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https://omeka.wilkes.edu/omeka/files/original/467b81ef307fba5734406c09f6715b42.pdf
9fc90e0e4f6b5f20f7a516f99d7fbdc5
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Dublin Core
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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
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Title
A name given to the resource
2012 March 26 Detroit Forsaken
Creator
An entity primarily responsible for making the resource
Ryan Spencer Read
Ryan Spencer Reed
Date
A point or period of time associated with an event in the lifecycle of the resource
2012 March 26 - May 20
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
photography, photograph, Paul Spencer Read
-
https://omeka.wilkes.edu/omeka/files/original/7510b0aa3d6727f2ae18910476142fc5.pdf
7c6e6827e10d40dbe1ecf66c20a0aa4b
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�of statistics. Each image portrays
a specific quantity of something: two million plastic bottles (five minutes of bottle use); 106,000 aluminum cans (thirty
seconds of can consumption) and so on. Finding meaning in these mass phenomena can be difficult because the phenomena
themselves are invisible, spread across the earth in millions of separate places. There is no Mount Everest of waste we can
make a pilgrimage to and behold the sobering aggregate of our discarded stuff, seeing and feeling it viscerally with our senses.
Running the Numbers looks at contemporary American culture through the austere lens
Instead, we are stuck with trying to comprehend the gravity of our mass phenomena through the anaesthetizing and
emotionally barren language of statistics. Sociologists tell us that the human mind cannot meaningfully grasp numbers higher
than a few thousand; yet every day we read of mass phenomena characterized by numbers in the millions, billions, even trillions.
Compounding this challenge is our sense of insignificance as individuals in a world of 6.7 billion people. And if we fully open
ourselves to the horrors of our times, we also risk becoming overwhelmed, panicked, or emotionally paralyzed.
I beiieve it
is worth connecting with these issues and allowing them to matter to us personally, despite the complex mixtures of
fear,
grief, and rage that this process can entail. Perhaps these uncomfortable feelings can become part of what connects
ange!
us, serving as fuel for courageous individual and collective action as citizens of a new kind of global community. This hope
continues to motivate my work.
This project visually examines these vast andbizarre measures of our society; in large intricately detailed prints assemble d
from thousands of smaller photographs. Employing themes such as the near versus the far, and the one versus the many, I
hope to raise some questions about the roles and responsibilities we each play as individuals in a collective that is increasingly
enormous, incomprehensible, and over"whelming.
-chris jordan, Seattle, 2008
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Gallery Hours:
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wilkes.
Cans Seurat, 2007
Depicts 106,000 aluminum cans, the number
used in the US every thirty seconds.
Non-Profit Org.
U.S. Postage
PAID
Permit No. 355
\4tlkes-Barre, PA
�
Dublin Core
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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
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Title
A name given to the resource
2011 August 29 Running the Numbers: Portraits of Mass Consumption, Photographs by Chris Jordan
Creator
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Chris Jordan
Date
A point or period of time associated with an event in the lifecycle of the resource
2011 August 29 - December 11
Format
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PDF
Description
An account of the resource
In Running the Numbers, artist Chris Jordan creates intricate photographic prints assembled from thousands of smaller photographs, visually depicting statistics that dramatize aspects of contemporary American culture.
Type
The nature or genre of the resource
Exhibition program
Subject
The topic of the resource
Chris Jordan
mass consumption
photographer
photography
Source
A related resource from which the described resource is derived
Perlman Teaching Museum
-
https://omeka.wilkes.edu/omeka/files/original/9f10e50947dba2ec099889ce1fd70b4d.pdf
b06948127711c6df2820fc20077ee501
PDF Text
Text
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ELISE \TAGNER
A Decoda in Pointing
��Elise Wagner -
March 28
-
A Decade in Painting
May 22,2011
Exhibition Curated by Brittany Kramer DeBalko
Catalogue Essay by Ronald R. Bernier; Ph.D.
2010-20t1 Dn Roy E. Morgan Exhibition
SordoniArt Callery
Wilkes University
Wilkes-Barre, Pennsylvania
Cover: Counter Collision II, 2009 encaustic & oil on birch 48" x 48" Courtesy of ChaseYoung Gallery, Boston, MA
E
--
@2011
SonooNI ART GALLERY
SordoniArt Aailery, Wilkes Universiry
150 South River Street
Wilkes-Barre, PA 18766
Telephone 57 0-408-4325
Fax 570-408-7733
wilkes. edu/sordoniartgallery
2,500 copies were printed byZodiac Printing, lnc
�the result is arresting, with surFaces so vast (even on small scale), we ente; lose
ourselves, and succumb to a pull powerful enough to command our attention.
She applies her color concoction and scrapes it offl rubs it down, then applies
it again, and still again working and reworking each panel numeror,rs tlmes, so
that layers build one atop the other: Look closely and you'll
retains traces
see that each image
ofits prior configurations vague and elusive memories ofearfier
states, but none the less perceptible, still present to our awareness. And all this
painting, abrading, burnishing, effacing is repeated and multiplied both across
the surface and into depth, resulting in a simultaneous neaTness and larness
Lo.p ll 2008 encaustrc. monotyry & oil on panel 24"
Cau t.sy ofthr Attist
Hodbr
Discover
-
\
48'
conveyed in the very texture of the paint itself Within these highly charged
to make known or visible; scientifically, to observe and reveal;
fields olcolor, successive and interpenetrative states olawareness merge rnto
in the archaic sense, to disclose, to bring to light something lorgotten or hidden.
one another, each retaining something
That
intimation olwhat is to come
is
what
Elise Wagner's painting is all about, ernerging
infinitesimal and the vast
-
both on the part ofthe artist
awareness of the
ancJ
the beholder
-
ofwhat
has just passed and each giving
a blurring of the boundaries of past, present and
anticipated future. And these palimpsests of paint encourage us to linger, to
note the marks ol presence and absence as they emerge and fade.
Amidst the increasing velocity of our contemporary vrsual culture,
Wagner's paintings compel the viewer to stop and pay anention. That
to
say,
Embedded within the layers are
is
they speak to the unlolding of time. As each canvas srrstains the
appearance ollengthy and calculated efforts of
suggests the dense complexity
marks or
repaintinq wl'lich itself
ofour perception tlrere
srgnifiers not yet
srgnrfieds allu.ion. ro lhe promises
is a curious paradox
at work, a dialectic olmotion and stillness, of seen ancl rrrrsccn,
glyphs
and claims of scientific
olthe certain
are star.char t
gr
ids
truth. There
ard ganglionic
and the unknown; and it is this tensron that evokes tl-re slow ancl extended
webs, astronomical spirals and celestral
dimension to our, the beholder's, experience, well beyond the ternporally
nebulae, the scraffito of the artist's
and spatrally confined "instant" ofseeing.
journal drawings incised and embedded
ltt t; t l
Cnutt.e
l
The process of Wagner's work
is slow, as the viewer's experience
of
rt
at Ni
t
ul..
2AAB
rl lla Atti\t
lrcauyrc 6 or of bnclr
l0
x l0
into the layered waxy suface; all
ofthis eliciting lrom the beholder
a
must be. She begins with a thin birch plywood panel onto whrch she layers
continuous shifting in the perception offlorms, a buildup and overlap ofstages
her chromatic mixture of pigmented wax, fused to the surfbce
with heat gun,
which demands that our attention continually adjust in order to accommodate
blowtorch or iron. We can sense her patient, persistent layering olpaint; and
the various perceptual possibilities within the subject. lt is all about perceptron,
�r
The sensuously layered,
and perception here is a matter oladjusting, shifting attention, losing and then
callrng back into focus. The painted surface, however: remains remarkably
successively painted and reworked
srnooth; lrom first geological layer to last, translucence is sustained, light
surfaces of Waqner's painling sustain
continues to pass through the waxy membrane. ln other words, it
rs
the visual effect ofduration, both
the process
temporal and spatial. Early stages
o1'painting itselfthat conjures this gradual disclosure ofelements and leatures
at first left unnoticed, and so in one sense absent from our
view
of configuration are iust
absent in
to our awareness
the sense that their temporary non-occurrence lay outside but always included
in the background of the present of our momentary view. And this state
being momentarily
unnoticed
and then
recalled
appearance.
of
viewer
is part of the viewer's rich
Mqnetic Porollel.2AA9 encau*ic
f-
oil on brch
At the
is made
as present
as the final surface
same time, the
io take
a disengaging
1B'x 48'
experience of the ineffable and the unknown. In short, Wagner catches the
otut$yofchaseYaunscatteryButon.MA
temporal flow of perception itself
the surface ofrepresentation, which pushes beyond the conventional limits
andvertiginouslookdowninto/onto
olthe picture frame and subverts it for a new paradigm,
And while there
is
an all over expanse
oltvisual attention, disallowing any reassuring sense of a single, unified and
certainly mucl-t
about the images that urges us to
momentary view. The beholder leels himself released lrom gravity, as it were;
reflect on the certainties ofscience
we both hover over the surltaces and peer into their depths, our disengaged
ol
considet for instance, the specificity
titles: Hadron Loop, Particle Longitude,
viewing steered by a medium at once ffuid and solid. In terms of distance and
scale, we wonder, are we microscopically close or galactically far away?
Magnetic Parallel, Meteor Shower this sense ofgradual apprehensrorr
Mt,t Shwer 2007 encaustic
('dtt$y afthe Aiist
r
rgron by the
sr
L- oil on panel 16 x
is
it engages the realm ol "suggestion" or
with time and space. What these paintings do, and do brilliantly,
"mystery" wherein its listener
sense olthe world, not as a sinele and coherent thought, Geling, or perception
is
further appropriate,
, irlliuraphic quality ofWagner's
rr
is register
our
16
with ordinary prose, its content
with language
the embodied gathering
oFthese discontinuous and multiple perceptions through an extended encounter
is called
irr
is less immedialely and
about it, but rather its very relation to us as precarious, as multiple and unfixed,
and so conrinually subject to re r i:ion.
r'irrcretely available to perception and only more slowly and evocatively suggested
I I re analosv
is
precisely what good poetry does too;
very opacity oflanguage to engage with the oblect ofdescription
rch a way that, unlike
The entire pictorial surlace ofWagner's painting
I
think, in pondering the
work; drawn, incised and gestured marks of some
r I of ancient writing or scientific slmbology, floating up to the surflace, then
rtt ulirrg, embryonically reaching the point of meaning belore fading away.
Ronald R. Berniec PhD
�Acknowledgements
Since first encountering the work of Elise Wagner nearly two years ago, I have had the good fortune ofworking with people who have given generously
of their time, expertise and enthusiasm. Foremost among them, of course,
is
the artist herself who has liberally shared both her talent and insight and has
made working on this project both a pleasure and a privilege. A great debt of thanks also goes to Jane S. Young, Director of Chase Young Callery in Boston,
Massachusetts for her tireless support, patience and good humor:
Ib our guest
essayist we also extend heartfelt thanks.
Dr Bemier's contribution lends
a particularly thoughtlul dimension to the project.
We are especially grateful to the individuals who have graciously loaned crucial works to the exhibition. They have shourn enorrnous generosity of spirit
by sharing their valuable and valued works of art. The richness of this exhibition would not have been achieved without their support.
This exhibition
is dedicated
to the late Dr Roy E. Morgan, former arts and drama critic
SordoniArt Callery.
Brittany Firamer DeBalko
Interim Director
Staff
Brittany Kramer DeBalko, Interim Director
Bruce Lanning, Preparator
mili,ymlilr This prcject is supponed, in pm, $r
(01,flil t
the Pemsylvmia Council on the Arts,
6
0lt Illt
a state agency funded by
the
Commonwlth of Pennsylvmia, md
the National
Endoment for the Arts,
a federal agency.
fo
r TheTimes Leoder, and Iongtime friend and supporter of the
�lniilalizing Barcode ll, 2008 toner
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(iuttcsy of Private Collection. Boston, MA
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Confuence,2009 encaustic & oil on panel 16" x
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Cloud Pressure,2007 encaustic
Courtesy ofthe Artist
& shellac ink on birch
10"
x 10'
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Caurtesy ofthe Artist
& shellac lnk on birch l0" x
10"
�Exhibition Checklist
Dimensions are given in inches, height precedes width
Counter Collision 11,2009 encaustic
Magnetic Parallel,2009 encaustic
Event Horizon
Sun
&
oil on birch 48"
x
48" Courtesy of ChaseYoung GalLery, Boston,
MA
& oil on birch 48" x48" Courtesy of ChaseYoung Gallery, Boston, MA
\t,2009 encaustic, monotype [- oil on brch24" x36" Courtesy of Private Collection, Boston, MA
Riddle,2009 encaustic & oil on panel 12" x24" Courtesy of ChaseYoung Callery, Boston, MA
Confiuence,2OO9 encaustic
&
oil on panel 16"
Riddle Sphere,2008 toner transfer, encaustic
x
&
16" Courtesy of the
ink on panel 12" x 12" Courtesy of ChaseYoung Gallery, Boston,
lnitializing Barcode 1,2008 toner transfe[ encaustic
lnitializing Barcode
tt
Artist
[-
, 2008 toner transfe[ encaustic
[-
ink on panel 16"
x
16" Courtesy of the
ink on panel 16" x 16" Courtesy of the
Artist
Artist
Hadron Loop 1,2008 encaustic, monotype & oil on panel24" x 48" Courtesy of the Artist
Hadron Loop 11,2008 encaustic, monotype & oil on panel24" x 48" Courtesy of the Artist
Hadron Loop ttt,2008 encaustic, monotype & oil on panel24" x 48" Courtesy of the Artist
TZrra Reverse Plate,2008 encaustic
Particle Longitude,2008 encaustic
Cloudburst Plate,2008 encaustic
&
&
&
shellac ink on birch l0"
oil on birch 10"
xl0"
x
10" Courtesy of the
Artist
Courtesy of the Artist
shellac ink on birch 10"
x
10" Courtesy of the
Artist
Cloud Pressure, 2007 encaustic
&
shellac ink on birch 10" x 10" Courtesy of the Artist
Meteor Shower, 2007 encaustic
[-
oil on panel 16"
Terra
x
16" Courtesy of the
Artist
lnfinity,2007 encaustic, monotype & water-based ink on paper l0" x 10" Courtesy ofthe Artist
Collision Pass,2006 encaustic & oil on birch 40" x40" Courtesy of ChaseYoung Callery, Boston, MA
Seared Memory
90901,2)}|encaustic & oil on birch 37.5" x37.5" Courtesy of the Artist
Remote Reference 1, 1999
encaustic & oil on wood 37 .5" x 40.5" Courtesy of the Artist
MA
���
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
2011 March 28 Elise Wagner - A Decade in Painting
Creator
An entity primarily responsible for making the resource
Elise Wagner
Ronald R. Bernier
Ph.D.
Brittany Kramer DeBalko
Date
A point or period of time associated with an event in the lifecycle of the resource
2011 Macrh 28 - May 22
Format
The file format, physical medium, or dimensions of the resource
PDF
Description
An account of the resource
Elise Wagner's paintings are all about discovery, emerging awareness of the infintisimal and the vast both on the aprt of the artist and the viewer.
Type
The nature or genre of the resource
Exhibition program
Subject
The topic of the resource
Elise Wagner
painter
painting
paintings
Rights
Information about rights held in and over the resource
SAG
-
https://omeka.wilkes.edu/omeka/files/original/1d64c5b9b616a4d27174b194adadd1ce.pdf
81748cfc16c7262bc9c6799c8f46d1d9
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
2010 January 18 Brian Wood
Creator
An entity primarily responsible for making the resource
Brian Wood
Christian Hawkey
Date
A point or period of time associated with an event in the lifecycle of the resource
2010 January 18 - March 14
Format
The file format, physical medium, or dimensions of the resource
PDF
Description
An account of the resource
Brian Wood is an American contemporary artist working with multiple media in New York. His paintings, drawings, photographs, prints, films, and books are exhibited internationally and are held in many private and public collections. Brian Wood works primarily with painting and drawing. Throughout his career, Wood has been immersed in questions about consciousness and ontology, the mystery of intense images arising to awareness, and their complex relationship with and away from time.
Type
The nature or genre of the resource
Exhibition program
Subject
The topic of the resource
painter
paint
painting
abstract
abstract art
-
https://omeka.wilkes.edu/omeka/files/original/20b2699069f696c87ce88e15e72327c5.pdf
3f71dcd07f4a54949c9a2ca7a38b9369
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
2010 Advance Traditions
Date
A point or period of time associated with an event in the lifecycle of the resource
2010
Format
The file format, physical medium, or dimensions of the resource
PDF
Description
An account of the resource
Exhibitions USA presents an overview of printmkaing of the last tweny years at the Flatbed Press.
Type
The nature or genre of the resource
Exhibition program
Subject
The topic of the resource
prints
printmaking
Flatbed Press
Source
A related resource from which the described resource is derived
Exhibitions USA
Rights
Information about rights held in and over the resource
Mid-America Arts Alliance
-
https://omeka.wilkes.edu/omeka/files/original/7d8075f00342a196531e4c359e9f4d4c.pdf
89caad63f64f51af67e2f0a79896f489
PDF Text
Text
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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 October 17 A New Paradigm: Recent Work by Ron Ehrlich
Creator
An entity primarily responsible for making the resource
Nicholas Taylor
Date
A point or period of time associated with an event in the lifecycle of the resource
2009 April
Format
The file format, physical medium, or dimensions of the resource
PDF
Description
An account of the resource
The photographs in this exhibition reveal an intimate look at the friendship between artists Nicholas Taylor and Jean-Michel Basquiat.
Type
The nature or genre of the resource
Exhibition program
Subject
The topic of the resource
Jean-Michel Basquiat
photography
contemporary painter
biographical
Source
A related resource from which the described resource is derived
Castellani Art Museum
Rights
Information about rights held in and over the resource
Nicholas Taylor
-
https://omeka.wilkes.edu/omeka/files/original/6b87f217965305a3c6c1add3323255af.pdf
36bd525bdd2aca0ab59ef69805c0ebfb
PDF Text
Text
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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 October 17 A New Paradigm: Recent Work by Ron Ehrlich
Creator
An entity primarily responsible for making the resource
Ron Ehrlich
Ronald R Bernier
Date
A point or period of time associated with an event in the lifecycle of the resource
2008 October 17 - December 12
Format
The file format, physical medium, or dimensions of the resource
PDF
Description
An account of the resource
American painter Ron Ehrlich is known for achieving rich surfaces and subtleties of tone melding the techniques of vessel-making with the spontaniety and vitality of action painting
Type
The nature or genre of the resource
Exhibition program
Subject
The topic of the resource
Ron Ehrlich
painter
painting
abstract
abstract art
Rights
Information about rights held in and over the resource
SAG
-
https://omeka.wilkes.edu/omeka/files/original/538436824983d28e1f96d5b61692007a.pdf
ff21be9ebb8046cfa6fd74d790ae7821
PDF Text
Text
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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 August 15 Remembering Helen: The Sordoni Art Gallery at Thirty-Five
Creator
An entity primarily responsible for making the resource
Ronald R. Bernier
Ph.D.
Date
A point or period of time associated with an event in the lifecycle of the resource
2008 August 15 - October 5
Format
The file format, physical medium, or dimensions of the resource
PDF
Description
An account of the resource
This exhibition, Remembering Helen, honors the memory and generosity of this special friend, Helen Farr Sloan, of the Sordoni Art Gallery.
Type
The nature or genre of the resource
Exhibition program
Subject
The topic of the resource
Helen Farr Sloan
Helen Farr Sloan collection
-
https://omeka.wilkes.edu/omeka/files/original/ceb78532ce0f38b06214b1e58d7e232f.pdf
954fe3f85c19cd0b9000cda3946a3592
PDF Text
Text
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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/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.
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Q. Wlra+ is a "comic booko?
A. Yorr vuo,1 lhink yqt l<nowtrl"e auswer lo 1*;s
?u*pwrd<^ vy
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1'pueA $wclers.
ilertoai+ Etrck with we q (er^t ,+tixutesz
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i'
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.*
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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
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Vhat
ts
lt
t'4.r..
Time
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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/91811e209db031a26cd332ec8e7254d6.pdf
2eef465995716b29b5ea6ff19857b9aa
PDF Text
Text
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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/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/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.
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Title
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2006 June 14 Slices of Time
Creator
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Michael Mirabito
Date
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2006 June 14 - August 6
Format
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PDF
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Exhibition program
Subject
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N/A
-
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
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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
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The Sordoni Art Gallery
Source
A related resource from which the described resource is derived
Wilkes University
Publisher
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The Sordoni Art Gallery
Date
A point or period of time associated with an event in the lifecycle of the resource
1973-present
Rights
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Wilkes University retains copyright of these exhibition programs.
Language
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English
Type
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Exhibition programs, flyers, and calendars.
Format
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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
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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
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PDF
Type
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Exhibition program
Subject
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ceramics
ceramic
clay
Joe Bennion
Randy Johnston
Mary Law
Jeff Oestrich
Sandy Simon
-
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
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ocrylic, mixed medio on linen
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Collection of Michoel Koch,
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Courtesy of the Stephen Holler Gollery,
New York, NY
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Privote collection. courtesy of the Siephen Holler Gollery,
New York, NY
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digitol print on paper
241/t
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Courtesy of the Stephen Holler Gollery
New York, NY
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�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
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@
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