2 15 135 https://omeka.wilkes.edu/omeka/files/original/8d502b891135f356d385202217250574.pdf 890abbb7b17c649993bf8f70d427c88b 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/. Creator An entity primarily responsible for making the resource Ralph L. Wilson Date A point or period of time associated with an event in the lifecycle of the resource 1977 July 16 - August 7 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Lehigh University Department of Exhibitions and Collections Title A name given to the resource 1977 July 16 Ralph L. Wilson Collection https://omeka.wilkes.edu/omeka/files/original/bf7b4c86bd5c758300719d444a77b6c7.pdf ec688c6f2aeb42457ed30a795b0f377a 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. 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Title A name given to the resource 1977 September 10 Mark Cohen Creator An entity primarily responsible for making the resource Mark Cohen Date A point or period of time associated with an event in the lifecycle of the resource 1977 September 10 - October 2 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/eb60bf90fc2900748c8fb2f8cfe1ea20.pdf 80a84f4b8b5653486db9c175eb993b0e 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 1977 October 21 Sordoni Fine Art Exhibition Date A point or period of time associated with an event in the lifecycle of the resource 1977 October 21 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/7ab08f5c77c98e8431c9397d45f84cc5.pdf cfffa7f8eb73ba7e1459a1110dd22c60 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 1977 October 11 3 Becker, Lanser, Loving Creator An entity primarily responsible for making the resource Gisela Beker Fay Lansner Wyn Loving Date A point or period of time associated with an event in the lifecycle of the resource 1977 October 11- October 31 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/48f08caf69b38dffe6232def4f626258.pdf 849b240a92842bf7d7f1ed544b878408 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 1977 Exhibition of Oriental Art and Ephemera Creator An entity primarily responsible for making the resource Marson Ltd. Date A point or period of time associated with an event in the lifecycle of the resource 1977 November 29 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource An outstanding selection of antique oriental woodblock prints plus original etchings, woodcuts, lithographs by contemporary oriental printmakers Type The nature or genre of the resource Exhibition program Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/a35d9ce5400ccf1a721d9a34e3136140.pdf 52b97ba8bf76f3893ba6d5c2aa7dab4a 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 1978 October 14 Annie Bohlin Creator An entity primarily responsible for making the resource Annie Bohlin Date A point or period of time associated with an event in the lifecycle of the resource 1978 Octobe 14 - November 12 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/bdb380d862e759c6e98d93a8a5b28d9f.pdf d23f5e495da1fd9e93c1e7061a0b0be9 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 1978 December 15 Collectors Choice Creator An entity primarily responsible for making the resource Joe Jones Charles Bargue Etienne Prosper Berne-Bellecour Jose Gallegos Jean Leon Gerome Corot John Constable R.P. Bonnington H.Meyheim Emile Albert Gruppe Amy Londoner John Carlson Adolf Konrad Thomas Hill Ernest Fiene Locca Wallace Bassford Tenny Johnson Charles M. Russell H. Wheeler George Catlin Jean de Botton Leonardo Nierman Alexander H. Wyant John Chunley Philip Jamison Thomas Pollock Anschutz Date A point or period of time associated with an event in the lifecycle of the resource 1978 December 15 - 1979 January 7 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/cbbcca011429ba4fe12792c8ab0b779c.pdf 089d80e06fe3e7571e33819113d70b9b 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 1979 February 14 Scholastic Art Awards Date A point or period of time associated with an event in the lifecycle of the resource 1979 February 14 - February 29 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/8df541f3efe1fcc4942c5df8b7af43e9.pdf dd2441cd69d466224620c8e2f4abc86f 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 1979 March 9 The Eight Creator An entity primarily responsible for making the resource Robert Henri Aurthur B. Davis William Glacken Ernest Lawson George Luks Maurice Prendergast Everett Shinn John Sloan Date A point or period of time associated with an event in the lifecycle of the resource 1979 March 9 - April 1 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/263a2534522b2e972c178e7a8151ddd9.pdf a34e4c2317b8d6a4975db0d8242c8589 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 1980 February 13 Scholastic Art Awards Date A point or period of time associated with an event in the lifecycle of the resource 1980 February 13 - March 9 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/8fef5d7903fe504887be4d6f9a8db510.pdf 55883603269b031fa765b9be85a3484f PDF Text Text 30RD HB1220 HS i 9BO ��HER B E 1 T A IL § il THE SCULPTURE OF HERBERT SIMON ■tM A— Any artist's work should be seen in its collective variety. but it is especially edifying to see Herbert Simon's work in this way. Having worked geometrically in meta! for the past ten years, his course has been consistent and evolu­ tionary, a chain of variations upon an initial idea leading ultimately to another idea and another set of variations. -- (fig-1) FACETS, 1977 Aluminum Schaeffer Lecture Hall Wilkes College His primary starting points in the history of modern sculpture have been Constructivism, particularly David Smith's American version, and the more recent Minimalism, both of which have based themselves upon geometric forms and assemblage techniques. Simon has been exploring an area generally lying somewhere between the more complex, sometimes expressionistic style of the Constructivists and the spare, often inert manner of the Minimalists. Although his works are highly reductivist in character, their simplicity does not obscure their complexity. �ARCHIVES OR BERT S I M O N j W 1 T A L § <g 1 tU) ® 1 IL I? & □ UJ fl THE SCULPTURE OF HERBERT SIMON Any artist's work should be seen in its collective variety, but it is especially edifying to see Herbert Simon's work in this way. Having worked geometrically in metal for the past ten years, his course has been consistent and evolu­ tionary, a chain of variations upon an initial idea leading ultimately to another idea and another set of variations. fig-1) :ACETS, 1977 Aluminum His primary starting points in the history of modern sculpture have been Constructivism, particularly David Smith's American version, and the more recent Minimalism, both of which have based themselves upon geometric forms and assemblage techniques. Simon has been exploring an area generally lying somewhere between the more complex, sometimes expressionistic style of the Constructivists and the spare, often inert manner of the Minimalists. Although his works are highly reductivist in character, their simplicity does not obscure their complexity. Simon creates visual fugues; in this day and age, we might call them "cybernetic" variations. They result from the method of playing and replaying upon a basic module, in a kind of rationalist improvisation. This technique may apply to a single piece; simply, as in Reorient II, where the two modules are placed on different axes; or more com­ plexly, as in Facets (see fig. 1), where sixteen modules are grouped in different planar relationships to create a hidden symmetry. The method may also apply serially, where the module is carried through a set of individual sculptures, so that comparison of two or more pieces within the set provides another level of interrelational interest. The present exhibition is made up mostly of two such series, the Mazes and the Thrus, plus a number of pieces from earlier series. In the Mazes, executed in 1978, Simon recalls the words of Paul Klee by "taking a line for a walk." khaeffer Lecture Hall ■Vilkes College 31 - C ' • �plane to a vertical one, from vice versa. By working withi system, the artist is able to e number of possible variablethe system result in subtle b in psychological effect. Nexus, for example, seem it links the plane of the flooi appears to hold those planes perfectly positioned buttress drop from the wall to the flc cataracts just beginning thei plane which extends before ally uniform perpendicularit module to suggest somethin, "baroque." In another sense, all of thi not closed systems, but coulitely. The spiralling movemt reaches the point of internal the metal line suddenly brea begins a soaring ascent. Perl Nexus, or perhaps somethin, alludes to potentiality, while level of resolution (but not f It is possible to think aboi aesthetic events in individua collectivity. Points of convex direction, interplays of void shadow — all these become which is geometrically uncoi complexity. As the Maze series explon and is essentially open in ch, into a realm of cubical space: �4n aluminum line travels through space, from a horizontal plane to a vertical one, from inside to outside and back, or vice versa. By working within a strictly limited modular system, the artist is able to explore and analyze a greater number of possible variables. Minor physical shifts within the system result in subtle but often significant differences in psychological effect. Nexus, for example, seems to rise from the floor while it links the plane of the floor to that of the wall; but it also appears to hold those planes apart, like some fragile but perfectly positioned buttress. The Wall Fall pieces seem to drop from the wall to the floor, suggesting two delicate cataracts just beginning their journey across the horizontal plane which extends before them. Juncture II has a classic­ ally uniform perpendicularity, but Reorient II uses the same module to suggest something playfully dynamic and "baroque." In another sense, all of the Mazes are dynamic. They are not closed systems, but could easily continue on indefin­ itely. The spiralling movement is open-ended. Even when it reaches the point of internal constriction, as in Ravel Up, the metal line suddenly breaks into a vertical direction and begins a soaring ascent. Perhaps it could become another Nexus, or perhaps something altogether different. Ravel Up alludes to potentiality, while Nexus takes us to a further level of resolution (but not finality; the ends are still open). It is possible to think about and react to many separate aesthetic events in individual works as well as in their collectivity. Points of convergence or tangency, shifts of direction, interplays of void and mass, patterns of light and shadow — all these become more conspicuous in sculpture which is geometrically uncomplicated. Therein lies its complexity. As the Maze series explores linear movements in space and is essentially open in character, the Thru series takes us into a realm of cubical spaces enclosed by flat planes. Suggesting architecture or even stage sets, these structures invite us to enter vicariously. Here our eyes are not follow­ ing the route of a linear form through space. Rather, we imagine ourselves passing through the shaped spaces of the boxes. Sometimes the passage is open, but sometimes it is unclear where we will end up, or whether we will be able to pass through at all. An element of mystery or of potential frustration ensues. This effect is only heightened by the play of shadows within the box, sometimes suggesting ominous cul-de-sacs, but at other times giving way to a "light at the end of the tunnel." To some extent, the variables in the Thrus are more intriguing than those of the Mazes. The constant of the outer cube establishes strict boundaries which are absent with open space, and which force the sculptor to work within the given configuration. Still, the possibilities are virtually limitless. The interior partitions may be straight, bent, or curved, slanted or erect, contiguous or separated, so that each sculpture ends up with a distinct character. Never do these interiors become fussily complex, however. The planes remain large and limited in number. The essen­ tial aspect of each work is easily comprehended, even when the eye is prohibited total entry. The brushed aluminum surfaces of most of Simon's pieces create another kind of variation, by compounding the dynamics of a "line" or a plane. The shimmer fluctuates from soft to sharp, often in optically teasing ways, to quicken or retard the eye's movement along a surface. In some of the Thrus, it even creates momentary mirages by "floating" a plane in or out, depending upon the spectator's viewpoint. This kind of surface lighting also enhances the effect of lightness of weight by clothing every mass with diaphonous glitter, allowing it to merge with surrounding space. In Wall Fall, both plain and brushed surfaces are used, enabling us to consider directly their different impacts. �Like most seal; lement of form, Nexus, for exams them into cornph neutral. Even wh tonically conceiv like buildings. A Street Park sculp another level of « even the small or explored from al i-; - i ■ -T Although simi shapes prevail in to opposing resp as interiors in wl immediately com Mazes are experi endless space. T1 vulnerable, whilt atively invulnera movement throu the moving elemi HERBERT S] Born in 1927, Na EDUCATION: New York Ui Colorado Col Vanderbilt U Brooklyn Mu (fig- 3) REORIENT II Aluminum 1978 70" x 50" x 72" Hans Hofmai Skowhegan S �Like most sculpture which employs space as a positive element of form, Simon's work is invariably environmental. 8 Meins,for examPle' actively engages wall and floor, forcing [ them into complicity rather than allowing them to remain ! neutral. Even when the works are small, they are architec­ tonically conceived — the Mazes like bridges, the Thrus | like buildings. A Thru enlarged to the scale of Simon's Coal ! Street Park sculpture (see fig. 5) would provide us with another level of experience by allowing us to enter it, but [ even the small ones we see in the exhibition should be ’ explored from all possible angles. Although similar materials, surfaces, and geometric [shapes prevail in both Thrus and Mazes, the two series lead ' to opposing responses. The closed Thrus are experienced i as interiors in which space has definite, but not always ! immediately comprehensible, volume and shape. The open [■Mazes are experienced as totally visible exteriors inhabiting endless space. They appear extroverted but somewhat vulnerable, while the Thrus seem introverted but compar­ atively invulnerable. Both sets of works are about movement through space. In the Mazes, the tube itself is the moving element, linear and open-ended. But in the Thrus, the sculptured form becomes a channel for move­ ment; curved or glancing planes define our journey. The Mazes convey an order, clarity, and precision which verge upon the militaristic, while the Thrus, for all their cleanness of edge and surface, suggest the indefinite and the secretive. As the most recent of Simon's works, the Thrus seem to constitute a movement toward greater complexity and introspection, a kind of reductivist turning from the classical to the romantic. The cool adjoins the playful. The clear confronts the enigmatic. Clean, precisionist forms become animated and dramatic. Rationalist restraints are surmounted by the idiosyncratic and unpredictable. Addressing the contem­ porary sculptural concerns of minimalist form, serial development, and environmentalism, Simon demonstrates again that one can work within the seemingly limited and rigid system of geometric abstraction, while retaining a distinctive and highly personal style. WILLIAM STERLING Director, Sordoni Art Gallery HERBERT SIMON Bom in 1927, Nashville, Tennessee EDUCATION: New York University (B.A., M. A.) Colorado College Vanderbilt University Brooklyn Museum Art School (fig- 3) REORIENT II 1978 Aluminum 70" x 50" x 72" Hans Hofmann Art School Skowhegan School of Painting and Sculpture PROFESSIONAL EXPERIENCE: 1969 to present. Associate Professor of sculpture and three-dimensional design. Wilkes College 1960-1968 Art Instructor, various high schools in New York City; Art History Instructor, Fashion Institute of Technology 1956-1958 Instructor, School of Design, North Carolina State College, Raleigh, NC �EXHIBITIONS: s bl ! o’ *I il1 I J 4 ■' 1979 One-Person Show — Lehigh Unive Bethlehem, PA 1978 One-Person Show — State Univen New York, Binghamton, NY 1974 One-Person Show — Sordoni Art Wilkes College, Wilkes-Barre, PA 1970 One-Person Show — Hazleton Ari Hazleton, PA 1966 One-Person Show ■— Phoenix Gall New York, NY 1964 One-Person Show — Phoenix Gal New York, NY 1978 Arts-On-The-Go — Northeastern Arts Alliance Invitational 1977 Drawing and Sculpture Show— K College, Kutztown, PA 1976 13th Annual Exhibition — Allentc Allentown, PA Regional Art Exhibition — Everha Scranton, PA Regional Art Exhibition — Williai Museum, Harrisburg, PA 1972 Regional Exhibition — William P( Harrisburg, PA 1971 Susquehanna Regional — Robersc Binghamton, NY 1970 Regional Art Exhibition — Everh; Scranton, PA �EXHIBITIONS: 1967 Six Artists — Loeb Student Center, New York University, New York, NY 1979 One-Person Show — Lehigh University, Bethlehem, PA 1966 Hartford Arts Foundation — Hartford, CT 1978 One-Person Show — State University of New York, Binghamton, NY 1964 The American Family in Art — Farleigh Dickinson University, Madison, NJ 1974 One-Person Show ■— Sordoni Art Gallery, Wilkes College, Wilkes-Barre, PA 1955 Provincetown Art Association — Provincetown, MA 1970 One-Person Show — Hazleton Art League, Hazleton, PA 1966 One-Person Show — Phoenix Gallery, New York, NY 1964 One-Person Show — Phoenix Gallery, New York, NY 1978 Arts-On-The-Go — Northeastern Pennsylvania Arts Alliance Invitational 1977 Drawing and Sculpture Show — Kutztown State College, Kutztown, PA 1976 13th Annual Exhibition — Allentown Museum, Allentown, PA Regional Art Exhibition ■— Everhart Museum, Scranton, PA Regional Art Exhibition -— William Penn Museum, Harrisburg, PA 1972 Regional Exhibition — William Penn Museum, Harrisburg, PA 1971 Susquehanna Regional — Roberson Art Center, 1970 Regional Art Exhibition — Everhart Museum, Scranton, PA Drawings USA — Museum of Modern Art, New York, NY COMMISSIONS: Two Modules — steel sculpture, Coal Street Park, Wilkes-Barre, PA 1977 Facets ■—■ aluminum relief, Wilkes College, Wilkes-Barre, PA 1977 Aluminum Relief — Schaeffer Residence, Mountaintop, PA 1978 AWARDS AND FELLOWSHIPS: 1976 Purchase Prize Regional Art Exhibition, Everhart Museum, Scranton, PA 1971 Award, William Penn Museum, Harrisburg, PA 1970 Honorable Mention, Regional Arts Exhibition, Everhart Museum, Scranton, PA 1963 Fellowship MacDonwell Colony, Peterborough, NH Binghamton, NY �.. THRU \ THRU XI THRU XII 8. THRU THRU THRU THRU XIII XV XVII XVIII 25" x 25" x 25" 20" x 20" x 20" 11" x 11" x 11" Aluminum 1979 Aluminum 1979 10" x 10" x 10" 25" x 25" x 25" Aluminum 1979 Aluminum 1979 25" x 25" x 25" Aluminum 1980 25" x 25" x 25" Aluminum 1980 1978 MAZE Series REORIENT 1 REORIENT II 181/4"xl7%"xl3" Aluminum 70" x 50" x 72" Aluminum 1978 JUNCTURE I 50" x 50" x 98" Aluminum 1978 14. JUNCTURE II 1978 NEXUS WALL FALL RAVEL UP I 13" x 13" x 251/4" 67" X 20" X 45" Aluminum 15. 16. Aluminum 1978 93" X 18" X 21" Aluminum 1978 41" x 46" x 47" Aluminum 1978 16%" x 12" x 12" Aluminum 1978 12%" x 12%" x 12%" Aluminum 1978 1976 11. 12. 18. 19. RAVEL UP II INNER SMALL MODULAR SCULPTURES 20. 21. 22. ZIG ZAG ZIG ZAG 32" x 17V2" xl7%" Aluminum Aluminum 1979 ZIG ZAG 12%" x 51/2" x 51/2" 231/2" X 91/2" X 91/2" Steel 1977 23. MODULE 12% "x 32" x 32" Steel 24. CRAB 1976 8%" x 16%" x 10" JAWS Steel 25. 1977 9" x 9" x 14" Steel 1977 (fig- 5) TWO MODI'-1 1977 Steel Coal Street F/' Wilkes-Barre ��May 3-28,1980 SORDONI ART GALLERY WILKES COLLEGE Wilkes-Barre, Pennsylvania �■IIBIIillll 10D025H271 WILKES UNIVERSITY LIBRARY �� https://omeka.wilkes.edu/omeka/files/original/54700de9100b99e013650fc3888ff27c.pdf 8618c13d50e1288a1e3b6aa36e6419ed 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 1980 May 3 Metal Sculpture 1976-1980: Herbert Simon Creator An entity primarily responsible for making the resource Herbert Simon Date A point or period of time associated with an event in the lifecycle of the resource 1980 May 5 - 28 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/22a145b4ec18e3f405ce87f7948b4eb4.pdf 443f538262a877a2ca9b0cb27b9eafd4 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 1981 April 12 Students of the Eight Creator An entity primarily responsible for making the resource Peggy Bacon Gifford Beal George Bellows Patrick Henry Bruce Alexande rCalder Glenn Coleman Andrew Dasburg Stuart Davis Guy Pene DuBois Philip Evergood Arnold Friedman Lee Gatch Adolph Gottlieb William Gropper Joseph Hirsch Edward Hopper Rockwell Kent Reginald Marsh George L.K. Morris Barnett Newman Man Ray Morgan Russel David Smith Moses Soyer Niles Spencer Carl Sprinchorn Date A point or period of time associated with an event in the lifecycle of the resource 1981 April 12 - May 17 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/828f750d6ffadc5e4f1602756e0ff9c7.pdf baf65c6ed9f99c6c0a375886d5f049f8 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 1981 August 31 Range of Contemporary Drawing Creator An entity primarily responsible for making the resource Vito Acconci Leonard Baskin Charles Bell Hyman Bloom Peter Blume Gary Bower Alan Dworkowitz Evelyn Ellwood Jackie Ferrara Richard Fleischner Sidney Goodman Denise Green Robert Gwathmey Joseph Hirsch Frances Hynes Herbert Katzman Jack Levine Richard Merkin Walter Murch Abraham Rattner Ben Shahn Peat Steir Frank Wright C.J. Yao Date A point or period of time associated with an event in the lifecycle of the resource 1981 August 31 - September 20 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/173f73885241d25c29f1154350a84af8.pdf f1c4eadc32e1bfb4baf50e3007774955 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 1981 October 31 Edwin Zoller: The Later Paintings Creator An entity primarily responsible for making the resource Edwin Zoller Date A point or period of time associated with an event in the lifecycle of the resource 1981 October 31 - November 29 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/bd990f58c72a16e6b58f70c52e13b50f.pdf 049acf39d7237de520835c6da8c9a226 PDF Text Text 1 HD237 ��phia after his disc U.c u r van Gallery.’r e c-.-. ■ . real beginnings c’a - . - ■ street Expression . l-lna >»d o„d worked in Europe from >966 to Rondon "here he » Ld a special lure for American film directors of his generation such as Stanley Kubrick, Richard Lester arg oseph Losey, but several other American painters lived there as well, including Jim Dine, Jo Baer and Rchard Cott naham. The "Europeaness" of their work was more liberating and diverse than that of their fellow Amer­ icans such as Al Held, Sam Francis and Norman Bluhm, who had gone to Paris a decade earlier. Meneeley received immediate public and critical attention in London. He moved easily in the cosmopoltan art world and developed close friendships in the studios of fellow artists. In particular, Patrick Heron, John Plumb and Brian Wall provided a rich dialogue of aesthetic theory which had not been as frequent or intense for Meneeley in New York, This transatlantic experience was pivotal to his development as an artist, providing his work with a striking new maturity and objectivity. However, after a decade in Britain, Meneeley realized that New York was the vital center and returned there. Meneeley's paradoxical turn of mind is the key to his life as well as his art. Basically serious and bolstered with a Germanic meticulousness and sense of order, this proclivity is always peppered with unexpected bursts of playfulness and unbridled jubilance. His work hinges on a strong sense of inner structure and out­ ward decorum, yet there is often something contextually outrageous and slightly out of kilter. Above all, color is the one constant component, the primary visual element, and the source of meaning in his work. Life began for Ed Meneeley in Wilkes-Barre, the same energetic Pennsylvania city that sired Franz Kline Although there was a seventeen-year age difference, they both spent their formative years in Wilkes-Barre, a d began a path there that was eventually to lead to New York. Kline was a member of the first generation of the New York School of Abstract Expressionists of the 1940's and 195O's and died there in 1962. Both artists v/ere of German descent on one side of their families and both suffered the tragic loss of the parent of Ger­ man origin when they were seven. (Kline's father died in 1917 and Meneeley's mother in 1934.) Before even,' ", / m°vin9 to New York'both artists lived for several years in Philadelphia and also in London. Kline moved • 1 ,7 JL 9 SPent the thrSe Previ°US years in Lond°”- ^n years later the two artists met in . .ew York and became close friends. whPnd^k|/lH?e^ley Americanized Dickensian childhood. His first artistic sens e ' B? avaable to the vouna bov^/ er™a"’born 9randfather made his photographic darkroom and workroom r-/ both, rontrif- Uted to his erita9e included both Protestantism and Catholicism and although ■ . wt to contribute to his began par.M oii- of rHJdo.. ', erged, JretCmed ■ Meneeley com r _-. ... ...... .. . . traits such as ,rrangements His Se^-ort-cjust three years io‘er ano-etrait, painted the year he -'-o,ea -■ 'ie# York aecxcts c anatomical compcner.'s of a—- g-or. a-o COI edge of the frame cut off this feature Tne paint appfcat straction, which he would adoot a fe a .ears 'are- Vann ipates tne work of oath Robert naiana ana e-" shadowsMeneelev'scw- A-aeconcerr •- jy r* ana--ef "Yes, Irene' (1959) is a bhltant exan-p-e of s cos Ait style The dynamic slashing txusn work m o-cac tree swt of the idiom and places him -n me forefrom of tne Similar canvases were done with a Keav.r paet+e knfe t Koonmg and Helen Frankenthater At the same time .r the ate 5O‘s. Meneeiey *as .en technical aspects of art Photographic e>perme--a* cmore of his energies ana for an extended ce- od ~e ce painting discipline under the tutelage of Jcc k ’worxc j than made up for the diminution n painting *:r so 3 ac graphic work for Jasper Johns and Robert Rausc^erc avant-garde ad periodica It Is. -or ": .ea-'$ Meneete Cunningham and James Waring Together a tn a cert Indiana, Eleanor Ward and Wgi Thomson which resu' Stein's Capitals Capitals, as we' as the t.rst exce-pted Eleanor Ward's Stable Galen. Numerous speoa oroec Memona1 Church animation and coke dm ■ao’- end tn of contemporary artists brought him nto tne 60 s ec sculpture ,hey aiso conttibuted ,o" s n War provided Meneeley with experiences and tra-n >g T.™ an artlst Servin9 in California as a male nurse during World War i; he Aezonaer Murray, arid guest tear tnhs frr, ' ^urray Ad School where he studied with artist . /;• a at first eriragod iiim, f,uf soon b'' ,°W Y°,k'On weeklY study trips to New York he discovered two War duly facilitated Merw.fciy';, tramir < d/1"' • ITia ‘dr influences Mondrian and Malevitch The Korean major tea vast rai g<; at r., wpla-.lir material- ^i> ' *' k'J,"u,'d in phofo9raPhy and also provided an introducten -ulttti j in tils first semi mobile constructions Living in Philade-- POR'RAi' «?56 Ct ON CANVAS 3x5 �vt a ca h s mark i$ tv v ©strongs to Ed M?nee-?4 no ven i v'. cv •. ■■ 'V > msc’vr'l'vuj s ntarge upon the80s n a way a-. *.. ■.- ■ m .v . ewous decodes s$x -,. in the 70s. For ‘ ■ only at m.: ■" c ■ :• .n ”e annas ot wana c?t ■hemoreremarkab? vrtrebwi ■ ' "•? > ’-■"’■J4be most —prn the second gent',a’>o~. -■ hov.'»g ■ v:i ;■ • ■...\-_~ .,*_■- - v ■?-'* v-’Oon a here ’v st--"- >,?: - -. ‘. c Cv b-cha-c ;.esv —. -■.can \ m a-ecA ■; O : ae>. -- - other Amer r;ri ;.„•■'•■ ■. ;-p *v e ;-.• ,v v .-?-' :.-?>>• . c Soe-one- .-ess ' ?f th-y- « * » . r .N ’edate puG< anc. ■ ‘ v ■ C'.:i Ccs-‘vn .' ' red o ric h do aeChetc mean ■ maturity ana ce--‘e: one w . . .. G* k— \ _ ~ Zf -'»•«••• _. • *ck H^ror. tC'^’osar^. v v* crre' c oecaae ---•□m ‘/eneeie ■ ‘ec.ce-c: : Mr <•’ m:-.;: •" "v- c.; .................... ©wino ut? ;-<>■ " »•. ■. . <■-<w rhv p'lm.m . ; ' m ; d’’ SasicolT se'ipus and ‘ .svea p-<':v-?d c. ■- ->-vt t' z sense a* inner smuc-j-e ana outopea-dskg'- .. ?u*ort.-v Above a cccr ; ze ot ex?,' A:iv-. : -ennrevan a c'ti *na' srea Pranr >ter> vea age :>■ *> • p.—*• soe- ’ -ner •q—.a- <e yean r> W • e$-3cxre. t was ever-'”uo»', t; »»oc ■ c *#« »>ne w® o mtembe bs’roct bcwsKran or me -.'z-. vc rdSO’s and ded rti on» of me* tarm* or© do*6 ajfiwed the trogc tos (urw s tamer jec r XT zrc s mother oth artists f'vea •> xeys ■’ ^tcargy^— ,r t- ' ■:•>. y«x» hant;^fan^**n°a>**PhC*Ographk •: $O*ttuat ano itMasartij^ "fl- .irgrj . ^0****'* ***; 1 ortittc senstn 'Wi ■ and woritftxx’n Cathofcasm and dthaugb After tv discharge h© had the first <->f rnanv t>rw» mnn. v •. .. c.a ;erY Um? consttuctbnisl works In this oxhil.n ., ■. hb IOr,s at ,he a .Vt tAprossionist Movement to the cool intellectualism of minimal^ release from the navy In 1947. Working In a reafctta vein, hte first i ». >ut “ T ^Dh,Ta?er <1948) reveal an earlv awareness of ih a-,.Vth. L,/ . ' At the same time, in the late 5O's, Meneeley was very involved with historical documentation and various technical aspects of art. Photographic experimentation, an outgrowth of his military duty, began to absorb more of his energies and for an extended period he ceased producing paintings altogether. However, rigid painting discipline under the tutelage of Jack Tworkov sharpened his technique for two years and he more than made up for the diminution in painting with solid achievements in other media He did important photo­ graphic work for Jasper Johns and Robert Rauschenberg, and similar assignments for Philp Pavia on the avant-garde art periodical It Is. For 1'/? years, Meneeley functioned as company photographer for Merce Cunningham and James Waring. Together with Albert Vanderberg. he orchestrated the marriage of Robert Indiana. Eleanor Ward and Virgil Thomson which resulted in a concert performance in 1960 of Gertrude Stein's Capitals Capitals, as well as the first excerpted concert reading of Thomson's The Mother of Us All at Eleanor Ward's Stable Gallery. Numerous special projects such as sets for performance pieces at me Juason Memorial Church, animation and color film work, and the setting up of an ambitiousarchive program ot stedes of contemporary artists, brought him into the 6O's eager to take on renewed challenges >n paintmg ana sculpture ~ ' ’' ' '*'- poh.-nts After tx-ng ■ • . ■■ V^a-wigqrwpackQtOyZWondraor<jMotoyrtcn Tne Korean. . >i '.' «.'■ Ju - ' .. .. . . .. . . '.•/(J if' Pr ...... ar­ "Yes, Irene" (1959) is a brilliant example of his absolute control and mastery of the Abstract Expressionist style The dynamic, slashing brush work in broad, free sweeps of blues and whites captures the very essence of the idiom and places him in the forefront of the younger generation of painters of the New York Schoo. Similar canvases were done with a heavy palette knife technique, paralleling concurrent work by Willem de Kooning and Helen Frankenthaler. «••• ‘ip-cerce . nd rtu ‘ • ng 'jfJ’; "l0 ■ rangements. His Self-Portrait (1952) examines his own facial features in a rather straightforward manner, yet just three years later another Self-Portrait” shows how fast his art was progressing at this time The 1955 por­ trait. painted the year he moved to New York, depicts a dark, expressionistic figure with emphasis on the anatomical components of arms, groin and legs and completely eliminates the head by having the outer edge Of the frame cut off this feature. The paint application is thick and moving in the direction of total ab­ straction, which he would adopt a few years later. "Manning Street, Philadelphia", a watercolor of 1953, antic­ ipates the work of both Robert Indiana and Roy Lichtenstein in its use of stencils and letters and also fore­ shadows Meneeley s own wide concern with print and reproduction techniques In the following decade ^'a i! ora the XStanasa^ of h«int /-flve at the Dona KJrtftAII I9ti6 . i JjCANVAS �<r*? K 7^0 as3 *u ne^^' ' ing9^ ■>e - ■y n -aw ,n J _r.5^’ ■ . , -............... .. .- ' . . . ■ . ' • ■'• :! ■ ■'( N1l’l,l'l’> I'ih ' | >'iinlitu r. wliH li Ih> . •■ .. s .-•- ..■><• ■.■ .eved^l.Mo.nphasisColoi has always . , .......... . . . -............ .^-bs-at.^ae^rnehre configurations and even the ....................... aho tr^earoful arrangements of complemen- ....... ,..s ....- •,...:,....i a-tov discarding layers of Mondnanesque . ,.:.. .......... -v ...^ .wnr or color. The linear elementthus provides parte . - - ■ ......... ., .^-..^ment of a color in relation to its neighboring color. . . ....; -.--. 0 -.’ '.• "r,e structure of geometry, rather than the other way around. . . - ■ ■ - ;■ . ..'.' ’ .■ as of color, although often somewhat surprising and off-key, .7'. .7 - .... -.-■ .■ canvas from the next and consequently any two given spatial in- .■.■■■. ••-• act on of the hues is always carefully thought out and plotted in .••■•• "o •■ me 6O’s through the 8O's celebrate multi-chromatic harmonies ■ ; — ■■. a- .-■ eocean or frees populate a forest. ." early 6O's and were achieved with the aid of a mechanical de- - ■ ■■.■ ./ .;• r..--r ar.ppeddown.on the paper or canvas in fairly even rows. ■ . ; . . c- -extured surfaces were indicative of the linear verticality which char- similar to works simultaneously being done by Morris Louis and ■ . ■ ■• .'..soaiure from Jackson Pollock's “action of the wrist" was used only as a . ■.' ' ” on as an end in itself. He further challenged the root of Pollock's " ’ • z a at the bottom of the vertical stripes and then achieving a similar v. same time, he was constructing wood sculpture with predomin- v :-; .. - . ‘ cjrrwBionE ■■ ■ • •••■ '- ■■ -e revolutionary folios of electrostatic prints. This pioneering achieve. - - . . • r ’•several years, was based on Gertrude Stein's Tender Buttons. .. 1e; .c’e: projecting into space. These constructions were direct exten' ■ future career he would simultaneously parallel work in two and :.e >n (fself. Tender Buttons" and the two subsequent works, "IBM pier Ottects" (1968) had a marked effect on the direction of his painting. ' ; ' L' verm.y was to serve him well in these experiments with modern row materic* of Tender Buttons" consisted of needles, pins, buttons, paper clips, , •?: -? xerox machine in a repetitive vertical arrangement' ' .../ 1 -ana - ■ y, ' ■ • V vi; cut here the bands or ribbon forms were 'I''-' avei band5 developed from machine anniirn+inn tr, ! I Se^' ^QC >5 f .,.:--' t +re M1"1 x as (htf!O! W6 rP ___ ■ 5 > <-n0^ netO 'e " '-<?5 ‘ J ,-‘V ‘\.,^'et--&cc 3.-0? ,-^e <* •5r w h©c< -- sP° c^'^, "-:3-^‘-:--„--sees ■> _ <re -e' ie«t’r'dea^.P-aec'ed surfaC meT fronts fr°nt5 P'3J ~ p~-c'’--!?'' -p s*e’~ e v'e" °Sof the canvas r?== '5 ;, , CG' -nnvas ^'7_5; =. r -3e50 sr+hP tneS5’3^ ^eC- c e r 'e ;fr-c nC^S Tbef f f&e >en to°f o« Hthevef*c -rddie^ .. - *•>? C® ■^’S jC’"' G “' ^qQ O' -"3 - ieCscoce ex,ended * ^7^ -c r e^essKI ^Tlne merely a Tame fc ... oressed. •ompre 5Sed o. — andcomp ^33-. ce _ ^>erDeCO ♦ n T -e □n’*'s * a ' wn " i ™' ^insaV'^ --3S. ~r^ • motions of tonal variations 0 the. tr^ c - = -- ’ Qr an but rather sene 0 ■ e * e ., - -= - 3 e -' - 5 C centra; field. Tne eve" s ------------edgBoftheb®ds.o«en.n:_— z - >Menee«V ~=~ Byiearingthepaintedsurface’^. -— artists such as Barnett Newrrian, who begon tOCTTKIcrnng the younger artist. Meneeie. oe'’.e**es”C~ eg "e'CS-gSi w ”" ‘«8A"'-Cr C* ticoi zip in space. However, he exocrce^’”e r^rge of ^ewr^en’s vOCOtxJarv C more emotional, passionate, ana -g COkx Menee<, a- C15 rangements of the forma; piaoement o‘ oes rnan'szip. " ■ e us-’‘s,xx:k-ed the h's Paintings to slit-hkr ~ ^kground rectf,5 *coe--g5 wereptanne — **taest,0„ haifrm.rv^ ho* row — ‘-^’S ATV * s reouo "'eta ^^cate SC'uipti ji * r> ir> Jrv 5 *^ch c*©ces covered yet to c X^sh°« recUn �3r ne essai stimulus oJ « rfrk ,o« on ■ a§ro> rene-?,-(?2 r-~. of his later 2 <> SubordinQt( • Qeomen to thV c°lor-b; >e caret? "■ >ased art Q.’TT’QrX b V asc. nnov, e -ement c* - .- ; s from th© r,s CC c o . the Urx next and ^^hgement sequent . .1 of a color n on. • of geo; static >f co,or. author- Tnetry. ra*~e' '■~c" •ugh often someWnaiSGi —Iways ca’-e'a' s through the >e 80’s ae etxate trees populate: 3 a feres* >O's and were achieved th the ad ofo~d3X.2 ?.? dr'PPed alown.on *ne cooer or corvas e*3!. irfaces were .nd co* e cf *ne near cenicei• :- 3 t to works s'— — .-□neocs . oe ng done rev ’/-o"-.- .ou r Jcickson Po::oc<-s z . jlc* on. of the writ* was usea ?■-. c c end in itself, H -e chc engec *ne c -' ottom of the . i e** oa smpes and *nen ochie. -.g ? -- -c me, he was co>nstruct ng wood sculpture p-ed: " '-ting into space ~nese- -onsn-uc* ons we-e drect t ireer he would c taneously parallel wo'k r-. <rc orx folios of electrostatic cants The pionamg years, was basea a .-unions. -If, Tender But'orz era *ne twosubseau-?-'' .tn <.'■ 68) had a marked effect ar. direct z . as to serve him we r- t* =$-- •" Juttons" consisted c’ne-ece: ' the xerox machine r a -ec-e' ’ drip paintings, but here the bonds or parallel bands deveiope ' ■06 jpe. They also gradually rr.o^ed to the sides c 'j a p open color field botweon them Tho paint quality of the bands became more shimmer' w ’h e a\-n ke "eiociiu qualify which was a subconscious result of having repeatedly experienced ‘ second of light flash when the image was being recorded by the xerox machine. After thousands of ■ ■ ' c>’- -> and much experimentation. the reverberating light energization was translated into the painted o .'a- of h acrylics This bleeding color or haloed effect is similar in quality as well as in shape to the single neon tube \ ~>e other result of electrostatic experimentation was that the jumping relief effect given off by the ma­ c's during the printing process contributed to Meneeley's three-dimensional relief paintings from the midoO s These highly innovative paintings made use of stretchers several inches in depth, so that the painting surface was extended from the face of the canvas right over the stretchers. The paintings, with their sides as weT as their fronts painted, projected themselves into space, often four or five inches from the wall. The edges of the canvas were emphasized as opposed to the center and the vertical stripes on the front were extended over the side edges. By stressing the lateral edges, the middle becomes simultaneously gripped and compressed, but, in contrast to other color-field painters, the central area of Meneeley's work always re­ mains a vibrant field of magnificent color expressing the illusion of deep space. As compelling as the delicate tonal variations of the flickering bands are, they never become merely a frame for something that isn't there, but rather serve to heighten the dynamic tension already present in the animated, immaculately smooth central field. The evenly painted middle with its matte finish carries on an emotional dialogue with the jagged edges of the bands, often in formations of twos and threes near the sides of the canvas. By leaning the painted surface heavily toward sculpture, Meneeley had an important impact on fellow­ artists such as Barnett Newman, who began formulating ideas for his own sculpture during discussions with the younger artist. Meneeley benefited from long interchanges with Newman over the possibilities of the ver­ tical zip in space. However, he expanded the range of Newman's vocabulary and brought to his painting a more emotional, passionate, and Rothko-like feeling for color. Meneeley was freer and bolder in his rear­ rangements of the formal placement of the stripes and he thus unshackled the inherent possibilities of New­ man’s zip Meneeley's formal sculpture in bronze and aluminum during the 6O's reduced the wide vertical bands of h s paintings to slit-like openings in the wall of the metal. The delicate web-like arrangement of line in the background recalls Pollock, but here this overall surface decoration is accomplished in low relief. These works v^ere planned as 4O-foot-high monumental sculptures, which have yet to be realized. Another series of .-.ulptures from the 6O's were wood stick pieces covered with wax. The shafts were cut so that they were ' af round. each stick simultaneously curvilinear and rectilinear and thrusting in an ascending direction in toace II PAINTED WALL ?1 1963 ACRYLIC ON PLY WOOD 7X30' COLLECTION ARTIST �te?'0 Of« 10^ re-5' tn® <io! AS* ...... .... ..................................... 0-—.1 w r'leo.ts - - ■..... e ec ,--.,•> - '■ ...................... he woman and portrays the Immediacy of her energy with one in h^rn NO-r .SronO®' ^tary C°IOr5VL oo’h of 1970. were the result of the "tape-bleed" method. I w^^T^nersonaltVOl ir this series astro’ iga , ^cosodteoenteroftaia^ cs assau" Meneeley took a studio on the Greek island of Lefkada. close to the studio of Stamos. Al■ - • worked completely independently, they both painted canvases reflecting the sensuous c -■ nd surrounding sea and mountains. The exchange of ideas which occurred there must : . . v f/on-’-o'ey the many "artist conversations" with Kline,Frankenthaler and Newman two decs ’' .., shared an intuitive, deep-grained commitment to the exotic colors found in the natural sur■ - '■r.>an Sea While Stamos continued his exquisite Lefkada series, "Infinity Field", Meneeley • m Reflections" series, which were breakthroughs of luminous color and light. . :. ■ ■ ;. j r ’.ngs, bolstered by Meneeley's experiences with color in Greece, were supremely confiC -•'♦.st at the height of his powers. The four paintings in the "Liverpool" (1977) series are ex. .- :c.t ■ >:8" x 6') with painted stretcher frames four inches deep. The off-angle bands painted - • - and edges of the canvases complement and contrast with the central, dynamic fields .... .3 •'., environmental work, created for a special room in the Walker Art Gallery in Liverpool, r 'e.-.ent of tne four paintings in relation to one another was a necessary ingredient ' . - j - : sumptuous colors of the series fully, with "Blue" facing "Orange" and “Red" opposite : ’ urn® 'Os confront the viewer with pulsating, warm, dense color fields punctuated with, fh the sides of one color blot affecting another. Works such as Black Took - ntt-est in prints continued throughout the 7O's, and in 1972 he produced Green Tea , his first ■ • : ■ -.j' techniques. On a delicate green ground, linear divisions at the edges of the paper sug- . anj the center is suggestive of a clearing in a forest. The 1973 serigraph Louina s Dream octive stenciled dots built up in a grid-like format which bursts upon the eye in a brilliant opti­ . r.-.,ed his new gallery with a retrospective of Meneeley's career, spanning . . ■ g ;■ ..■ the aforementioned “Liverpool" series was again presented in an environmen *3. /of subtlest of all Meneeley's color harmonies are found in the shaped car > •*-> nterse, ting triangles converging from opposite directions lht» cos' . h.-i /’ -tf • To>rding'$cl<’< in lines of force in gxT ■ fevealed in gdge of the "GXSXX spoilt is os (MeneeteY^o e.meStre>cheredge :n previous works and placi r-5 supreme work ho q*so returns to tho brush WOFK of At I esTentsofminmai geometry. By placing the rectilinear s gec^ehc form to the distinct advantage of his mastery ( comofcbed "-v-s-;;"rc:in,orces,tei^to partings as "h inanarbitr( ;^odVoftl ^Wkfe bi ;l;s Th*bai!Pd$ QrA r. ^nbbQi ,nsinPrevJ?Wfr ^us ’ ,rithan r*: Creser>t (■<_ Ca<3e ^ana | I ►•A*. Mi ...... ivw.v *> HIGH .t " ^ast- thess "♦we, -'-eQfn �5 he cWer . VX r\- - nITtb ■< w, • stated at the beginning of this piece, the 8O's are Meneele/j decade and 1980-1981 has been ” ■ busy artist s most proiific periods. While his color harmonies are more arresting and subtler than ' ’-as at the same time accelerated his free-form experimentation with geometric prob'ems in three ■ v V. -...... - '-'C space. The intricacy and complexity of folded forms, precarious planes creating actual aper\ ; s i the painting surface, and continuing development of the relief aspect-all these contribute to a new. ;• -t rig optical viewpoint in his recent work. in rhe series of acrylics, "Dream No. 1", "2" and "3" (1981), he has brought together years of experimenta ­ tion and refined technical ability. The brighty orange, central diamond field of "Dream No. 1" is surrounded by seven thin geometric bands of complementary colors which are in turn flanked by three looser non-geomet r;c halos of color, several of which change in chromatic value on their course around the centra! image These subtle contrasts continue over the deep stretcher frame in a breathtaking display of virtuosity. The complex color arrangements, with their sensual elements of surprise and sheer risk, give each of the paintings in this series a strong and precise personality of its own. ;;: - ... ... tOC'" \ .. ’-'C ____ -C“-T . 'versa'scns Mr v, ’ The absolute center of tonal values is revealed in "Dream No. 2” in which rhe compression of space be­ tween the central round aperture and the edge of the circular canvas is confounded by the geometric structure within the narrow space. It is as if Meneeley had taken only that part of the painting which con­ tinues over the stretcher edge in previous works and placed it on the face of the canvas in a circular motif. In this supreme work he also returns to the brush work of Abstract Expressionism, juxtaposing these areas with elements of minimal geometry. By placing the rectilinear structure within a curvilinear format, he has satirized geometric form to the distinct advantage of his mastery of color. His search for the center has been fully ac­ ' ed ComrnttrnAnt tr> inued his exqw&te Lefltada senes Try- :’ . * $ exoe: “ ces A'S 'ft? tCu' par?■’kJ-: Chef f-romes '.o’ - ■ '--st . peep *-e complished. - r S complement and contrast the cer gted tor a sp-c-a- ’ >'3* \ ’.J,' . - ■ itings in relahon to one wf ;eries fuiiv with ifh Slue ‘-c'? ‘ In "Dream No 3". with its incredible depth of six inches, Meneeley has again succeeded in using a wide spectrum of colors, each of which reinforces the impact of the neighboring color. The long, vertical bands, which have been a Meneeley hallmark since the early 6O’s, have finally been shattered with such paintings as "Ionian Reflections" (1981). The narrow shifts are no longer exclusively verti­ cal but are placed in an arbitrary arrangement across the entire picture plane. These bands, many with jag d edges in a parody of the wide brush stroke, float about the surface without an anchor or awareness of . .. rational pulis. The bands are now framed with parallel narrow stripes echoing the iridescent reverbera of his vertical ribbons in previous works. • •/;,-r^e!ey remains, in the present decade, a melding of opposites - geometric precision robed m calami Brv wtm o ,. i-uverpoo!" tu'. .. r rigid discipline living with child-like whimsy, audacious intricacy and lyrical simplicity, love and rage, , ar a'Tighter. the poet and the beast-these are attributes which make Meneeley s art so rich an ex ' er tr.e open and perceptive viewer. per ■ ■ r iX ‘-..T r* .1 jintmg s v »p£ i^or— ' ■ dart fordMuseum __ _ ut SC1* i-f • f/otzgor d'Art �R | ■ - ~ ' :• . ' * »£ CO-ECTio* BLUE FLYER 1971 ACRYLIC ON CAL 7'6" x4'6' COLLECTION FRANK MARiNO HRX LOA 1971 STHl ClXLtClN*. *^,s! �'.'/CG ���... : .«■« '.<i V ...' ■.. J. . SURROGATE MASTERWORK 1980 CUT PAPER AND WAX 40" x6O" COLLECTION ARTIST �SUCR0GA E _.=e- - - ' E ■j K ■'r I' kltu CflOtJ i«/8O ACKVIJC Gti CANVAS f.ss ���Louis K. Meisel Gallery, New York EDWARD HALTER MtNEELEY Bom 1927, Wikes-Barre. PennsyNarva. USA. I Education. Studed at the Murray Art School. Wilkes-Barre. Pa, the School of Visual Arts New York City, and under Jack Tworkov. Sc-a Shews 1982 Ionian Rejection and Dreams. Frank Marino Gallery 1960 Survey ExNbrton 1959-1980. Vivian Brant, New York cncn Refiectcn'. Frank Marino Gallery. New York "■arson Ref-ectcn . Ericson Gallery. New York New Cokxjr Xerox Pints. Vivian Brant, New York On *ncse Glorious Nudes ', (Loft Show). New York 1979 J. erpool Partings". Frank Marino Gallery, New York 1978 A Retrospective 1956-78". Frank Marino Gallery. New York Real Lte'. Peter Moores' Project No. 4, Edward LucieSm*n, Curator. Liverpool. England '■976 O . er Dewing Gdery, Dublin ■973 Mi 'ecr-aoel Art Gallery. London 1972 Grabowski Gatery, London Jrrvers.t, cf Sussex. England 19~ rshtute of Cartemporary Arts. London i960 prvote .'«* (Left Show), New York *766 Frederick ’euscher Gatery, New York 1962 Parma Gc lery, New York W52 / 53 / 54 Dorp, an Gatery. Pbadepha Group Snows: 1981 intimacies/Portrrxts", Barbara Glaberson Fine Art, New Jersey Paper Caper", Frank Manno Gallery, New York 1960 Printed Art". Museum of Modern Art. New York Group Exhfctlon. Art Students League. New York Paper Art". Erevan Gotery. New York 1979 Paper Plus". Frank Manno GaHery. New York nghSght*. 79-80 . Frank Mar.no GaHery. New York 1978 ‘Zee ronzed !mage". British Arts Counts. <European Tour) 23rd Festival of the Arts. Lefkoda. Greece >977 1976 Opening Group Exhibition, Oliver Dowling Gallery, Dublin 21st Festival of the Arts, Lefkada. Greece 1975 Contemporary Art Society Art Fair, London 1972 "Photography Into Art". Camden Arts Centre, London "Spring in the Air". Scottish Arts Council Gallery, Edinburgh 1971 "Three Americans: Ed Meneeley. Don Judd, and Bob Graham". The Victoria and Albert Museum. London 1970 West Side Artists, Goddard Riverside Community Center, New York "Machine Art". Museum of Modern Art, New York 1969 Recent Acquisitions, Whitney Museum of American Art. New York 1968 "Language II", Dwan Gallery, New York Invitational Group, Tibor de Nagy Gallery, New York 1967 "Light, Motion. Space”, Howard Wise Gallery, New York, and Walker Art Gallery. Milwaukee 1966 "The Red, White, and Blue Show", Frederick Teuscher Gallery. New York "The Mods Have Won the Peace From Each", Frederick Teuscher Gallery. New York 1965 "The 2Oth Century: A Prototype and Antecedents", Chrysler Museum. Provincetown 1964 International Watercolour Exhibition. Carneg.e institute, Pittsburgh 1960 Group Exhibition. Stone Gallery, New York 1958/59 Poindexter Gallery, New York 1957 Tenth Street Group, New York Reviews: Christian Science Monitor, 1981. Theodore F. Wolff Arts Magazine, December 1980. Barbara CavaLere Arts Magazine, 1980, Barbara Cavaliere Art and Artists, April 1971. Robert Thomas Art and Artists, August 1972. William Packer Art International, October 1971. R C. Kennedy Catalogue, "Ionian Reflections’. January 1980. Ralph Pomeroy Christian Science Monitor, August 1980. Theodore F. Wolff Financial Times, July 1972, Maria Vaizey Studio International, March/ April 1975. Irving Sander The New York Times. 1962, Stuart Preston The New York Post, 1962 Irving Sar>a>er The New York Times, 1965, Grace Gkjeck Vogue Magazine (England) August 19*5 Anthony Howel �Louis K. Meisel Gallery. 1976 Vork »F«>1va.o,,heAB5,^x ""V- o, . -- West Side Artists. New York "Machne Art1969 Recent Acquishons. ANew York 1968 "Language Dwan Sa -Invitational Grotrc 1967 ~ "Light, Motion, Space -and Walker Art Ga fen • ’ 1966 "The Red. White. and B Gallery', New York "The Moes Have Ac- —e Teuscher Ga.fen 'Jew - —. 1965 "The 2Oth Century. A Pro*cChrysier Museum. Pm. noe: 1964 Internationa Watercotour £Pittsburgh 1960 Group Exhibition. Stone Gofer' 1958 / 59 Poindexter Gallery, tJew /ork 1957 Tenth Street Group. New York ' V tSM Documentations Archives, funded by .\ ■ on the National Endowment of the Arts. '' ..DC Research archives of contemporary art , : uoo. ana Bat, useurh London Js-rr of American ■oerip ’euscher m Bach* EBderidk Antecedents' Carnegie institute ■ ?.. -ork Reviews , ... Christian Science Monter. 9c i,e-e Aris Magazine, December 1980. tJar&o Aris Magazine, 1980. Barbara Ca^a^'y Art and Artists. Ac < ~ . Ari and Artists, Art International, October .// . „r ■ ;6CCatalogue, "lori.an af-i' Ralph Pomeroy Christian Science Monitor. August Theodore F. Wolff Vaize/ Financial Times, July 1972. 1975. Studio International, March/ Ap ' Vogue Magizlnee(Uland; August 197T Anthony Howell Public Collections * v, • X’ new Of September 27.1978”. catalogue v ' - .xx've a’1 ,allk Gallery, October, 1978. Art Fair Photography into Art Spring in the A|r Edinburgh 1971 ■ w oXI Prctx'fs Sar*^ ts' People and Objects", published by ’euscher Editions. 3M Drawings", published by Teuscher Editions. 1965 ustrations for Gertrude Stein's "Tender Buttons", cub shed by Teuscher Editions. 1963 Pubshed "The World's First Pop-Art Newspaper". 1958-60 Published "Portable Gallery Bulletin". 1957-60 Photographer for "IT IS" for publisher Philip Povio. and collaborated with Jasper Johns and Robert Rauschenberg on special projects. 1957-67 Established the Portable Gallery Press. Guest Lecturer: 1980-81 Arts Students League. New York 1979 Belleville College. St. Louis. Missouri 1977 New York Studio School, New York 1975-77 .'.'imbledon College of Art, London 1974-77 Cardiff College of Art. Wales, Great Britain 1973-79 Ati Students League. New York 9*9-77 'nchester School of Art. London 969-75 ' - School of Art and Design. London " -,J '‘'V1 vordoni Gallery, Wilkes-Barre, Pa. i are Gallery, London Newark Museum. New Jersey Art Students League. New York Cornell University. Ithaca Museum of Art, Rhode Island Rhode Island School of Design Chrysler Art Museum, Provincetown Norfolk Museum of Arts. Norfolk Virginia Hilton Collection Gotham Book Mart, New York Frederick Teuscher, Inc., Nev/ York Otis Art Institute, California Scripps College. California University College. Dublin University of Coleraine, Belfast Staten Island Museum. New York Belleville College, St. Louis Wilkes College, Wilkes-Barre. Pa. Corporate Collections: IBM, London Continental Insurance Corp.. New Jersey Best Products Co., Richmond. Va. Acknowledgements: Mr. Wayne Adams Mr. Douglas Albert Mr. Richard Brown Baker. N.YC. Ms. Vivian Brant Mr. and Mrs. Fritz Bultman Mr. Jan Conway Mr. Gordon Davis Ms. Madeline Ginsberg Mr. Frank Marino Mrs. William Meneeley Dr. Robert P. Metzger Mr. Paul Nakian Mr. Ruben Nakian Mr. and Mrs. Irving Sandler. N.YC. Ms. Barbara Scribner Dr. William Sterling Mr. Brian Sword Mr. John Tudda Dr. James Westbay Catalogue Design: Frlssi Cole Design. N.YC. Photography: Sandy Cies. D. James Dee �SORDONI ART GALLERY WILKES COLLEGE WILKES-BARRE, PENNSYLVANIA 1981 ��� https://omeka.wilkes.edu/omeka/files/original/b1158843d4236aaacb42659b12498ead.pdf 11046f00a4788e01bd387d2cf23b3a35 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 1981 December 6 Edward Halter Meneeley Painting and Sculpture Creator An entity primarily responsible for making the resource Edward Meneeley Date A point or period of time associated with an event in the lifecycle of the resource 1981 December 6 - 1982 January 3 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program