plot, implied is we who remain unconscious, without access. It is not drawing on symbol, allegory, and imagination, malevolence, and, confirmed m the culminating grouping incidental here that the artist’s own son, who appears in eman's fantasv-fuelled. lavishly rhetorical of panels at lower right, male violence against women. As several canvases, himself suffers from a physical disability*. Idress individual identity, and more specifically, we read/view, there is an unsettling feeling of scanty* and and its performance in the canon of Western missing detail, like a crime scene to be forensically stitched Old Master painting that is borrowed but the reverberating . In her ornate Baroque interiors the artifice of together in the voyeuristic imagination. Moreover, rhe tenor and fateful ambiance of 1940s film noir and Depres­ often intruded upon by Nature (swirling birds), combination of word and image activates a tension be­ sion-era pulp fiction, in which the recurring presence of its irtrait as Heavenly Body '2002 ), where the altered hardboiled, square-jawed, fedoraed masculine protago­ ire, delectably nude, is depicted as a nymph tween the artists present role as a contemporary artist in her own social world and her place within the heritage of a Idesses cavorting in a frescoed ceiling; she is male-dominated art system. In the difference between the open-ended drama. In a group of four paintings collec­ like painting itself, or like an objet d’art, as available modalities of attending—viewing and reading—a tively* titled Reader Series, Flanagan invokes the archaeology* eauty, something for collection, display, and distance is set up between Then and Now, original and of time and place and an overall atmosphere thick with copy, past and present, Old Masters mediated through a memory* and mood. Over images of antiquated railroad put off balance by being made to assume the layer of present (female) voice, the text itself alluding to line, industrial landscape, and library-archive, the words nd disorienting view up. While pastiching a the silencing work of violence against woman. The net of borrowed references is cast even wider by* ‘Forsaken,’ ‘Forbidden,’ ‘Forgiven,' and ‘Forgotten’ are Vincent Desiderio, former student with Bo Bartlett and a shudder of anxiety.20 he viewer, his possessive gaze, however, is dolent of past visual traditions, Heffernan ocabulary away from its historically7 male bias idiosyncratic and insistently* female voice, there is shared motivation informing the work Brett Bigbee at the Pennsylvania Academy of Fine Art, where he now teaches. His Contemplative Distance (2002), Likewise in Michael Flanagan’s work it is not so much nist—villain or hero—lends an unspecified, allusive and printed, charging the series with association, metaphor, and Old Master tradition, sacred myth, and now modern pathology* and film noir are the sources that collectively Then as xVow II �inform the works in this exhibition. The real and the dicament of the postmodern artist: all the art of the past imagined, the present and the past all have equal weight. In is available to feast on, but to feast on everything is to a recent interview with Suzie Gablik, Bo Bartlett has stated. produce nothing of one’s own.”25 The issue is framed “I guess I pick and choose from a lot of different artists; perhaps more optimistically (for poets) by Harold Bloom: Contemporary Art, Kemper Museum of Contci:;;’ 1996, p. 8. 4. Harold Bloom, The Anxiety of Influent-,--A • Clr; : \ . York and Oxford, 1973, p. 141. 5. Walter Benjamin, “N [Re The Theory of Kn 19. Fa own earlie: . it’s a bit like ! making] a quilt, where you pull from all these "The precursors flood us, and our imaginations can die by different sources. You learn from looking at the things you drowning in them, but no imaginative life is possible if like, and vou draw from all of them. But it isnt a contrived such inundation is wholly evaded. ~( And this, perhaps, is Negotiating Rapture, ed. Richard Francis, Museum of Contemporary postmodern approach, or anything like that.”21 In similar one conclusion that may be drawn from this exhibition, Art, Chicago, 1996, pp. 52—53. tone and approach to the past, Steven Assael remarks: I that innovation or authenticity in art may indeed result 6. Thomas McEvilley. 1992, p. 136. denying its think it’s more interesting to think of art history with from a thorough knowledge and skillful working of past 7. Jan Ake Pcttcrsson, Odd Nerdrum: Storyteller and Self-Revealer, sized, yet ar everything existing at the same time, everything exists co- practices, something beyond irony that provides an occa­ equally.”22 But it is Vincent Desiderio who has perhaps sion for thought, speculation, and insight. There is a most succinctly characterized our postmodern era’s com­ certain compelling honesty about each of the works on Theory of Progress],” quoted in Georges Didi-Hubermans “The depicts Fant Supposition of the Aura: The Now. The Then, and Modernity,” in among othc Astrup Fearnley Musset for Moderne Kunst, 1998, p. 22. 8. Ibid., p. 23. 9. Donald Kuspit, “Odd Nerdrum: The Aging of the Immediate,” ARTS Magazine, September 1984, pp. 122—123. pulsive consumption of images as “cultural bulimia.”23 view here, a perceptual and emotional richness and inti­ 10. Pcrtersson, p. 102. Faced with an embarrassment of riches in art informa­ macy they all share, that betrays a healthy skepticism about IE Bloom, p. 141. 12. Never working from photographs, Assael requires long tion—stvles, formal idioms, techniques, and motifs—what slavish imitation and offers a collective affirmation of is one to paint? How is it even possible to create something painting’s adequacy to lived experience and its willingness new. something distinctly relevant to one’s own time? These to face the force of what it means to be human in the seem to be the questions about an ’anxiety of influence’ twenty-first century. In an era defined by parody, spectacle, posed in the monumental image by California artist, the vulgar, and the banal, a new perspective emerges on Christian Vincent, Field of Frames (2001). Here the artist- what one of our artists called "the human content,”2' that as-architect, sketchbook in hand, surveys a panoramic uncertain place of the ethical, the contemplative—and landscape empty of all but discarded frames, art’s skeleton, even the beautiful—in contemporary art. periods of human contact with his sitters. 13. “Steven Assael: Revealing Light,” The World & I, August 1999, p. 124. 14. See Ken Greenleaf Maine Sunday Telegram, January' 9, 1994, p. 4E. 15. Bowar’s canvas is replete with borrowed fragments, 20. T vaguely Ger continues 11 December 21. B with Bo Ba Art, Colun 22. " Intcrnatior 23. 1 Course,” b 24. I Recent Paint 25. including rhe replication of a sculpted terrace wall (itself a replica­ but the im tion) surrounding one of the gardens on the estate of Hearst Castle reference i in San Simeon, California; Islamic geometric floor tiles, derived from (I993-2C fifteenth-century wall mosaics from Cairo, the design itself borrowed flooded » its bones ravenously picked over. He scans the horizon and copied in pattern books by a French nineteenth-century collector; to reprod searching for an idea with originality, something that he and perhaps most recognizably, a replication of Caravaggio’s painting Western : Basket of Fruit of 1598. Land of C< can convey that will be new, to which he can give his stamp NOTES 16. Suzi Gablik, in Bo Bartlett, exhibition catalogue, PPOW of authenticity'. As one writer puts it: “Images have been created an infinite number of times, but he must create 1. This exhibition began as a paper entitled “Aging the new ones. He needs to decide if he must reject the conven­ Present: Contemporary Realism and the History of Art” which I tional language of the past, referenced by the antique delivered at the annual conference of the Association of Art Histori­ frames, in order to go forward.”24 ans (UK) m 2004 at the University of Nottingham. Critic and historian Donald Kuspit has aptly charac­ terized the situation facing the group of artists presented by this exhibition, arguing that painting "states the pre- 12 / Then as Now 2. Donald Kuspit, The End of Art, Cambridge Uniuversity Press, 2004, pp. 182-183. 3. Thomas McEvilly, Art & Otherness: Crisis in Cultural Identity (1992), quoted in Barbara). Bocmink, Ph.D., Reality Bites: Realism in NY, 1998, n.p. 17. Bill Arning, “Admitting Sentimentality, ” Nosegays and Knuckle plenty.’ 26. 27. �osnnodern artist: all the art of the past Contemporaiy Art, Kemper Museum of Contemporary Art & Design, : on, bur to feast on everything is ro 1996, p. 8. f one’s own."2''1 The issue is framed 4. Harold Bloom, The Anxiety of Influence: /I Theory of Poetry, New York and Oxford, 1973, p. 141. tnistically (for poets) by Harold Bloom: ood us, and our imaginations can die by but no imaginative life is possible if wholly evaded.”26 -And this, perhaps, is t may be drawn from this exhibition, 5. Walter Benjamin, “N [Re The Theory of Knowledge, Sandwiches: Works by Thomas Woodruff, Atlanta College of Art Gallery and City Gallery at Chastain, Atlanta, 1997, p. 13. 18. Ibid., p. 12. 19. Fantin-Latour himself recalls in this canvas of 1870 his own earlier Homage to Delacroix (Musee d’Orsay, Paris, 1864), which Theory- of Progress],” quoted in Georges Didi-Hubermans “The depicts Fantin-Latour himself with Baudelaire, Manet, and Whistler, Supposition of the Aura: The Now, The Then, and Modernity,” in among others, gathered round a portrait of Delacroix. Negotiating Rapture, ed. Richard Francis, Museum of Contemporary Art, Chicago, 1996, pp. 52—53. 20. The artist explains: "Each is emblazoned with a ponderous, vaguely Germanic adjective which partly ‘explains’ the picture, while authenticity in art may indeed result 6. Thomas McEvillcy, 1992, p. 136. denying its depth and perspective. The flat surface is thus empha­ lowledge and skillful working of past 7. Jan Ake Pettersson, Odd Nerdrum: Storyteller and Self-Revealer, sized, yet around and behind it, the old three-dimensional illusion g bevond irony that provides an occaicculation. and insight. There is a honesty about each of the works on Astrup Fearnley Musset for Moderne Kunst, 1998, p. 22. 8. Ibid., p. 23. 9. Donald Kuspit, “Odd Nerdrum: The Aging of the Immediate.” ARTS Magazine, September 1984. pp. 122—123. ual and emotional richness and inti­ 10. Pettersson, p. 102. that betrays a healthy skepticism about 11. Bloom, p. 141. 1 offers a collective affirmation of 12. Never working from photographs, Assacl requires long to lived experience and its willingness what it means to be human in the In an era defined by parody, spectacle, 'anal, a new perspective emerges on periods of human contact with his sitters. 13. “Steven Assael: Revealing Light,” The World & I, August 1999, p. 124. 14. See Ken Greenleaf, Maine Sunday Telegram, January 9, 1994, p. 4E. 15. Bowars canvas is replete with borrowed fragments, continues happily to assert itself.” Communication with the artist, December I, 2004. 21. Bo Bartlett, quoted in “Painting the World: A Conversation with Bo Bartlett,” Suzi Gablik, Bo Bartlett, The Columbus Museum of Art, Columbus, GA, 2002, p. 33. 22. "Painting, the Fullness of Experience,” The Art Newspaper, International Edition, November 2002, p. I. 23. Vincent Desidcrio, quoted in “A 10-Year Long Art History Course,” Mia Fineman, New York Times, February' I, 2004, p. 34. 24. Robert Fishko, in exhibition catalogue, Christian Vincent: Recent Paintings, Forum Gallery, NY, 2001, n.p. 25. Here Kuspit is speaking specifically of Vincent Desiderio, but the implications, I think, are broader. Kuspit’s more direct sts called ‘‘the human content,”2, that including the replication of a sculpted terrace wall (itself a replica­ le ethical, the contemplative—and tion) surrounding one of the gardens on the estate of Hearst Castle reference is to Desiderio’s monumental canvas entitled Cockaigne in San Simeon, California; Islamic geometric floor tiles, derived from (1993-2003), which depicts a vertiginous view of an interior fifteenth-century wall mosaics from Cairo, the design itself borrowed flooded with light and with art books scattered on the floor and open in contemporary art. i began as a paper entitled “Aging the lealism and the History of Art” which I and copied in pattern books by a French nineteenth-century collector; to reproductions of paintings that encompass six centuries of and perhaps most recognizably, a replication of Caravaggio s painting Western art history. The painting’s title derives from Pieter Breughel’s Basket of Fruit of 1598. 16. Suzi Gablik, in Bo Bartlett, exhibition catalogue, PPOW Land of Cockaigne (1567), a cautionary moralizing tale of the ‘land of NY, 1998, n.p. 17. Bill Arning, “Admitting Sentimemitality,” Nosegays and Knuckle plenty.’ 26. Bloom, p. 154. 27. See note 7. inference of the Association of Art HistoriUniversity of Nottingham. The End of Art, Cambridge University Press, Uy, Art & Otherness: Crisis in Cultural Identity i J. Boemink, Ph.D., Reality Bites: Realism in Then as Now / 13 �Odd Nerdrum, White Hermaphrodite, 1992—96, oil on canvas, 80'4 X 83 inches, Courtesy Forum Gallery, New York ��I Steven Assael, At Mother, 2001, oil, wood panel, canvas, and steel, 110 X 156 X 42 inches, Courtesy Forum Gallery, New York ��< 1 ■ J. Ji \! -il-. r. 2001, oil. wood panel, canvas, and steel, 110 X 156 x 42 inches detail. . 1 •! ini < Killen, New York �and>!nj, !!H>. »5(-- : ,L �I I Brett Bigbee, Ann with Plant, 1990—91, oil on canvas, 53 X 42 inches, Seven Bridges Foundation, Greenwich, Connecticut; photo courtesy Alexandre Gallery, New York �A 42 inches, > courtesy Alexandre Gallery', New York �����Thomas Woodruff, All Systems Co: Mission Poesy (Diviner), 1999, acrylic on shaped canvas, 108 x 90 inches, Courtesy PPOW, New York �acrylic on shaped canvas, 108 X 90 inches, �Julie Heffernan, Self-Portrait as Heavenly Body, 2003, oil on canvas, 68 X 54 inches Courtesy of the artist, Peter Miller Gallery, Chicago, and PPOW, New York ii I 1 ■. i i I ■ ��Dotty Attic, In the Atelier, 1990-91, oil on linen, 5814 X 71 inches, 57 panels, each 6x6 inches, Courtesy PPOW, New York ��Hi ' F Vincent Desiderio, Contemplative Distance, 2002, oil on wood, 11 X 2554 inches, Courtesy Marlborough Gallery, New York �< 25% inches, �i1 ! ’ ill Michael Flanagan, Reader Series Jorbi.IJniX 2002, oil and acrylic on board. 24 Courtesy PPOW, New York 32 ..-.cr.os. �acrylic on board, 24 x 32 inches, �Christian Vincent, Field of Frames, 2001, oil on canvas, 84 X 110 inches, Courtesy Forum Gallery, New York ��EXHIBITION CHECKLIST Dimensions are given in inches, height precedes width. Steven Assael .ft Mother, 2001 oil, wood panel, canvas and steel 110 x 156 x 42 Michael Flanagan Reader Series, 2002 oil and acrylic on board, each 24 x 32 Courtesy PPOW New York Courtesy Forum Gallery, New York Julie Heffernan Dotty Attie In the Atelier, 1990—91 oil on linen, 5814 X 71 57 panels, each 6x6 Self-Portrait as Heavenly Body, 2003 oil on canvas, 68 x 54 Courtesy of the artist, Peter Miller Gallery, Chicago, and PPOW, New York Courtesy PPOW New York Bo Bartlett Golden Boy, 2002 oil on linen, 83% X 57 Odd Nerdrum White Hermaphrodite, 1992—96 oil on canvas, 80/4 x 83 Courtesy Forum Gallery, New York Courtesy PPOW, New York Brett Bigbee Ann with Plant, 1990—91 oil on canvas, 53 x 42 Seven Bridges Foundation, Greenwich, Christian Vincent Field of Frames, 2001 oil on canvas, 84 X 110 Courtesy Forum Gallery, New York Connecticut Thomas Woodruff Sharon Bowar All Systems Go: Mission Poesy (Diviner), 1999 acrylic on shaped canvas, 108 X 90 Santa Lucia, 2003 Courtesy PPOW, New York oil on canvas, 48 X 40 Courtesy of the artist Vincent Desiderio Contemplative Distance, 2002 oil on wood, 1 I X 25% Courtesy Marlborough Gallery, New York Z'/v.’i us Xew 39 �EXH1R1 DON UNDERWR11'ERS Annette Evans Foundation Fnends of the Sordoni Art Gallen M&T Bank Andrew J. Sordoni, 111 Wilkes University advisory commission Joseph Butkicwicz Marion M. Conyngham Virginia Davis Darin Fields, Ph.D. Joseph E. (Tim) Gilmour, Ph.D. Robert J. Heaman, Ph.D. Keith A. Hunter, Esq. BUSINESS COUNCIL SPONSORS J. Michael Lennon, Ph.D. Benco Dental Melanie Maslow Lumia Creative Business Interiors Theo Lumia First Liberty Bank and Trust Kenneth Marquis Marquis Art and Frame Alison Maslow Quaker Oats Hank O’Neal Westmoreland Club Arnold Rifkin Joel Zitofsky, Chair Charles Shaffer, Esq. Susan Adams Shoemaker, Esq. William Shull STAFF Helen Farr Sloan Ronald R. Bernier, Ph.D., Director Andrew J. Sordoni, III Karen Evans Kaufer, Associate Director Sanford B. Sternheb, M.D. Earl Lehman, Preparator Mindi Thalenfeld This project was supported in part by the Pennsylvania Council on the Arts, a state agency funded by the Com­ monwealth of Pennsylvania, and the National Endowment for the Arts, a federal agency. •W / 1 i.fn as Now &C00 32 �, hi III'):' ir’THi WIL KI.;.'; UNIVE RSITY LIBRARY 1 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2005 March 20 Then As Now Creator An entity primarily responsible for making the resource Odd Nerdrum Steven Assael Brett Bigdee Sharon Bowar Bo Bartlett Thomas Woodruff Julie Heffernan Dotty Attie Vincent Desiderio Michael Flanagan Christian Vincent Ronald R. Bernier Ph.D. Ronald R. Bernier Date A point or period of time associated with an event in the lifecycle of the resource 2005 March 20 - May 22 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Old Master tradition, sacred myth, and now modern pathology and film noir are the sources that collectively inform the works in this exhibition. The real and the imagined, the present and the past all have equal weight. Type The nature or genre of the resource Exhibition program Subject The topic of the resource pre-neo-modernism neo-modernism Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/10edca0b688c0ee5ffea45724a8c2b81.pdf 9b6b1f68b5c71e9d6bdcfc5766076ade PDF Text Text �, THoMAS IIART gEufon, Sunset,1941, Litlrrlg:@lr ���C o o oi 6 N { i:Sr s t e; b s _t !\ a i F g * = e & � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2005 August 29 Hideous Beauty Date A point or period of time associated with an event in the lifecycle of the resource 2005 August 29 - December 11 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Subject The topic of the resource N/A https://omeka.wilkes.edu/omeka/files/original/60b25e3455b2fabc1f9c8574ba8e8a84.pdf 463080b0c41ccffab7723147e955d766 PDF Text Text Johnnie Win*nm ffi*ss �Cover: Sand Bend Drow (SBD-01), 2OO4 ocrylic, mixed medio on linen 60 x 57 in, Collection of Stephen Holler, New York, NY (detoil) �Johnnie Winonc Ros Jonuory llMorch 5 2006 Johnnie Winono Ros SordoniArt Gollery Wiikes Universiiy Witkes-Borre, Pennsylvonic �uorl Dnoniw einnrloL �Johnnie Winono Ross Jonuory lS-Morch 5, 2006 SordoniArt Gollery Wilkes University Wil kes-Borre, Pennsylvonio �O 2006 Sordoni Art Gollery, Wilkes University 150 South River Street .l8766 Wilkes-Borre, Po Telephone 57 O- 4OB- 4325 Fox 570-408-7733 sordoni.wilkes.edu 2000 copies were printed by Ook Lone Printing Cotologue design: John Beck, Scronton .l950s for the mogozine of thot nome by Herb Lubolin Typefoce: Avont Gorde, designed in the ISBN: 0-942945-27-l �Acknowledgments ince first encountering the work of Johnnie Winono Ross neorly two yeors ogo, I hove hod the greot good fortune of working with people who hove given generously of their time, expertise, ond enthusiosm, Foremost omong them, of course, is the ortist himself who hos liberolly shored both his tolent ond his insight ond hos mode working on this project truly o pleosure ond o privilege, A greot debt of thonks olso goes to the stoff of the Stephen Holler Gollery in New York, porticulorly Stephen Holler ond Doniel Fenis, for their tireless support, potience, ond good humor. lt wos, in foct, on exhibition of Ross's work of the Stephen Holler Gollery in 2OO4 thot prompted my initiol interest in following the work of this foscinoting ortist. Ronold R, Bernier, Ph.D. Director ��A Conversotion with Johnnie Winono Ross The conversotion took ploce between the outhor (nna) ond the ortist (iwB) from October 5 to October 19,2005. More thon one reviewer hos mode the ossociotion between your pointing ond thot of Minimolist ortist Agnes Mortin ond the logic of the grid, But there olso oppeor to be less remorked-on ossociotions thot could be drown between your work ond, for instonce, the color drips ond woshes of Morris Louis ond Ad Reinhordt, ond the primory structures ond stocked verticols ond horizontols of Donold Judd. Could you comment on the significonce, if ony, of the work of these ortists to your nns: own pointing? lwn: 'The Agnes thing.' lt is one of those things thot I don't fully understond, ond I hove given it o greot deol of thought, My work hos hung in the some room with Agnes's work, ond they ore quite different, she demoteriolizes the pointing os onobject, ldoolmosttheopposite, lcollottentiontothephysicolobject,,.but,,. we both creote pointings ihot either ollow the viewer to feel o sense of tronscendence, or the pointings themselves to tronscend the weight of their own physicol presence, There ore certoinly severol ortists, both contemporory ond historicol, thot do the some, I think the effect of tronscendence is the common link between our work, ond it is something thot few viewers or writers hove commented on, Just using the word fronscend, or trying to tolk obout it, is quite tricky ond usuolly not ottempted, but it is certoinly port of both of our pointings, os well os Brice Morden, Ad Reinhordt, Donold Judd, Jockson Pollock, Mork Rothko, etc, . . . �It is thot feeling thot you get in the smoll of your bock, thot thing thot you con't quite verbolize, it is something thot con only be communicoted visuolly, whot viewers/writers usuolly lond on with the Agnes thing is 'white' ond 'horizontol bonds': The primory colours thot I use ore titonium white ond zinc white. The density, opociiy, ond physicolity of titonium offer o strong yet subtle controst to the ephemerol, otmospheric tronslucency of zinc. Eorth/sky. lf you use white os o colour (few ortists hove, Robert Rymon is certoinly one, Morondi onother), it feels obsolute next to other colours, it is pure without ony odulterotion visible, you con't mix onything wiih it without o feeling of dilution, lt is o difficult colour to use effectively. I use white-not only os o colour, but os o moteriol, l'm not sure Agnes Mortin uses white beyond the white of the gesso ground. Her colours ore generolly very thin woshes over white gesso. ln most of the pointings white is the support thot is under the other colours, The horizontol bonds. , , Brice Morden relied on'grid structure' untilthe Cold Mounfain series. When I wolked into Dio where those were first exhibited, I sow o new possibility with contemporory structure' Thot series chonged how I sow the world; literolly when I wolked from the Cotd Mounfotn series I wos different, He not only mode the grid orgonic, mony ortists hove ochieved thot, but . , , he seporoted the verticol from the horizontol with the complexity of turning the ground into otmosphere, insteod of mere support of the grid lines on the some plone' Seems 'BOs' Thot is simple, but it isn't, Thot shook my visuol world. When wos thot? Eorly when I begon to opprooch the horizontol more symbolicolly, more of o physicol moteriol, o component. Cy Twombly olso did much the some of obout the some time, just different ond not os cleor. Over the post 25 yeors or so, my big step wos to creote the somewhot rigid horizontol controsting the orgonic quolity of the �verticol drip. Agoin, it seems simple but there ore severol things hoppening within thot controst of moteriol ond effect. Morris Louis wos not much of on influence. I never found his work thot interesting, except the lorge size thot couses on impoct, . , but, , , Jockson Pollock, imposto point over eorlier drips, Thot got my ottention when I wos quite young in the '50s. Ad Reinhordt, of course, Kosimir Molevich even more, the first of the contemporory oesthetic, we ore still deoling with thot, one of the first ond still one of the few who successfully combined ihe spirituol with contemporory vision, Donold Judd's monostic oesthetic, on extension of Bouhous design. How con he creote so much with so little? Suson Rothenberg, onother importont ortist for me. I continue to romble on, but for the moment let's stop, nna: Your process ond technique is evidently o long, poinstoking, slow one, one which includes repeoted scropings ond burnishings of the surfoce. Could you describe this process, its rotionole, ond the importonce of this sense of slowness ond occretion to your convoses? "long, poinstoking, slow," 114ln: I didn't stort out to creote o working process thot is As on ortist, I never found technique by itself to be thot interesting or reolly very importont. I om bosicolly on intuitive pointer, with much to owe to obstroct expressionism, lntuitive moves hoppen quickly. They ore reoctive, honest, direct, ond complex to understond. Crofting on object, whether it is o titonium white bond, or o burnished surfoce, or o perfectly stretched linen tocked with copper is contemplotive, intentionol, slow, ond done with obvious skill, Melding those two woys of working into one seomless stroin of energy creotes o mogic; it seems to contoin the primory ospects of 'being,' ,l50 times This ploy between intuition ond the contemplotive is ployed out moybe 'history.' just it overpointing but doing repeoting, per pointing, giving the lt is not o �within the context of ihe structure of on individuol pointing-until o resononce, o mogic occurs. lf I could do the pointing in one cycle ond see the mogic I would certoinly be o hoppy pointer, but with my simple mind, it tokes scores of cycles' A morble stoirwoy in o new structure hos for less interest thon seeing o morble stoirwoy thot hos been used for 400 yeors, lts weor is its history, the hordness is softened by the touch of countless feet, when one is holding on Anosozi pot with o burnished surfoce, it is B0o-9oo yeors old, you know the process of rubbing o smooth stone over ond over to horden the surfoce, the time it tokes, the beouty, the core of the moker, , , mogic , . ' Your nne: This sense of slowness seems to be expected of your viewers os well. convoses require o certoin potience of the beholder, long ond close observotion, ond the expenditure of consideroble effori, o stote of meditotion of sorts' ls this o foir ossessment? :wn: Yes, contemplotive, meditotive-it is on importont port of the diologue 'mogic' is not o possive between you os o viewer/me cs on ortisi, Experiencing the 'self.' oct. lt tokes energy, openness, sensuolity, ond o need to see beyond pointingnns: l'm interested in the longuoge you use to tolk obout your fronscendence, spirifuol, ond, in porticulor, your reference to Molevich ond his efforts to discover o visuol longuoge oble to tronscend mundone experience ond noiurol oppeoronce ond ploce the viewer in touch with on olternotive, ultimotely spirituol world through pure, non-objective form. ,*n: The obove is tricky, Much of how tronscendence ond the spirituol ore perceived by the reoder/viewer is context, One con sound 'woo woo' very quickly. As on ortist, ond olso you os o writer/curotor, we ore reolly in on unknown oreo here, ond difficult to orticulote, First, you ore deoling with o non-verbol experience (the feeling or sensotion one gets when viewing) thot is not dependent on words, �some type of sensuol response in mony people, whether it is the smoll of the bock thing thot I feel when I see or heor something thot offects my core, or o sense of well being or even the opposite, ogoin quite tricky to orticulote, nna: Elsewhere you olso mention the need to "see beyond the self," Together with the ideo of 'tronscendence,' this sense of o coll to invisibility, to unrepresentobility. would seem to be port of the oesthetic trodition of the Sublime-the ideo thot something 'beyond' tronscends the limits of our ordinory phenomenol being, Would you go os for os to soy thot the ideo of ihe Sublime is port of whot you ore ofter, ond thot, perhops, your pointing moy be seen/experienced os on There is instrument or embodiment of the spirituol? .lwn: The Sublime, o tricky oreo once ogoin. Context, , , mony of the ortists ond composers of the eorly-to-mid twentieth century used symbolism to key the viewer/ listener to sublime direction. This of best is romontic ond rother schlocky, ond goes downfromthere. Molevich'sSupremotism(19.l4-.l9.l9)wostoppingintosomething quite different-unchortered territory, I think Brice Morden picked up on this with his Cold Mounfoin series, Jomes Tenellsometimes olso enters this reolm, os well os John Coltrone. And yes, Agnes sometimes. I try not to noil this down too much, I don't understond it, but I do know when l'm in thot oreo, whether with my own work, or experience it through someone else's, I only ottempt to provide o situotion for the viewer to experience something thot is outside of everydoy experience-o quick meditotion? o deeper understonding/perception? . . , but thot is bosicolly whot you soid before , , . but context removes this from being too 'woo woo,' I find it interesting thot my work is doing so well ot this point in our culture, lt is reolly outside of prevoiling ortworld 'speok.' , , , ln one sense, is it reflecting something thot is needed? I t �RRB: ln spending time looking ot your work, time the pointing itself urges-insists on, even-it seems thot there ore opporent tensions, suspended oppositions, or perhops better, equivolences, in your work between: surfoce ond depth; repetiiion ond spontoneity; opocity ond tronsporency; presence ond obsence; emptiness ond plenitude. Con you comment on this? .rwn: I believe in the ol' Joseph Albers soying, "you never see o colour isoloted, but olwoys reloted to o society of colour" (l octuolly combined two quotes there), Every mork, or copper tock, or piece of linen, surfoce, or colour is reloted to the collective whole of the poiniing (o Jungion phrose), Like noture, Within thot relotive context "opposites" creote on energy, o life, or power, Tension , , , the bolonce between two opposing forces . , , doesn't quite describe it for me, lt is more like sensing the potentiol between two opposiies. nna: Finolly, there seems to be o subtle but deliberote evocotion of the physicol environment in your pointing, of geologicolstructures ond formotions, porticulorly of the southwest where you now live ond work. Could you tolk o bit obout these implied experiences or sensotions of the desert environment ond its importonce to your work? lwn: Eorlier, when you osked obout Mortin, Judd, ond other ortists, which I oddressed briefly, those were/ore influences, certoinly importont within the longuoge of the visuol, os well os contemporory historicol context, (But) Notureis the inspirotion, Nothing is more powerful, importont, complex, simple, owe inspiring, Noture is mother, Art is friend, I don't use specific shopes, colours, or potterns from noture, but use the power of o ploce, I work with the effect it hos on me os o person, The owe. The mystery, The beouty, When I look through the gloss doors of my studio ond I see the mountoins everydoy, I om humbled, lt would seem olmost silly to try to imitote the oppeoronce �of the mountoins, but I try to creote something with some of the complexity ond power, on object to elevote one's senses, something thot chonges your sensibilities os when looking of those mountoins, or looking out over the conyons, with o gentle wind, feeling the sun on your skin, sond on your honds, the smell of soge, you just keep looking, you ore not possive, your senses ore heightened, they become quite shorp, you get thot feeling in the smoll of your bock. I try to creote on experience similor, but different. lt's not obout Mortin or Judd. You ore humbled by being o smoll port of noture, �I Sond Bend Drow 6BD-01),2OO4 ocrylic, mixed medio on linen 60 x 57 in, Collection of StePhen Holler, New York, NY �I k �Sand Bend Draw (SBD-06),2OOs ocrylic, mixed medio on linen lB x 17 in. Collection of Michoel Koch, New York, NY �13 ., ir i.1 t:, $ 4. 5 ;, ,f 3:: t! ,t ; $;, a r 'ir I t I *: & u t. '--' r-t !$ s t' : .t ., -t. r i j. s i 'S T &' * { :$. t: &, '*i & ;'*. 3q- '*, ill:S , !3*l :i-' -q d& l*w *li "* _s._:*-._G:i i �Sand Bend Draw (SBD-10),2OO5 ocrylic, mixed medio on linen 48 x 451/z in. Courtesy of the Stephen Holler Gollery, New York, NY ��Dry Wosh Seeps,2OO4 oil, mixed medio on convos 20 x 1$/q in. Privote collection. courtesy of the Siephen Holler Gollery, New York, NY ��So// Seeps ,03,2005 digitol print on paper 241/t x 22 in. Courtesy of the Stephen Holler Gollery New York, NY ��So/f Seeps .02,2OO5 digitol print on poper x 22 in. Courtesy of the Stephen Holler Gollery, 24t/z New York, NY �I tt)&il ll4h4tl flq tttt th 4! lrMcn / *t | \.t 't.i . lt , a\ *r.t)tt.l .}! d l{ .l r',4 *l i i*r i:itb:riI nI l r;ir**l&Sr:&*.&t8r****d!&t1**&i*iEL5*a*lSj �Exhibition Underwtilers Friends of the Sordoni Art Gollery M&T Bonk Andrew J, Sordoni, lll Wilkes University Business Council Sponsors Benco Dentol Creotive Business lnteriors First Liberty Bonk ond Trust Morquis Art ond Frome Quoker Oots Stoff Ronold R, Bernier, Ph,D,, Director Brittony Kromer, Coordinotor Bruce Lonning, Preporotor project wos supported in port by the Pennsylvonio Council on the Arts, o stote ogency funded by the Commonweolth of Pennsylvonio, ond the Notionol Endowment for the Arts, o federol ogency, This PIt{l[yUAil[ i0lJililt 0il Iflt t @ Advisory Commission Joseph Butkiewicz Morion M, Conynghom Virginio Dovls Dorin Fields, Ph.D, Joseph E, (Tim) Gilmour, Ph.D, Robert J. Heomon. Ph,D. Keith A. Hunter. Esq. J. Michoel Lennon, Ph.D, Melonie Moslow Lumio Theo Lumio Kenneth Morquis Alison Moslow Honk O'Neol Arnold Rifkin Chorles Shoffer, Esq, Suson Adoms Shoemoker, Esq. Williom Shull Helen Forr Sloon Andrew J, Sordoni, lll Sonford B. Sternlieb, M.D, MindiTholenfeld JoelZitofsky, Choir ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2006 January 15 Johnnie Winona Ross Creator An entity primarily responsible for making the resource Johnnie Winona Ross Ronald R. Bernier Ph.D. Date A point or period of time associated with an event in the lifecycle of the resource 2006 January 15 - March 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource By calling attention to the physical object, Johnnie Winona Ross allows the viewer to feel a sense of transendance beyond the weight of the object itself. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Johnnie Winona Ross abstract art abstraction https://omeka.wilkes.edu/omeka/files/original/e464b4149567291ce04f0c1e1bf0c6d1.pdf 68997b643fd691fb419bd3403c4df62b PDF Text Text COMMITTED TO CLAY ,OE BENNION ,/ RANDY JOHN5TON ,/ MARY LAW / )EFF OE5TREICH ,/ sANDY SIMON �Sordoni Art Gallery Wilkes University 150 South River Street Wilkes-Barre, PA 18766 2006 Dr. Roy E. Morgan Exhibition COMMITTED TO CIAY Joe Bennion / Randy Johnston Mary Law / Jeff Oestreich / Sandy Simon Tel 570-408-4325 Fax570-408-7733 March 18-May 21,2006 sordoni.wilkes.edu Opening reception: Saturday, March 25,5-7 p.v. Gallery Hours: Demonstration Workshops: with Joe Bennion, March25,2006 with Jeff Oestreich,April 1,2006 Noon-4:30 e.m.,daily Slide Lecture by Jeff Oestreich: Friday, March 31,2006 7:30 p.rvr. at Wilkes University. Lecture is free and open to the public. For more information call 57 0-408-4325 Price list available upon request. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2006 March 18 Committed to Clay Creator An entity primarily responsible for making the resource Joe Bennion Randy Johnston Mary Law Jeff Oestrich Sandy Simon Date A point or period of time associated with an event in the lifecycle of the resource 2006 March 18 - May 21 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Subject The topic of the resource ceramics ceramic clay Joe Bennion Randy Johnston Mary Law Jeff Oestrich Sandy Simon https://omeka.wilkes.edu/omeka/files/original/45a8b20e68d9fe40837016da4c095ff3.pdf 4eebf632de9f8189efa52c258e6d1b9a PDF Text Text �Sordoni Art Gallery Wilkes University '150 South River Street Wilkes-Barre, PA 18766 Tel Fax 570-408-4325 570-408-7733 SLICES OF TIME Photographs by Michael Mirabito June 14-August6,2006 Opening reception: Sunday, )une 25,2 - 4 Come meet the artist! sordoni.wilkes.edu Summer Gallery Hours Noon - 4:30 p.tvt., Wed.- Sun. TheTor,)anuaty,2006,digital inkjet print,collection ofthe artist,actual size p.r,ri. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2006 June 14 Slices of Time Creator An entity primarily responsible for making the resource Michael Mirabito Date A point or period of time associated with an event in the lifecycle of the resource 2006 June 14 - August 6 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Subject The topic of the resource N/A https://omeka.wilkes.edu/omeka/files/original/3731cd5040e69490d5b016ee51e1fdae.pdf 26675ae454e9f9e10f4dee916626beee PDF Text Text �,ii-i: ffi �Sordoni Art Gallery Wilkes University I50 South River Street Wilkes-Barre, PA I8766 Tel 570-408-4325 Fax 570-408-7733 sordoni.wilkes.edu Gallery Hours: Noon to 4:30 n.u. daily PENUMBRA an instalktion Jon C1ark ' oJ glass, light, and sound Angus Powers ' Jesse Daniels August 28-October B, 2006 Opening reception to mer:t the artists Saturdap September 9, 5 to 7 p.u. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2006 August 28 Penumbra: An Instalation of Glass, Light, and Sound Creator An entity primarily responsible for making the resource Jon Clark Angus Powers Jesse Daniels Date A point or period of time associated with an event in the lifecycle of the resource 2006 August 28 - October 8 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Penumbra is an organized installation of glass, light, and sound. Type The nature or genre of the resource Exhibition program Subject The topic of the resource installation installation art glass audio video https://omeka.wilkes.edu/omeka/files/original/91811e209db031a26cd332ec8e7254d6.pdf 2eef465995716b29b5ea6ff19857b9aa PDF Text Text ������������������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2006 October 28 Beyond Recognition: The Art of Alan Magee Creator An entity primarily responsible for making the resource Alan Magee Ronald R. Bernier Ph.D. Date A point or period of time associated with an event in the lifecycle of the resource 2006 October 28 - December 10 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Using fantastical realism as a medium for conversation, Alan Magee's work is representative of both the every day and the magic behind it. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Realism hyperrealism magical realism Alan Magee painter paintings Source A related resource from which the described resource is derived Forum Gallery https://omeka.wilkes.edu/omeka/files/original/7bec28b1c1edc919910eaa76b2768a28.pdf fc6ff83a67b00e3bc865c070b2924862 PDF Text Text �Related P rams and Events Children of Darfur: Picturing Genocide o Farley Library, Wilkes University January I7-February 17, 2007 An exhibition of children's drawings organized by Africa Action All About Darfar A film by Sudanese filmmaker Taghreed Elsanhouri Special one-time screening at R/C Wilkes-Barre Movies l4 Wednesday, February 7,7 p.u. Dr. fean-Marie Kamatali, professor of law at the University of Notre Dame and guest speaker, will address the film immediately following. Co-sponsored by King's College. . Guest speaker, Iohn Heffernan Director Genocide Prevention Initiative at the U.S. Holocaust Memorial Museum, Washington, D.C. Thursday, February l5,7 p,u. o Henry Student Center,2nd floor Ballroom, Wilkes University Gallery talk, Ryan Spencer Reed Tilesday, March 13, 7 p,u. Image: Kotobi, South Sudan 20 x 30 in. courtesy private collection ff ffi:]ffi'J;;il" Tel 570-408-4325 Fax 57O-4O8-7733 For more information please call s70-408-4325 =il;il:$:I:r"#[T:. wilkes.edu/sordoniartga llery Gallery Hours: Noon-4:30 e.rvr., Daily �rrilffi:l',ffi:,iiff' A=I. =- r 50 sourn xrver >rreer wilkes-Barre. PA r8766 SUDAN The Cost of Silence Photographs by Ryan Spencer Reed � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2007 January 15 Sudan: The Cost of Silence / Hands of a Displaced Sudan Creator An entity primarily responsible for making the resource Ryan Spencer Read Date A point or period of time associated with an event in the lifecycle of the resource 2007 January 15 - March 18 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Hands of a Displaced Sudan is an exhibit of some sixty photographs by Ryan Spencer Read, a member of Group M35. It chronicles the genocide in the Darfur region of Sudan. Type The nature or genre of the resource Invitation Subject The topic of the resource Sudan conflict photography photographer photograph documentary https://omeka.wilkes.edu/omeka/files/original/948a08f1d0d9e207204a2c58f1d61509.pdf e7c86430593bbe2d102d56555e5c541b PDF Text Text �IEF Juruur, .' ur vdrrLr-r IJll'l*Y.xt'l?.- =. Wilkes-Barre. PA 18z66 =Tel 57o-4o}-4325 Fax 57o-4o8-7737 wilkes. edu/sordoniartgallery Gallery Hours: Noon - 4:3o e.u., daily Wilkes University Art Faculty Exhibition, zooT Aprilr-Mry2c.,2oo7 Opening Reception Sunday, April r, z:oo Participating Artists Iean Adams Sharon Bowar Richard Fuller Beverly Glennon Bruce Lanning David Leonard David Schulte John Sedor William Sterling Herb Simon - 4:oo P.M. � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2007 April 1 Faculty Exhibition 2007 Creator An entity primarily responsible for making the resource Jean Adams Sharon Bowar Richard Fuller Beverly Glennon Bruce Lanning David Leonard David Schulte William Sterling Herb Simon Date A point or period of time associated with an event in the lifecycle of the resource 2007 April 1 - May 20 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This exhibition proudly continues a long tradition at the Sordoni Art Gallery of showcasing the unique achievements of the Art Faculty at Wilkes University. Type The nature or genre of the resource Invitation Subject The topic of the resource faculty exhibition, Wilkes University, faculty https://omeka.wilkes.edu/omeka/files/original/2e6e47411cd87ceb635e9c715f3604b9.pdf dca76613688fb0227fd5447b5daa0781 PDF Text Text �g Sordoni Art Gallery Wilkes University 150 South River Street Wilkes-Barre, PA 18766 TeI570-408-4325 Fax570-408-7733 wilkes. e du/sordoniartgallery Gallery Hours: Noon - 4:30 p.m., daily Black DesertsAVelsh Tips Phorograplts by Ray Klimek August 27 - October 7, 2007 Opening reception with the artist: Saturday, September 8, 5-7 p.m. Hug hesto w n, Pe ruuy lo ania, 2003 20 x24in. digital C print courlesy the arlisl � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2007 August 27 Black Deserts/ Welsh Tips Creator An entity primarily responsible for making the resource Ray Klimek Date A point or period of time associated with an event in the lifecycle of the resource 2007 August 27 - October 7 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Photographs by Ray Klimek, more than 20 photographs contrasting the culm banks and mine-damaged lands of northeastern Pennsylvania and South Wales. Type The nature or genre of the resource Invitation Subject The topic of the resource Ray Klimek coal coal mining photography photographer Rust Belt South Wales https://omeka.wilkes.edu/omeka/files/original/a007e1fe6e9c3980d09000fe870eacf0.pdf 75c06463f006bbd6bf14d945321ed286 PDF Text Text Q. Wrref ls a"gePlk anel*? A. Gradtic novels *Live o{.w de{rni,ta chqi acl er t s +i c s. W,&,s_y a u a(* y 1-,t ty 1 l. \4rc1 aye lovj couicbooks. (n jet ba.k'to+he t{;+ l{l also corq6.ot 1o Vatte rhe gequential > ..,o*'d )rha+'g-;+. l4o,leucx, Cow;cs olgo o(teyr swh lhinl; {a*u,r. i1ages,4fl,;.,1-t11 o'on"le') whi"h aie 1 ' Q. Wlra+ is a "comic booko? A. Yorr vuo,1 lhink yqt l<nowtrl"e auswer lo 1*;s ?u*pwrd<^ vy \iues call<A. , 1'pueA $wclers. ilertoai+ Etrck with we q (er^t ,+tixutesz A corvric bo.k is a yroqqzin" ov bounl b"ok i' t 't lnal ov*aiu s "' co*ri csl Glso knorr os cr* x l'), Comics ig c melrttm 6v etweSgirrq in{oyyya*ion ar.d/o. artis{tc ideas fuat ts f,ei(;neAlRt .* h<m*. Olrt l'lt get ro e'r how -tD a cowic'43',,,++1< u?fft \ou yal o+ languay, in o niwie, r€ad elewc,**s otr a le++' Lofi1Qr , wt{rl7l \^Jhe6 \rotr {r ni5l'i lou edusiW ;afie rrale {or 4gftpgs ?oc eeAirw . 4oratn 19 f.ow tve fiqh+. loe-+o - -lLx6n ygol;,g ^ ctou., o*4 the,r'r Yov VtaA at6s $ *te aply the |aue le{.l.-{t - .,]fou ".elt€{yrt^ Just ac in our wnlten the fu* aell) W �The Languoge of Comics: Originol Drowings from Jessico Abel's Lo Perdida snd Mott Modden's 99 Ways to Tell o Story: Exercises in Style October 2? to December 9, 2OO7 Opening reception: Soturdoy, November 3, 5:00 - 7:OO p.m. Mott Modden will present o slide lecture on his work immediotely preceding the reception ot 4:30 p.m. in Stork Leorning Center, Room 166. This exhibition wos organized by the Richard F. Brush Art Gollery ot 5t. Lowrence University. Front: Jessico Abel, What is a graphic novel?,2OOZ Gicld,e print Jessicq Abel is the outhor of Soundtrackand AAirror, Window, two collections of stories ond drowings from her comic book, Artbabe. Her grophic novel La Perdida won the 2002 Harvey Aword for Best New Series ond wos nominoted for on " Essenf iels de la BD" oword of the 2OO7 AngoulOme Comics Festivol in Fronce. She is currently colloboroting on onother grophic novel, Life 5ucks, ond is finishing up o textbook obout moking comics with Mott Modden. She teoches at the School of Visuol Arts in New York City. minicomics in the early 1990s. He hos created two grophic novels, Black Candy in 1998 and Odds Of f in 2001. Mott teoches ot the School of Visuql Arts ond reviews comics for Bookforum. His lotest comics oppeor in A Fine lAess, a series published by Alternotive Comics. 99 Ways to Tell a Story: Exercises in Style wos published in 2005 by Penguin Books. Mott Modden storted self-publishing �La Perdida tells the story of o young womon's misodventures ond her desire to live on outhenticlif e. Carla, on Americon estranged from her Mexicon father, heods to Mexico City to "find herself ." She croshes with o former fling, Horry, who hos been drinking his woy through the copitol in the greot trodition of his heroes, Williom S. Burroughs ond Jock Kerouoc. Horry is good-humored obout Corlo's reoppeoronce on his doorstep - until he reolizes thot Corlo, who spends her doys sooking in the city, exploring Frido Kohlo's house ond leorning Sponish, hos no intention of leoving. When Horry ond Corlo's relotionship of mutuol toleronce reoches its inevitoble end, she relects his world of Anglo expots f or her own set of friends: pretty-boy Oscor, who sells pot ond dreoms of being o DJ, ond chorismotic Memo, aleftwing, pseudo-intellectuol lodies' mon. Determined to experience the real Mexico, Corlo turns o blind eye to her new f riends' inconsistencies. But then she cotches the eye of o drug don, el Gordo, ond from thot moment on, her lif e gets a lot more complicoted, ond she is forced to confront the irreparable conseguences of her willful innocence. fmoge: Jessico Abel,Cover drawing for La Perdida,2006 Offset printed jocket sleeve ��99 Ways to Tell a Storywos inspired by Roymond Queneou's Exercises in Style (1947), in which he spun ninety-nine voriotions out of o bosic, two port text reloting two chonce encounters with o mildly irritoting chorocter during the course of o doy. He told the story in every conceivoble tense, then in free verse, os o sonnet, os otelegram, in pig Lotin, os o series of exclomations, in on indiff erent voice...you nome it, he did it. fn my book eoch comic presents the some story-recounts exoctly the some events-but tokes o different opprooch to telling the tole. You will find vorying points of view, diff erent styles of drawing, homoges ond porodies, os well as interpretotions thot moy chollenge your idao of whot exoctly o norrotive is. For example, con mops tell o story? How obout o full page of odvertisements? f'm not suggesting thot there's o def init e answer , only thot it's exciting to consider how mony different woys o story con be told, how ort ond text interoct, ond how lhese comics relate to other visuol ond norrotive medio. -Mott Tmage: Mott Modden, Color mop Gicl6,e print Modden from 99 Ways to Tell a Story �,r;'('*" R"prrbr, Vhat ts lt t'4.r.. Time ---- "C O- 3# rabre tr- ) United statesf of Jessica i / ! l- Refrigerator �?f Soroonr aer Oouery +[#*ir":::;%m Tel 570-408-4325 Fox 570-408-7733 W ilkes.edu /so rdon iortgol ery hallery Hours: Noon to 4:30 p.m., doily I The Languoge of Comics October 22 to December 9, 2@7 � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2007 October 22 The Language of Comics Creator An entity primarily responsible for making the resource Jessica Abel Matt Madden Date A point or period of time associated with an event in the lifecycle of the resource 2007 October 22 - December 9 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Subject The topic of the resource comic comics graphic novel illustration https://omeka.wilkes.edu/omeka/files/original/ceb78532ce0f38b06214b1e58d7e232f.pdf 954fe3f85c19cd0b9000cda3946a3592 PDF Text Text ���������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2008 January 14 Some for Me, Some for You Creator An entity primarily responsible for making the resource Ken Aptekar Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 2008 January 14 - March 2 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource In a process that integrates the past into the present through the re-use of art history's forms, patterns, and figures, Aptekar challenges the passivity of influence and the burden of Old Master veneration. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Ken Aptekar art history old master's https://omeka.wilkes.edu/omeka/files/original/27a1b4c5e5b89ca8c3f7aff4717ffb5f.pdf 3f0b74d65b2d938fb44df2ea7764d8e5 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2008 March 30 "Sweetheart Like You": Roller Derby Portraits Creator An entity primarily responsible for making the resource Michael Poster Date A point or period of time associated with an event in the lifecycle of the resource 2008 March 30 - May 4 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource "Sweatheart Like You": Roller Derby Portraits is an exhibition about the lives of the Coal City Rollers local to NEPA. Type The nature or genre of the resource Invitation Subject The topic of the resource Michael Poster photography photographer photographs documentary rollerderby