12 15 183 https://omeka.wilkes.edu/omeka/files/original/6a9c038d97e0c52e24ae09d9a465eb34.pdf 6bd64b40e8f2c5b3e5b90c39b4aa2ef1 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 2017 June 6 This Too Shall Pass Creator An entity primarily responsible for making the resource Mirandah Akeley Corbett Fogue Heather Sincavage Heather Sincavage Date A point or period of time associated with an event in the lifecycle of the resource 2017 June 6 - July 15 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This Too Shall Pass focuses on artists whose body is an intrinsic part of their studio process. Mirandah Akeley and Corbett Fogue consider the emotional significance of body function- a breath, a swallow, a spit. As each artist performs their emotional self, the subtext explores absence, grief, and loss. Type The nature or genre of the resource N/A Subject The topic of the resource Mirandah Akeley Corbett Fogue video performance https://omeka.wilkes.edu/omeka/files/original/60a009e22eec742778babacfc6467624.pdf d1bf76747ed2d99af595b1e7a588b19e PDF Text Text �y-lncly 'Wa’ikol 15 MINUTES: FROM IM/ TO BOON Curated by Heather Sincavage October 6 - December 20, 2017 Acknowledgements and Essay by Heather Sincavage Sordoni Art Gallery at Wilkes University Wilkes-Barre, Pennsylvania Fsordoni ART GALLERY WILKES UNIVERSITY = photography by Steve Husted �H 19 Id SI 16 ie IB IV 10 >V m =v )0 JQ >J<d n6 Bl} PV UQ inj ’j a !Md JOO !M± sue aul ■njq ism am 1OJS BJ.0 ) JO} JELL! !4M 9H IV �ACKNOWLEDGEMENTS Heather Sincavage, Director When considering what exhibition would open the new Sordoni Art Gallery, many considerations were made. How will we honor the legacy the gallery has had to Wilkes University, build on our standard for excellence, and create excitement for what is come? Many of us on campus threw around ideas of artists or themes that might capture that, but we often returned to Pennsylvania's biggest success story, Andy Warhol. The Pittsburgh native ushered in the new wave within the art world. He brought about change in a way that required the world to make new considerations of how art is defined, how culture is evaluated and blurred the line where the commercial world meets the fine art world. This harbinger of change seemed the appropriate artist to launch the new space—as the Sordoni Art Gallery ushers in a new era for the arts in Wilkes Barre. This exhibition "15 Minutes: From Image to Icon" would not have been possible without generous contributors. Thank you, Hyrum Benson at the Reed Gallery, University of Maine at Presque Isle; Phil'Earenfight at Trout Gallery, Dickinson College; Darrell George at University of Northern Iowa; Greg Gorman; Geralyn Huxley at The Andy Warhol Museum; Henry Leutwyler; Bill Miller at Galison Publishing; Jamie Smith at Social Fabric Collective; Ryan Ward at The Maslow Collection at Marywood University; and Willie Williams at Haverford College. Additionally, the incredible support from the newly re-formed Sordoni Art Gallery Advisory Commission has been invaluable. I would like to recognize the members here, as I have greatly appreciated their guidance and support. The members are: Virginia Davis, chairperson; Dr. Stanley Grand; Patricia Lacy; President Patrick F. Leahy; Ken Marquis; Allison Maslow; Bill Miller, board of trustees vice chairperson; I ' Dr. Paul Riggs, dean of the College of Arts, Humanities and Social Sciences; Eric Ruggiero, chairperson of the Integrative Media, Art and Design Department; Provost Anne Skleder; Jamie Smith; Andrew Sordoni III; and Joel Zitofsky. As the gallery prepared to open, many people across campus assisted in imagining the success of the new space and opening exhibition events. Thank you, Jean Adams, Bridget Giunta, Lisa Reynolds, Mildred Urban, Rebecca Van Jura, and Mike Wood. Your creativity and advice are so appreciated. Additionally, the tireless efforts of Charlie Cary and the Office of Campus Support Services have been outstanding in realizing the imagination of many people and cannot go unrecognized. Although I have already acknowledged Dr. Riggs as part of the Advisory Commission, his assistance and support of the gallery and me have far exceeded the role of commission member or dean. I am very appreciative of his ingenuity and guidance. Without him, I would not have received one of the greatest gifts to this exhibition project, research assistant Karly Stasko. A large part of this exhibition's success is a result of Karly's enthusiasm and talent. Finally, I would like to thank my family and partner, Adriano, for their support during this substantial endeavor. You help me realize that anything is possible. Here's to a new chapter in Wilkes University history and exciting things to come! 1 �MAKING of an icon by Heather Sincavage, Curator mded to the status of icon quite like No artist has ascei Andy Warhol. In 1965 curator Sam Green of the ICA at the University of Pennsylvania held Warhols first retrospective. When over 2 000 people showed up, Green was forced to remove the artwork from the walls fearing mob damage. When Warhol and his muse Edie Sedgwick arrived, the crowd chanted, "Andy and Edie! Andy and Edie!" It was clear that while his artwork helped to establish a movement, the artist himself had become an icon. andrew warhola no one could have predicted that the Pittsburgh-born child of Considering his modest upbringing, ^become the sensation of the art world. Regardless, young Warhol was Czech immigrants woi led in his artistic endeavors by his mother, Julia. According to Warhol, she had consistently encouragi been the single most influential person in his career. Dating back to childhood, Warhol was a long admirer of Hollywood starlets. Throughout his entire life and encouraged by Julia, he collected publicity shots, biographies and teen magazines about young Hollywood, saving images of Liz Taylor, Natalie Wood, Troy Donahue and Warren Beatty. While he was too poor to afford new magazines, local second-hand shops offered a dusty treasure trove. He was a young boy in love with the American dream, and Hollywood stood as the shiny new epitome of that dream. With a passion for drawing fueled by his mother, he was selected to attend free classes at the Carnegie Institute of Technology while he was still in elementary school. Warhol had always been considered an original. His high school yearbook epithet reads "as genuine as a fingerprint" (Schaffner, 26). When he graduated high school, a year early in fact, Warhol was accented into the very same institute. s college career was full of contradiction. At the Carnegie Institute, he nearly failed out of school nonZntSSI|n9C 3 T56 °n PerSPeCtiVe' alth0U9h his studi0 entice later proved that to be a likely to succeed Pr°fessors was equally conflicting. "One instructor deems him least ' er Ca"S his work the most promising commodity he has ever seen" (Schaffner 26). Although unbearably shy, W; ' ' arhol enjoyed working in groups and even established a studio ^ college classmates in a carriage ho. -Juse-One might consider this a prototype of The Factory, Warhols infamous studio. Warhol was believed to have had th commercial artist, most notabl Careers in his From 1949 to 1960. he worked as a Art Director's Club awards From 1Oo^°e '"Ustrator at Glamour magazine, where he won numerous artlst' Final|y- from 1968 to 1987 i mmercial world and combined it hG hfestV|a °t0 1968' he was pop artist- breaking into the world of the fine ■ ^USiness art'st, wherein he took his experience from the Wlth what established his reputation-the art. the persona ano ««xxE8stemE” .. lca"D'Mm'°Xtdda,. j American .9rants‘ Andrew Warhola had great love for pop culture a.- Andy Warhol, he became one of the icons to use the 16 a aaw generation of culture. �WARHOL AND THE AMERICAN DREAM status of icon quite like Warhol crossed into the art world during the height of Abstract Expressionism. The movement, made famous by Jackson Pollock and Mark Rothko, embraced paint drips, smudges and runs as a the ICA at the University of means of emotional expression. From this, action painting emerged, spotlighting the artistic process as an intrinsic part of the art. Pop art, on the other hand, was still in its infancy. The term was first >t retrospective. When over used in 1958 by British critic Lawrence Alloway to distinguish American mass-media popular in was forced to remove the culture from the more conservative British lifestyle. The word "Pop" actually appeared in a collage mob damage. When Warhol by British artist Eduardo Paolozzi entitled "I Am A Rich Man's Plaything" and resourced from a rrived, the crowd chanted, magazine collection of an American Gl. Roy Lichtenstein's "The Kiss" became one the first pieces to fully validate the movement by appearing in ART News magazine. Fellow artist Claus Oldenburg I!" worked in his Lower East Side studio, modeled after a department store, which he entitled The Store. When Warhol visited The Store in 1961, he left it feeling "depressed,’’ In the same year, Warhol ork helped to establish a had his first exhibition in the Bonwit Teller luxury department store window (the site that now ad become an icon. houses Trump Tower), resulting in a modest success. Pop art was emerging at the same time as the radical Fluxus Movement, which presented musician John Cage at its forefront. The Fluxus agenda united through the intersection between art and life, the Pittsburgh-born child of ardless, young Warhol was while further reflecting Taoist and Buddhist philosophies. In 1967, Warhol would collaborate with Fluxus founder George Maciunas on a complete issue of Film Culture magazine. According to Warhol, she had Rebelling against non-objective imagery that was laden with the artist’s mark and recognizing interdisciplinary approaches to studio process, Warhol's method was born. arlets. Throughout his entire and teen magazines about "What’s great about this country is that America started the tradition ahue and Warren Beatty. where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know iops offered a dusty treasure the President drinks Coke, Liz Taylor drinks Coke, and just think, you wood stood as the shiny new can drink Coke too." - Andy Warhol (Bernstein, 16) With a marked interest in Americana, Warhol began experimenting tend free classes at the with the Coca Cola bottle. He approached the icon two ways: one )l. Warhol had always with apparent brush strokes and drips, much like the artists of Abstract Expressionism and one 5 genuine as a fingerprint clean, flat and crisp. This was where a decision had to be made. This decision would come to define io! was accepted into the the icon. Warhol opted for the clean aesthetic. Eliminating the "artist's hand" reflected the style of which the consumer already experiences the product, but later Warhol would determine that embracing the industrial process of serigraphy, more commonly known as screenprinting, to be the e nearly failed out of school most efficient and impactful way to create the Warhol aesthetic. er proved that to be a istructor deems him least It's no secret the artist relied on others for ideas. In an interview in 1970, Warhol's assistant, Gerard ' he has ever seen" (Schaffner, Or sometimes I don’t use it right away, but may remember it and use it for something later on. I love an established a studio orototype of The Factory, Malanga, quoted the artist, "I always get my ideas from people. Sometimes I don’t change the idea. ideas" (Danto, 32). While he began to be noticed by several art dealers, Warhol did not have gallery representation. He felt pressured to create something with impact. His breakthrough, Campbell's Soup Cans, emerged from a discussion with interior designer Muriel Latow, who encouraged Warhol to paint something I to 1960, he worked as a e, where he won numerous ng into the world of the fine his experience from the —the art, the persona and that "everyone sees every day, that everyone recognizes ... like a can of soup" (Danto, 33). This was not an exceptionally strange concept, as depictions of food have a long tradition in painting. Popular in Greek and Roman culture, painting food was at its height during the Renaissance. Using hand cut stencils, Warhol painted all 32 varieties of the Campbell's brand at that time for his first exhibition at the Ferus Gallery in Los Angeles in 1962. Warhol sold out the show for $1,000. reat love for pop CLJ Iture aS 3 of the icons to use the �dlery placed real Campbell's soup cans in its window, In an act of self-important satire, a neighboring gal Warhol would go on to create works of ot advertising that they were five for one dollar. Hollywood and pop culture stars such as While in its initial instaUation, the can paintings sat in a line propped on a she . Th,s was a reference to the can's humble factory beginnings, as well as a nod to the paintings' own manufactured existence. Later Warhol Natalie Wood, Grace Kelly, Jackie Kenner Taylor (which preceded Marilyn). His proi would hang the images organized into a grid on the wall. "Not found in nature-grids mean 'this image is a practice meant he had numerous series i product of culture"' (Schaffner, 65). Utilizing the serial image, the artist implemented a grid composition of the the same time. works to reference endless mechanical reproduction. Investigating deeper into American culti Warhol would return to the soup can over and over throughout his career. While this may be the case for same time as the Marilyns, Warhol often many of his iconic subjects, the soup can series established significant attributes to the Warhol style. The vision of the American Dream: Death ant serial image and flat application of paint reflected a clean, industrial-made aesthetic. Later, Warhol used his Focusing on car accidents, Warhol depir commercial experience to expedite his productivity. He no longer cut stencils to make his work but instead newspaper photos of accident aftermat screen printed directly onto canvas. He would later return to create the Campbell's Soup Cans screen prints in limited editions of 250. During the making of his Brillo Box (1964) pieces, the studio was arranged in assembly line fashion where Warhol and his assistants could create the work. Thus, Warhol's studio became known as long symbol of American status and ind was transformed into a symbol of our rr later would take on the electric chair, su race riots. Perhaps this is response to ti The Factory. temperature of the time, perhaps it was One might question why Warhol found Campbell's Soup appealing. Of course, it was a suggestion from Latow; but one can also be certain that Warhol would have had many suggestions for subject matter. Considering Warhol's childhood in a depressed neighborhood, visiting the supermarket was an indulgence as much as a necessity. Inside the supermarket, the American Dream was stacked up on shelves, awaiting purchase for those who could. The "universal sameness" came to represent belonging to a certain echelon within society and the rest of the world. so much, but what Warhol presented in examination of the country's tumult am In the mid-1960s, the Flowers series st although friends of Warhol believe the; Herko, a dancer who fell to his death a tripped versions of the natural world ai floral still life painting not only as a bre Warhol has stated, "I like things to be exactly the same over and over again” IDanto, 55). Warhol claimed to have eaten Campbell's soup every day for 20 years and marveled that the taste never changed. This suggests Like his many other works, the Flower.1 hibiscus flowers by Patricia Caulfield f the emergence of globalism—where it could be guaranteed that the consumer experience is the same around the world and the ability to acquire such commodity meant a global belonging. The Flowers debuted at the Leo Castr The Factory as well as Warhol's work "Buying is more American than thinking, and I'm as American as they come." - Andy Warhol (Bernstein. 19) Aware that the American dream was built on consumerism, Warhol began working with symbols with loaded ideology. The first of these, the dollar bill symbols, was another suggestion by Latow. The symbol, however, plays on the concept of buying art as a consumerist activity. One can literally and figuratively see the message that "art is money on the walls." (Bernstein, 19). In the early '60s, when Warhol first made the $ pieces, they ironically commanded little value. When he returned to the symbol later in his career, the $ pieces now stood as a solid investment and a celebration of American capitalism. destination for cultural elite and curio The Factory, and amidst the socializir often simultaneously. The Flowers exl Paris show the following spring, Wart himself to film. WARHOL, THE F1LMMAKI Warhol was attracted to beautiful pe While the American Dream reflects capitalism, the Pop Art Dream reflects celebrity. And Warhol was and the American Dream. If he felt p enamored with fame. Hollywood became the ultimate symbol of the American dream and the foundation of Alloway's term, Pop Art. for a Screen Test. In his lifetime, he r On August 4,1962, the day after Warhol's first exhibition closed, Marilyn Monroe was found dead in her home. Warhol was an avid collector with e> His childhood love of starlets was now colored by the stain of tragic mortality. His art followed suit. the Andy Warhol Museum in Pittsbu photos of young Hollywood. In fact, The Screen Tests took collecting to Accessing a promotional portrait of Marilyn Monroe from the film Niagara, Warhol cropped his composition and holds dear. He was finally able t to closely frame her face. He did nearly 50 paintings of Marilyn, close after her death, and like the Soup Cans, returned to them later as set of 10 limited edition screen prints (edition of 250). The image, blown of their living essence. However po\ out and dripping with sex appeal, explored color combinations and even off-register printing to challenge the compositional possibilities in the work, thus representing aspects of her emotional decline. As a result, on the phone or leaving the film she the image of Marilyn becomes a neat mask of what the American rlro=- without influence of Warhol. packaged for public - ........... the Stanislavski-Strasberg Method more important than the footage it �^bell's soup cans in its window, Warhol would go on to create works of other a shelf. This was a reference to the Hollywood and pop culture stars such as Elvis Presley, manufactured existence. Later Warhol Natalie Wood, Grace Kelly, Jackie Kennedy and Liz lature—grids mean 'this image is a Taylor (which preceded Marilyn). His prolific studio jlemented a grid composition of the practice meant he had numerous series in progress at the same time. i. While this may be the case for ittributes to the Warhol style. The tie aesthetic. Later, Warhol used his ncils to make his work but instead Investigating deeper into American culture, at the same time as the Marilyns, Warhol offered another vision of the American Dream: Death and Disaster. Focusing on car accidents, Warhol depicted grisly newspaper photos of accident aftermath. The car, a Jampbell's Soup Cans screen prints in long symbol of American status and independence, ;, the studio was arranged in assembly was transformed into a symbol of our mortality. He 5, Warhol's studio became known as later would take on the electric chair, suicide and race riots. Perhaps this is response to the cultural temperature of the time, perhaps it was empathizing with the pop icons, such as Jackie Kennedy, he loved ourse, it was a suggestion from so much, but what Warhol presented in these works could be considered the modern-day Guernica—an ggestions for subject matter. examination of the country's tumult and chaos. e supermarket was an indulgence is stacked up on shelves, awaiting >nt belonging to a certain echelon In the mid-1960s, the Flowers series stylistically served as a turn from the deceased pop stars and death although friends of Warhol believe these works may have been in memorial to Warhol's close friend Freddy Herko, a dancer who fell to his death after leaping through a window. Just like the Soup Cans, these acid­ tripped versions of the natural world are not a far step out of the traditions of art history. Warhol took on the floral still life painting not only as a break from tragedy but also as an appeal to hippie "flower power" culture. lin" (Danto, 55). Warhol claimed to Like his many other works, the Flowers image was also appropriated from pop culture, a photograph of ; taste never changed. This suggests hibiscus flowers by Patricia Caulfield featured in the June 1964 Modern Photography magazine. ;umer experience is the same around nging. The Flowers debuted at the Leo Castelli Gallery in November 1964, a testament to the efficiency of The Factory as well as Warhol's work ethic and daily amphetamine use. By this time, The Factory was a ne.” - Andy Warhol (Bernstein. 19) destination for cultural elite and curiosities. Artists, socialites, musicians, drag queens, all could be found at The Factory, and amidst the socializing, Warhol could be found working on numerous projects, including films, n working with symbols with loaded n by Latow. The symbol, however, ■ally and figuratively see the message lol first made the $ pieces, they i his career, the $ pieces now stood often simultaneously. The Flowers exhibition sold out, and when he created new editions of the work for his Paris show the following spring, Warhol had decided to announce his retirement from painting and devote himself to film. WARHOL, THE FILMMAKER Warhol was attracted to beautiful people—undoubtedly as a result of his lifelong obsession with Hollywood and the American Dream. If he felt people were interesting or attractive, Warhol invited them to The Factory for a Screen Test. In his lifetime, he made over 500 Screen Tests, 300 of which have been preserved through s celebrity. And Warhol was the Andy Warhol Museum in Pittsburgh, Pa. mean dream and the foundation of Warhol was an avid collector with exquisite taste. As a child, we know him to collect headshots and magazine photos of young Hollywood. In fact, his first prized possession was a signed publicity photo of Shirley Temple. vlonroe was found dead in her home, The Screen Tests took collecting to the next level. They are a collection of living people whom Warhol values ality. His art followed suit. and holds dear. He was finally able to access the society he so looked up to as a child and becomes a collector >, Warhol cropped his composition the Stanislavski-Strasberg Method, aka method acting), Warhol would be flipping through a magazine, talking of their living essence. However powerful the Screen Tests come across (with actors often admitting to using r her death, and like the Soup tion of 250). The image, blown 'ff-register printing to challenge on the phone or leaving the film shoot altogether. This behavior may suggest that acquiring the footage was more important than the footage itself, or it may be that the artist allows space for the subject to be authentic without influence of Warhol. ler emotional decline. As a result, should look like, dressed up and 5 �that he purchased in 1963. Each test lasted four minutes (or Thefilms were shot on his 16 mm Bolex camera tha hi^ c|osest frjends such as |^s assistan^ 16 frames per second), the length of one fi m roll of Gerard Malanga, and any strangerr whooen er Edie Sedgwick, Dennis Hopper, N.co, Lou Reed. Dy|an and Marce| DuChamp. best.known Screen Tests feature Interview magazine led to endeavors reference to his famous 1968 quote,' of his death, Warhol was working wit Saturday night show titled "Warhol 7 tino films at the same time as he was making the works As typical of his studio process, Warhol begat, crea an 8-hour film of the sun for the show to be produced on NBC irreverent interviews as a means to c f.|ms t0 be |ethargic and beautifully that made him a household name. The best —.adSe..ed8«aSlo.e™i™«ofton,, Clearly, filmmaking diversified Warhc of teen magazines and publicity phot establishment of Interview magazine him to stretch back into the commen of culture. ——i-rEd“nr Velvet Underground, a rock band Warhol art-directed, in the Explodi g THE BUSINESS OF WARH Plastic Inevitable. By the 1970s, Warhol had achieved th In December 1964. the Screen Tests titled The Thirteen Most Beautiful Boys and The Thirteen Most Beautiful Women were shown at the New Yorker Theater as part of a Film Culture Sixth Independent Film Award to Andy Warhol. Included in The Thirteen Most Beautiful Boys collection were Dennis Hopper and the late Freddy Herko. Herko's Screen Test was a haunting reminder of his tragic suicide a few months earlier. It was a loss that affected Warhol deeply. His celebrity attracted those in high s Warhol became a status symbol, and The society elite wanted to be a Mari publicity photographs Warhol access' photographs with a Polaroid camera, (Schaffner, 82). The entire "look" howe makeup on his models and put bright frequently apparent in the Polaroids b Filmmaking became the perfect avenue for Warhol to connect with high society. It permitted the shy personality to spend time with the cultural The result was considered a "vanity pi elite under the premise of making art. However, when asked why he Chudney and Rhonda, glamorized so preferred filmmaking to painting, he said, "It's easier. You turn on a switch to have their athletes sit for Warhol—i and it does the work." Compare this to Warhol's painting process in The athlete portraits were primarily d< The Factory. The paintings required a team to create, and in fact he relished the idea that the process was mask. The portraits now featured larg so flushed through that anyone could make a Warhol work. Conversely, filmmaking was a relatively solitary experience for Warhol, until it too became something he could pass off to his ingenue, Paul Morrissey. For Warhol treated the works rather indiff most of his filmmaking career, he alone operated the camera, often embracing the dust, scratches, camera it was for the shallow reason of match jerks, and out of focus shots. He wanted it to be apparent there was someone else behind the camera, which if he was close to them, such as in his is a stark contrast to his paintings where all the pieces looked "machine made." At the height of the vanity portraits, V\ In 1969, Warhol was denied free tickets to the New York Film Festival. In response, he created Interview series was treated in the same vein as g zine so that he might have press credits to access the Hollywood stars. The magazine was primarily a film magazine but also featured fashion, art and high society. When questioned who would read it, Warhol was intentionally political. Critics "prai spirit, which left poor black and Hispa (Danto, 117). Like his earlier "Death and "Ladies and Gentleman" series was cc apparent dissonance between the "up ««« and aares, examination of American society. Warhol took thousands upon thousan pose. When the artist suddenly died, t y all the covers between 1972 and 1989. retained the photographs and other w have the opportunity to show all of the creator of culture. Interview was heralded as th ^'S artwork’ societY then witnessed Warhol becoming a often was thought to determine the ^ture of pZZlT?.a" °ther Peri°diCals Produced at the time and end of his life, and Interview continues to be 6 remain involved with lnterview until Produced today in the same spirit of its founder. program dispersed the 28,500 photog institutions that would not have the m �,d in 1963. Each test lasted four minutes (or his closest friends, such as his assistant, ,e of his best-known Screen Tests feature ,b Dylan and Marcel DuChamp. e same time as he was making the works -mpire (1964)- an 8-hour film of the sun Interview magazine led to endeavors on TV, including show a on MTV entitled "Andy Warhol's 15 Minutes," in reference to his famous 1968 quote, "In the future, everyone will be world-famous for 15 minutes." At the time of his death, Warhol was working with Saturday Night Live producer Lome Michaels to create a primetime Saturday night show titled "Warhol TV." Michaels was said to have committed all the development funds for the show to be produced on NBC. The show was almost a reimagining of Interview magazine, featuring irreverent interviews as a means to capture culture for safekeeping. /Varhol’s films to be lethargic and beautifully xamination of humanity. Clearly, filmmaking diversified Warhol's appeal, ultimately leading to a wider audience. The young collector of teen magazines and publicity photographs became an important contributor to the medium. The defiant establishment of Interview magazine allowed him to access Hollywood in a way his films could not. It allowed /vho rind the ding him to stretch back into the commercial world and become what we refer to today as a "tastemaker" of culture. THE BUSINESS OF WARHOL By the 1970s, Warhol had achieved the same pop culture status as the celebrities he collected in his youth. tiful His celebrity attracted those in high society to commission their portrait done by the artist. A portrait by lew Warhol became a status symbol, and he relished every moment of it. vard to jn were The society elite wanted to be a Marilyn, a Jackie or a Liz, however they did not have the comparable ;a publicity photographs Warhol accessed for the iconic works. Warhol resolved that by taking his own publicity a loss photographs with a Polaroid camera, stating that the "blinding flash... leaves the sitter looking dazzled" (Schaffner, 82). The entire "look" however was not the result of the camera. Warhol was known to cake white makeup on his models and put bright lipstick on their lips in order to emphasize their features. The makeup is frequently apparent in the Polaroids but imperceptible in the final art piece. high iral The result was considered a "vanity portrait." Diana Ross had commissioned portraits of her daughters, Chudney and Rhonda, glamorized so that they could be seen as reflections of the star. Agents would arrange witch to have their athletes sit for Warhol—resulting in the iconic portraits of Wayne Gretzky and Muhammad Ali. relished the idea that the process was The athlete portraits were primarily done in the 80s when Warhol's aesthetic progressed beyond the Marilyn mask. The portraits now featured large color blocks stitched together by the image captured in Polaroid. sly, filmmaking was a relatively solitary off to his ingenue, Paul Morrissey. For Warhol treated the works rather indifferently. If a sitter had a color suggestion, Warhol was amenable—even if unbracing the dust, scratches, camera it was for the shallow reason of matching a couch. The only time Warhol would not glamorize his subject was someone else behind the camera, which ine made." I. In response, he created Interview >d stars. The magazine was primarily a uestioned who would read it, Warhol if he was close to them, such as in his memorial portrait of Julia Warhola after her passing. At the height of the vanity portraits, Warhol created his "Ladies and Gentlemen" (1975) series. Stylistically, the series was treated in the same vein as the portraits of socialites, but his models were transvestites. This series was intentionally political. Critics "praised [the work] as exposing the 'cruel racism in American Capitalist spirit, which left poor black and Hispanic boys no choice but to prostitute themselves as transvestites'” (Danto, 117). Like his earlier "Death and Dying" series contrasted his "Marilyn" and "Flowers" series, the :ate reading material not being produced "Ladies and Gentleman" series was compared to the Mick Jagger portraits done at the same time. The paired together interesting pop apparent dissonance between the "upper" and "lower" echelons can be thought of as a well-rounded artistic roy Donahue; author Truman Capote examination of American society. legend Mae West. Warhol took thousands upon thousands of Polaroid and gelatin silver print photos in order to craft the perfect iowitz, who became a columnist for the pose. When the artist suddenly died, the Andy Warhol Foundation was created as per his will. The Foundation ver created any of the iconic cover art. retained the photographs and other works left behind by the artist. In 2007, realizing that they would never id 1989. have the opportunity to show all of the photos, it established the Photographic Legacy Program. This program dispersed the 28,500 photographs to 180 learning institutions across the United States, focusing on 'then witnessed Warhol becoming a ier periodicals produced at the time and institutions that would not have the means to acquire such works otherwise. d remain involved with Interview until same spirit of its founder. 7 �THE DEATH AND THE POP KING Mortality was a theme he returned to in his work time and time again. Privately a devout Catholic, he was working on a painting of the Last Supper at the time of his death. The famous Last Supper image was overlaid with camouflage print, a pattern he also used with his self-portrait. The camouflage pattern references the historic tradition of landscape painting, since the pattern was produced by the military to disguise weapons and soldiers in the outdoors. The main symbolism to the work suggests hiding something in plain sight. Camouflage was also the subject of another series of 10 limited-edition screen prints in 1986 In 1968, an occasional figure at The Factory, Valerie Solanas, shot Warhol and an art critic outside the famous studio. While Warhol survived the near-fatal attempt, his physical and mental health never fully recovered He spent much of his life frail and weak. Warhol unexpectedly died in 1987 as a result of a seemingly routine operation. He was 58. Warhol had a lifetime of gall bladder problems and had been extremely ill for at least 15 years. His illness had never deterred his work ethic. It has been thought that his discipline to his work, compounded by daily amphetamine use and his fear of hospitals, was his downfall. Warhol famously said, "If you want to know all about Andy Warhol, just look at the surface: of my paintings and films and me, and there I am. There's nothing behind it" (Danto. 145). The clue to that statement is that Warhol IS encapsulated in every piece he created. His dreams, anxieties, sexuality, aspirations, thoughts - it's all there. If one considers his use of camouflage, one recognizes that it hides the subject in plain sight. As a shy, gay, poor son of an immigrant family, Warhol always aspired to achieve the American Dream. Many would consider him a success story, in which the driven artist would most likely agree, but one might question, with all his success, if he realized that he actually became an icon. Works Cited: Bernstein, Roberta. 'Warhol as printmaker." Andy Warhol prints, edited by Frayd; Schellman, Ronald Feldm; tan Fine Arts, Inc., New York, NY, 1985, pp. 14-26. la Feldman and Jorg Danto, Arthur C. Andy Warhol. New Haven, CT, Yale University Press, 2010. Schaffner, Ingrid. The essential Andy Warhol. New York, NY, Abrams/Wonderland Prr Staff, Andy Warhol Museum. Andy Warhol, 365 takes: the Andy Warhol Museum collection. New York, NY, ■ess, 1999. H.N. Abrams, 2004. 8 This portrait w; Interview Magazir with l.a. Eyewear, t and his unwitting Warho �ivatelv a devout (latholic, he ie lamoiir. I ant Supper image eitiail I he camoullage pattei iti'd edition screen ital health never on. He was 58. Warhol had eats. His illness had never < 111'ldnuin find Jorg Il'l I'l!)9. Jim Hun �ONI©1 IMDEWVTHBEEt Campbell's Soup I (Onion) Andy Warhol Screenprint on Paper Courtesy of The Maslow Collection at Marywood University The Campbell's Soup Cans. Warhol’s first exhibition, emerged from a discussion with interior designer Muriel Latow, who encouraged Warho paint something that "everyone sees every day, that everyone recogn «■ a can ot soup." The set was inadvertently displayed on a shelf, the ga ery attempt to keep it level, but Warhol fell in love with the supermarket loo When it premiered, a rival gallery displayed real soup cans in their window, advertising that they are five for a dollar. 10 ��IS CONI SC W'- : a# To celebrate the 5C Soup Cans, Campb Condensed Toma The c �������a �■ HUI Interview Magazines Andy Warhol, Publisher Cover Artwork: Richard Bernstein Jodie Foster, June 1980 Debra Winger, August 1980 Grace Jones, October 1984 Diane Lane, November 1984 Mel Gibson, June 1984 Diane Lane, February 1980 Patti Lupone, October 1980 Klinton Spilsbury, November 1980 Joan Rivers, December 1984 ean Young, September 1980 Courtesy of Private Collectior in «sy of Haverford College Nicknamed "The C Rive "«ne a fe„. 20 featured he,e indu ®"s k’»0 ™th Warhol's uisron of unedited. real -"elude interviews „i(h Me| w„e �7.'7/l,h celebrities, artists, ��®fcFiiIatripl,u3ni)nir(r People/home/entertn, a 1 Stars andlighh Reports aside, Carlin insists he hasn’t changet crust They put aside law for lyrics delphia Inquirer 982 :esy of Haverford College to depict her as a young Wadephia Inquirer, ' ethereal beauty ss, not the mother- Grace Kelly Red Andy Warhol Screenprint glazed on Porcelain Tile 1984, reprinted 2003 Courtesy of Haverford College This tile was printed as a fundraiser for the Institute for Contemporary Art, the university museum of Philadelphia. The piece was both a memorial for Kelly, born in Philadelphia, and a thank you to the ICA which housed a solo exhibition for Warhol in 1965. 23 �From't Pete Rose Andy Warhol Screenprint on Lenox Museum Board 1985 Courtesy of Trout Gallery, Dickinson College This work was part of a series commissioned by the Cincinnati Art Museum in 1985. Warhol did not pose Rose for a Polaroid as he did with many of the Vanity Portraits, but rather based the painting on an image from the instructional book “Pete Rose on Hitting: How to Hit Better than Anybody." �- Sitting Bull Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle From Warhol's 1986 "Cowboys and Indians" series. The Sitting Bull model was an archival photograph of the Lakota chief. Warhol's combination of Hollywood glamour and active resistance calls into question the unchallenged, and heavily-embellished fables of the American West. 25 �Ladies and Gentleman Andy Warhol Lithograph 1970 Courtesy ol Gallery of Art, University of Northern Iowa 26 "Tht sh ��Pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Ga(|ery Unjversjty Qf le' Presque Isle �Fiesta Pig Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle This quirky print was commissioned by the German magazine Die Walt. It has been compared to Warhol's still life "After the Party," featuring similar colorful glassware, only this time, a pig has come to investigate. 29 �s �'•f . ..I.,, ■ ��Absolut Andy Warhol Polaroid 1980 Courtesy of Trout Gallery. Dickinson College first collaboration it commissions, z and Lady Gaga. 33 �Wayne Gretzky Andy Warhol Polacolor ER 1983 C”L,,e!’0,R“dGa"“>'U-,!,l,0,Maine.p.esque|s|e theYpf" hSh ctenn9 a variety of league and^e^0010!'1 °'lerS' He quickly skyrocketed to fame in the ear by Sports Illustrated and records-ln 1982' he was named "Sportsman of ��£ $• Unidentified Boy [Striped Shirt] Andy Warhol Polacolor ER 1986 Courtesy of Reed Gallery, University of Maim le ’ Presque Isle Barbara Allen (1951 financier of Interview mac She appeared on the c< socializing with Allen, f was proudly provacati' Warhol's help in findin 36 �Barbara Allen Andy Warhol Polacolor 2 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Barbara Allen (1955-Present) was the former wife of Joe Allen, paper magnate and co­ financier of Interview magazine. She was a close friend of Warhol and, therefore, a 70s IT girl. She appeared on the cover of Interview magazine in 1977. Warhol's diary mentions frequent socializing with Allen, from grabbing a drink and a movie to attending events together. She was proudly provacative, frequently dishing about her latest carnal conquests and seeking Warhol's help in finding the next. Her paramours include musician Mick Jagger, filmmaker Peter Beard, and Greek billionaire Philip Nirachos, among others. �Lyn Reason (19 .■Lyn Reasons'-' Charles was deceasedS Wh°'*roteportr£ Singer-songwriter Carly Simon (1945-present) is perhaps best known for het hit Vou re so Vain." Like Barbara Allen, Simon also had an affair with musician Mick tagger, who sings backup vocals on the track. According to Warhol, Simon was the only girlfriend that Mick's wife Bianca was jealous of because Carly Simon is intellegent... and looks like Mick and Bianca." ho Simonws feared in an ABC television special where �Lyn Revson (2 poses) Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle it known for h affair with According to Lyn Revson (1931-2011) was a style icon during the 1960s and 1970s and author of "Lyn Revson's World of Style," the renowned fashion manual. Her second husband Charles was the president of the Revlon cosmetics company. Charles had been deceased six years when this Polaroid and the resulting portrait were completed. Warhol wrote of the sitting in his diaries "...Lynn Revson called and said she loved the portrait but that her cheekbones looked too fat. I knew she'd be trouble." was jealous Bianca." special where iger. 39 �A"dy Warhol Polacolor 2 1979 Courts;iSy °f iS Ga"ery’ Univers*y Maine - Presque |s|e Constantine Karpidas (19-n Pauline, an avid contemporary coll 3 Sllippin9 ma9nate from Greece. He and his wife who in turn introduced them to tA/6^'Were ^riends Wlth another collector, Alexander lolas, °°"*r Bills until 2009.'were the owners of Warhol's 200 6n,tWaSaucti°ned off for $43.8 billion. �nd his wife Alexander lolas, Warhol's 200 �Gei Ger< the^ portic work k �artist. 3 in fatilda ove to ��Leah and Tora Bonnier Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle 1 career < bands, They liary, otic shot le. �■'■I'.ljy | ‘ v-t,.' V: • • ■ 1 J o| v . '*'lf >1 ’ J 11 <1 \\ > "IO 1,1 Hl.| 1... , ........ ���nthe mesake illege, lans F "new" th the Jle of �I ■ P^olor Type 1O8 Courtesy of Reed Ga||erv ... ■«"«tyo(uainc.prKquelsle millior piece about so ��I Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed Gallery, University of Maine - Presque Isle Frieder Burda 11936-present) is a German art collector. In 2004, he opened the Museum Frieder Burda in Baden-Baden. While the museum's major focus is on German painters, particularly post-war artists, it does feature two Warhol prints, those made of Frieder and his mother, Aenne. Lorna Luft An actress Judy Garland singing''0 Truman makeup on regular t �Lorna Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Gallery, Dickinson College Lorna Luft (1952-present) is the daughter of Judy Garland and half-sister to Liza Minelli. An actress in her own right, Lorna got her start singing on her mother's CBS series "The Judy Garland Show." Since, she has graced television, film and the stage with her beautiful singing voice. She had been a true socialite of the era, photographed alongside Warhol, -,prrv Han at studio 54, Of the sitting, Warhol wrote: "She had no ‘'a like Marilyn. If she just left her �Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Gallery, Dickinson College Martha Graham (1894-1991) is a legendary choreographer considered "the Mother of Modern Dance." Warhol met Graham through esteemed designer Halston, who created costumes for her dancers. Warhol created a series based on the movement in her ballets. "When I first met Andy, he confided to me that he was bom in Pittsburgh as I was, and that when he first saw me dance 'Appalachian Spring' it touched him deeply, Graham said. "He touched me deeply as well. He was a gifted, strange maverick who crossed my life with great generosity. His last act was the gift of three portraits he donated to my company to help my company meet its financial needs." �Polacolor Type 108 1974 ther who iment in sburgh I him f three :eds." ��with popularizing the others. After Sprouse's , he traded two paintings rhol's inner circle, some inly gay and painfully shy, earing a suit designed setion decorated with the Jis Vuitton, Marc Jacobs, �Flowers-set0flo Andy Warhol 1S9C70enPrintOnpaper CourtasyofHaverfordCo||egi ie lcharnp's Re; ’te '8rea> used a Photo,■SraZX.iX'cw) 'h 10t09raphy^. agazine. After the orio' featured in the ::l sought to f ‘J expand through collah Editions Prrocessandphotr. 'Created neari ■ near,ly perfe, ■actreprodUcu/ henne9°t'ationsfe|| „ , lndayBM, CoulddotOssto Tri9'Bec^s wo dUCti°"- Who eve t °VSr hiS PrPcess, .^Print' Warhol v i-T S'9n them, "Th heca^ across a Partlcularlyrare. 9,an Phots are Con ^^-Andy C°nSldered legitimate and **J55 58 �that "great ed in the Y Editions h Belgian gotiations fell 'nous Warhol his process, across a e. Andy timate and �GelaSd PreSS Phot°Xh//ea''e L°Ve Da"as- with G°v Connally 196^S"verprintonPaper C°Urtesy of Haverford Co||ege Assas«'n a' J°hnSOn being Si S ?res'dent of the United States, following the 1963tlnSilVerPrintonpaper C0IJrteSyOfHaverfOrd C0||ege SSXand196^rhOiw lar9e SCale PrintS in a series realized that p °'Saster Se"es '?a9es of mortality in 6 Crashes’ electric chairs, Jackie Kennedy t0 be 'n ZnVe7thio9 I was ^arh01 ^mined J T C°lors-ln a ^3 interview about Kennedy and bo^0 h'Slate friend^T haVe been DeTth"includin9 the Mari|yn set rn°Urn over ' reddy Herko. |n °Ss °f a loved nno 15 ater Flowers series was thought sence’ Warhol empathizes with Jackie �ov Connally fthe United States, following the arge scale prints in a series hes, electric chairs, Jackie Kennedy colors. In a 1963 interview about vorks, including the Marilyn set. I 'is later Flowers series was thought Marbol empathizes with Jackie �* The Emancipator and His Flock James K. W. Atherton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College In Solemn Procession Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College �I A 1 A U‘ ■ V V i- JI (' n I Lee Harvey Oswald Grimaces as he in Glint by lack lhih\ Robert Jackson Gelatin Silverprint on I’apoi Gourlo-jv ol I lavoiloiil (ailloiio �Plnk Camouflage A”dy Warhol ^nprint on Museum Board famo^irksm|fCh as an artisSe°Butyh2rnt t0 C°nCea1, Warho1 was making a political andfilmsand me,and7hnt‘° ^nowal* about^And'vW3'^ S'^kt WaS 1________ ............... undoubtedly one of Warhol's pnntthatis Part Of a set®fr®‘am-There's nothing behind^ — '°°k SUrfaCe °f my paint'ngS esomeof hisfina| works The Camouflage pieces, including this --------------------------- �■ 4 V 1 5 making a political jbtedly one of Warhol's e surface of my paintings flage pieces, including this Andy Warhol's Paintbrush Henry Leutwyler C-Print 2016 Courtesy of Social Fabric Collective © Henry Leutwyler A specialist in celebrity portraiture, Henry Leutwyler's photography series Document captures the heart of the celebrity through their possessions. Here, Leutwyler demonstrates Warhol's quirky contradictions through his paintbrush. The handle is covered in neon splotches of paint, while the bristles are almost pristine. O’ �exhibited N CHECKLIST phi Andy Warhol Greg Gorman Archival Pigment Print SeSyaS0d.!r««“lBClM Marilyn Monroe Eugene Korman Gelatin Silver Print on Paper 1953 Courtesy of Haverford College Henry Leutwyler C-Print 2016 „ „ ,■ Courtesy of Social Fabric Collective Campbell's Soup I (Onion) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University Campbell's Soup I (Black Bean) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University Campbell's Soup I (Pepper Pot) Andy Warhol Screenprint on Paper 1968 Courtesy of The Maslow Collection at Marywood University 50th Anniversary Campbell's Tomato Soup Cans (Limited Edition) Released for Target stores 2012 Courtesy of Haverford College $1 - Set of 6 Andy Warhol Screenprint on Paper 1982 Screen print on Paper 1970 Curtesy of HaverfordCo||ege Marilyn Monroe ^."‘PPeHalsman Gelatin Si|ver p. 1954 rir|tonPa|iper Courtesy of Hai lverf°rd College An*Sprint WaT°on Museum Bo Weegee Gelatin Silver Print on Paper 1986 of Reed Gallery, U Courtesy - Presque Isle of Maine c. 1965 Courtesy of Haverford College LadiesandGentleman Andy Warhol Marilyn Monroe Tom Kelley Chromolithograph Print on Paper 1949 Courtesy of Haverford College The Kiss (Movie Still) Andy Warhol Gelatin Silver Print on Paper 1963 Courtesy of The Maslow Collection at Marywood University Interview Magazines Andy Warhol, Publisher Cover Artwork: Richard Bernstein Jodie Foster, June 1980 Debra Winger, August 1980 Grace Jones, October 1984 Diane Lane, November 1984 Mel Gibson, June 1984 Diane Lane, February 1980 Patti Lupone, October 1980 Klinton Spilsbury, November 1980 Joan Rivers, December 1984 Sean Young, September 1980 Courtesy of Private Collection Sylvester Stallone, September 1985 Courtesy of Haverford College C07teM0fTheMaS'OWColl^on at Marywood University ■ford Colle of Haver1 couttesy Scree- . Marilyn [sic] Andy Warhol's Paintbrush A/(/^2 Lithograph Curtesy of Gallery of Art, U Ladies and Gentleman Andy Warhol Screenprint on Arches Pape 1975 Courtesy of Trout Gallery, Di Pine Barrens Tree Frog (Endt Andy Warhol Screenprint on Museum Bo; 1983 Fiesta Pig Andy Warhol Screenprint on Museum Bot 1986 Courtesy of Reed Gallery, Ur of Maine - Presque Isle pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Gallery, Un of Maine - Presque Isle Brill° Soap Pads Pete Rose Andy Warhol Screenprint on Lenox Museum Board 1985 Courtesy of Trout Gallery, Dickinson College Andy Warhol 1970enPrint °n Paper Courtesy of Haverford Colleg Abso/ut Grace Kelly Red Andy Warhol Screenprint glazed on Porcelain Tile 1984, reprinted 2003 Courtesy of Haverford College J^dy Warhol nJa,tln Silverprint on Paper not dated CoLJ|-tesy of Trout Gallery, Die Abso/ut Grace Kelly Unknown Photographer Gelatin Silverprint on Paper c. 1950 Warhol p°laroid 1980 tesY °1 Trout Gallery, Die �Philadelphia Inquirer 4/1/1982 Courtesy of Haverford College on Paper ord College Sitting Bull Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle 3n Paper rd College ■int on Paper d College i Paper ow Collection ersity ler j Bernstein I 1980 984 1984 980 980 uber 1980 I984 •1980 iction imber 1985 allege seum Board Ladies and Gentleman Andy Warhol Lithograph 1970 Courtesy of Gallery of Art, University of Northern Iowa Ladies and Gentleman Andy Warhol Screenprint on Arches Paper 1975 Courtesy of Trout Gallery, Dickinson College Pine Barrens Tree Frog (Endangered Species Series) Andy Warhol Screenprint on Museum Board 1983 Fiesta Pig Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Pig Andy Warhol Polacolor Type 108 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Brillo Soap Pads Andy Warhol Screenprint on Paper 1970 Courtesy of Haverford College Dickinson College celain Tile Absolut Andy Warhol Gelatin Silverprint on Paper not dated Courtesy of Trout Gallery, Dickinson College ege r Absolut Andy Warhol Polaroid 1980 Courtesy of Trout Gallery, Dickinson College Screen Tests Andy Warhol 16mm film transferred to digital files Courtesy of The Andy Warhol Foundation for the Visual Arts, Inc. Ann Buchanan, 1964 Paul America, 1965 Edie Sedgewick, 1965 Billy Name, 1964 Susan Bottomly, 1966 Dennis Hopper, 1964 Mary Woronov, 1966 Freddy Herko, 1964 Nico, 1966 Richard Rheem, 1966 Ingrid Superstar, 1966 Lou Reed (Coke), 1966 Jane Holzer (toothbrush), 1964 Flowers - set of 10 [Sunday B Morning prints] Andy Warhol Screen print on paper 1970 Courtesy of Haverford College The Emancipator and His Flock James K. W. Atherton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Vice President Lyndon B. Johnson being Sworn in as President of the United States, following the Assassination of President John Kennedy Cecil Stoughton Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Jackie Kennedy at John F. Kennedy's Funeral Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College In Solemn Procession Unknown Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Lee Harvey Oswald Grimaces as he is Shot by Jack Ruby Robert Jackson Gelatin Silverprint on Paper 1963 Courtesy of Haverford College �John F. Kennedy Jr., who turned three today, salutes as the casket of his father, the President John F. Kennedy passes. Dan Farrell Gelatin Silverprint on Paper 1963 Courtesy of Haverford College The President and Mrs. Kennedy leave Love Field Dallas with Gov Connally Associated Press Photograph Gelatin Silverprint on Paper 1963 Courtesy of Haverford College Pink Camouflage Andy Warhol Screenprint on Museum Board 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Wayne Gretzky Andy Warhol Polacolor ER 1983 Courtesy of Reed Gallery, University of Maine - Presque Isle Japanese Toy Andy Warhol Polacolor ER 1983 Courtesy of Reed Gallery, University of Maine - Presque Isle Unidentified Boy [Striped Shirt] Andy Warhol Polacolor ER 1986 Courtesy of Reed Gallery, University of Maine - Presque Isle Barbara Allen Andy Warhol Polacolor 2 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Carly Simon Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Lyn Revson (2 poses) Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle Constantine Karpidas Andy Warhol Polacolor 2 1979 ____Of Reed Gallery, University Courtesy of Maine - Presque Isle Jeanine Basquiat Andy Warhol Polacolor ER 1985 Courtesy, of Reed Gallery, University of Maine - Presque Isle Matilda Basquiat Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine-Presque Isle Gerard Basquiat Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle Vitas Gerulaitus Andy Warhol Polacolor Type 108 c. 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle Leah and Tora Bonnier Andy Warhol Polacolor Type 108 1980 Courtesy of Reed Gallery, University of Maine - Presque Isle Shiandy Fenton (2 poses) Andy Warhol Polacolor Type 108 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle Rhonda Ross Andy Warhol Polacolor 2 1981 Courtesy of Reed Gallery, University of Maine - Presque Isle Shirley Fiterman Andy Warhol Polacolor Type 108 1976 Courtesy of Reed Gallery, University of Maine - Presque Isle Natalie Sparber Andy Warhol Polacolor ER 1984 Courtesy of Reed ( Unidentified Woma Andy Warhol Polacolor Type 108 1977 Courtesy of Reed G Philip Niarchos 8/1! Andy Warhol Polacolor Type 108 1972 Courtesy of Reed G Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed G< Lorna Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Ge Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Ga, Monique (for Ladies a Andy Warhol Polacolor Type 108 1974 Courtesy of Trout Gal Steven Sprouse Andy Warhol Polacolor ER 1984 Courtesy of Reed Galli �as allery. University Natalie Sparber Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle iue Isle Unidentified Woman #14 (3 poses) Andy Warhol PolacolorType 108 1977 Courtesy of Reed Gallery, University of Maine - Presque Isle lery, University e Isle >ry, University Isle y, University sle University e Philip Niarchos 8/1972 Andy Warhol PolacolorType 108 1972 Courtesy of Reed Gallery, University of Maine - Presque Isle Frieder Burda Andy Warhol Polacolor 2 1982 Courtesy of Reed Gallery, University of Maine - Presque Isle Loma Luft Andy Warhol Polacolor ER 1982 Courtesy of Trout Gallery, Dickinson College Martha Graham Andy Warhol Polacolor ER 1979 Courtesy of Trout Gallery, Dickinson College Monique (for Ladies and Gentlemen) Andy Warhol Polacolor Type 108 Jniversity 1974 Courtesy of Trout Gallery, Dickinson College Steven Sprouse Andy Warhol Polacolor ER 1984 Courtesy of Reed Gallery, University of Maine - Presque Isle liversity versity �IsORDONI ART GALLERY ■ WILKES UNIVERSITY ADVISORY COMMISSION Virginia Davis, Chairperson Stanley Grand, Ph.D. Patricia Lacy Patrick Leahy, Ed.D. Kenneth Marquis Allison Maslow William Miller Paul Riggs, Ph.D. Eric Ruggiero Anne Skleder, Ph.D. Heather Sincavage Jamie Smith Andrew J. Sordoni, III Joel Zitofsky STAFF Heather Sincavage, Director Karly Stasko, Research Assistant GALLERY ATTENDANTS Timothy Brown Olivia Caraballo Margaret Galatioto Paige Gallagher Jessica Morandi Sarah Matarella Julie Nong Kayla Wedlock Nash Wenner �r IMSOM OLLEi^ RJWIWl&'SlHFYr' '.' v.- .; ■ii^www./fiii^, sfdiu.i � 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 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 2017 October 06 - 20th 15 Minutes; From Image to Icon Subject The topic of the resource Andy Warhol Description An account of the resource Andy Warhol coined the phrase "Everyone should be famous for 15 minutes." This exhibition examines Warhol's interest with pop culture figures, the images they are synonymous with and the transformative quality of Warhol's process, thus creating pop culture. While some of his most iconic images draw from pop culture itself, the artist can be credited with elevating the average objects, such as the Campbell’s Soup cans, to pop status. Creator An entity primarily responsible for making the resource Andy Warhol (artist); Heather Sincavage (Curator) Source A related resource from which the described resource is derived SAG Publisher An entity responsible for making the resource available SAG Date A point or period of time associated with an event in the lifecycle of the resource 2017 October 6-20 Rights Information about rights held in and over the resource Wilkes University retains the rights to this exhibition program. 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/464b291c1c339bda295f3cc7f40c0a64.pdf d538383e52a00826e33831b81c7dad73 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 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 Diary: A Journal of Black Out Poetry Inspired by the Andy Warhol Diaries Subject The topic of the resource Andy Warhol Description An account of the resource Featured in conjunction with the Sordoni Art Gallery's Andy Warhol exhibition, "15 Minutes: From Image to Icon" Creator An entity primarily responsible for making the resource Poets featured: Taylor Balasavage, English '18 Ashley Bringmann, English '18 Alexandra Gamble, Psychology '18 Elyse Guziewicz, English '18 Angel Olmstead, Psychology '18 Kelci Piavis, English '18 Brianna Schunk, English/Dance '20 Natalie Stephens, Elementary Education '20 Instructor: Dr. Mischelle Anthony, English Editor: Karley Stasko, MFA Creative Writing, '18 Source A related resource from which the described resource is derived Sordoni Art Gallery 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/3d500ea6fbaf4d58d7c25c589cef1a2b.pdf a00266f8afe08c2e3134d74f385b208d PDF Text Text %? i'+. *trs 4*:' ffi �KEYSTONE COLLEGE MOBILE GLASS STUDIO COM MUN ITY DEMONSTRATION FRIDAY SEPTEMBER '15, 2017,from 5 - 7PM During the Third Friday Art Walk ANDY WARHOL 15 MINUTES: FROM IMAGE TO ICON OCTOBER 6 - DECEMBER20,2017 OPEN/NG RECEPTION & R/BBON CUTTING CEREMONY OCTOBER 6 Ribbon Cutting: 4:30pm Gallery Reception: 5 - 7pm Pennsylvania artist, Andy Warhol, changed how we view art. lnspired by pop culture, Warhol's imagery defined the new age of fine art and influenced society, to in turn, be a creator of pop culture. This exhibition examines the artist's inspiration, process, and wide influence to both fine and commercial a rt. JO'N U5 F O R T H E WARH O L W ED N ES DAY LECTU RE SERIES: October 11: Curator'sTour with Director Heather Sincavage (in gallery) October 25: 'Andy Warhol is a V: Bachelorhood & the Celibate Factory" by Dr. Benjamin Kahan, Louisiana State University November 15: 'Andy and the Rusyns" by Dr. Elaine Rusinko, University of Maryland, Baltimore County (co-sponsore d by the Eastern PA Chapter of the Carpatho-Rusyn Society) All Lectures are at 4:30pm in KC Room 135. Please check website for updates' PEPPER POI *.ffi.1 SELECTIONS FROM THE SORDONI COLLECTION OF AMERICAN ILLUSTRATION & COMIC ART ANGELA FRALEIGH BETWEEN TONGUE AND TEETH JANUARY 16 - MARCN 2,2018 APRILS-MAY20,2O18 Angela Fraleigh reimagines the woman's role as it has been depicted in art history, literature, and media. Her paintings revisit centuries-old, male dominated sources and provide women with agency. Fraleigh is the Chair of Studio Art at Moravian College. ., . ':" GUERRILLA GIRLS ON TOUR POSTER MAKING WORKSHOP APRIL 9,2018, from 2 - 4:30PM Registration Required OffereC rn con1,.,nciio Cen der,ilu cre-. Cc lt'rittt r, f e re n :-e the Vt/cnte n & This landmark exhibition features more than 100 years of the art of illustration. Often featured in advertising, these works stand alone as works of art. Artists featured are: NC Wyeth, Maxfield Parrish, & Chris Payne. �SORDONI ART GALLERY AT WILKES UNIVERSITY WI L KES 84WESTSOUTH STREET UNIVERSITY WILKES - BARRE, PA18766 � 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 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 2018- 2019 Exhibition Calendar Creator An entity primarily responsible for making the resource Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 2018-2019 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Calendar https://omeka.wilkes.edu/omeka/files/original/61f3aabee6dd1334dbd0cfac90dac550.pdf 13215a796619281f6efb6d0c1c2871a8 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 2018 January 16 Angela Fraleigh: The Bones of Us Hunger For Nothing Creator An entity primarily responsible for making the resource Angela Fraleigh Eleanor Heartney Date A point or period of time associated with an event in the lifecycle of the resource 2018 January 16 - March 2 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource In this exhibition, Angela Fraleigh reimagines the role of women as they have been depicted in art history, literature, and media. She reaches through the depths of centuries-old and often patriarchal tradition to breathe new agency into her female subjects. The grade scale works feature luxurious depth that makes them sometimes Edenic, sometimes mystical, but always breathtaking. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Angela Fraleigh painter painting paintings rococo baroque figurative art figurative painting Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/a49641a99662d5e4d2f5297373e8c532.pdf 57b0c7c47e994ec485c9f7b92437787b 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 2018 April 7 American Illustration and Comic Art Creator An entity primarily responsible for making the resource Charles Addons Alfred Andriola Rolf Armstrong Paul Bacon Walter M. Baumholfer Rudolph Belarski Fredrick Blakeslee Enoch Bolles Aurthur William Brown Buck Brown John Caldwell Milton Caniff Al Capp Pruett Carter Howard Chandler Christey Jack Cole Dean Cornwell Bradshaw Crandell Douglas Crockwell Paul Davis Phil Davis Chon Day Billy DeBeck Roy Delgado Joe De Mers Ralph DeSoto Walt Disney Studios Maynard Dixon Harvey Dunn Robert Eckstein Heinz Edelmann Anton Otto Fischer Ham Fisher Harrison Fisher Harold R. Foster Frank Gottfredon Ray Gotto Chester Gould Walter Granville-Smith Harold Gray George Gross Bob Haggart V.T. Hamlin Fred Harman John Held Jr. George Herriman Al Hirschfeld Brune Hogarth Walter Beach Humphrey E.M. Jackson John Jonik Walt Kelly Stanley I. Grand Date A point or period of time associated with an event in the lifecycle of the resource 2018 April 7 - May 20 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource From Disney to Playboy and billions of Sunday morning papers in between, the art of illustration is tightly ingrained in the American zeitgeist. Narrative illustration is unique in its ability to be harrowing, hilarious, or politically motivating, at times simultaneously. Though often used as advertisement, these works also stand alone as art in their own right. Type The nature or genre of the resource N/A Subject The topic of the resource comics comic art American art American illustration Source A related resource from which the described resource is derived Andrew Sordoni https://omeka.wilkes.edu/omeka/files/original/25869d2992e4be30feba3b7acdd7a39f.pdf d269aca490e2ccdf0a227b945b93f683 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 2018 June 2 Solid Gone Creator An entity primarily responsible for making the resource George Beasly Erin Cunningham Kevin Dartt RebeccaFlis Brian Glaze CynthiaHandel Paige Henry PaulHighman Stacey Halloway D'jeanJawrunner Andrea Jespersen KipJones Rian Kerrane MacLaPoint Deborah Lagrasse CarolPenelope Lambert David Lodell Samantha Leopold-Sullivan Kelly Laneking Alan Millan and Nicole Mary Milligan Alison Ouellette-Kirby Christy nOuertake Kenneth P.Payne Christen Parker Ed Parrish Jr. Laren Tang Durant Thompson Roberto Visani Alair Wells and Joshua Cramer Kristen Todella Williams Bill Wolff Ben Woodesmon Ben Woodeson Date A point or period of time associated with an event in the lifecycle of the resource 2018 June 2 - July 2 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Solid Gone is an exhibition that tests and showcases the aesthetic abilities of cast iron as an art form. Type The nature or genre of the resource Exhibition program Subject The topic of the resource sculpture sculptors sculptures bronze iron aluminum wood glass clay assemblage Source A related resource from which the described resource is derived ICCCIA Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/fb0f96ace22b094994f5581b2481da51.pdf 32caf22bda58f02719b17493725d010c 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 2018 October 23 Loud Silence: Expression of Activism Creator An entity primarily responsible for making the resource Sobia Ahmad Elizabeth Catlett Judy Chicago Lesley Dill Alex Donis Dyke Action Machine! Diane Edison Rachel Farmer Nicholas Galanin Cannupa Hanska Luger Julie Hefferman Jenny Holzer Kiana Honarmand Julie Jacuette Rashid Johnson DonaLief Hung Liu Juan Logan Liza Lou Ana Mendiata Harvey Milk Milland Shellabarger Theodre Newman Jessie Oonark Martha Posner Jessica Posner Sara Rahbar Faith Ringgold Alison Saar Betey Saar Ellen Shumsky Lornna Simpson Kiki Smith Nancy Spero Annie Sprinkler Zoe Straves Linda Stein Lien Truong Kara Walker Helen Zughaib Heather Sincavage Heather Sincavage Date A point or period of time associated with an event in the lifecycle of the resource 2018 October 23 - December 16 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Those who have been denied a voice are forced to scream the loudest. Loud Silence: Expressions of Activism calls on the viewer to examine their own blind-spots and understand perspectives they may have never considered, through art. The works featured demonstrate the unique perils of living while a woman, while of color, while indigenous, while LGBTQIA+, and while an immigrant. For centuries, artists have used the image of the body as an exploration of their humanity and that of their subjects. This exhibition explores artists who use the human figure or body as a means for activism. Type The nature or genre of the resource Exhibition program Subject The topic of the resource photography, photograph, photographer, paint, painter, painting, sculpture, sculptor, Sobia Ahmad, Elizabeth Catlett, Judy Chicago, Lesley Dill, Alex Donis, Dyke Action Machine!, Diane Edison, Rachel Farmer, Nicholas Galanin, Cannupa Hanska Luger, Julie Hefferman, Jenny Holzer, Kiana Honarmand, Julie Jacuette, Rashid Johnson Dona Lief, Hung Liu, Juan Logan, Liza Lou, Ana Mendiata, Harvey Milk, Mill and Shellabarger, Theodre Newman, Jessie Oonark, Martha Posner, Jessica Posner, Sara Rahbar, Faith Ringgold, Alison Saar, Betey Saar, Ellen Shumsky, Lornna Simpson, Kiki Smith, Nancy Spero, Annie Sprinkler, Zoe Straves, Linda Stein, Lien Truong, Kara Walker, Helen Zughaib https://omeka.wilkes.edu/omeka/files/original/b444bf5ab42b9d8359f217d1e82ec7c5.pdf 242f988cf7ddc1f9162b5b08ac1853c9 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 2019 January 15 Holly Trostle Brigham: Sacred Sisters Creator An entity primarily responsible for making the resource Holly Trostle Brigham Leo Mazow Date A point or period of time associated with an event in the lifecycle of the resource 2019 January 15 - March 1 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Holly Trostle Brigham's beguiling series of watercolors of women artists from the Middle Ages through the Rennaissance, Baroque, and Modern eras calls to mind the eighteenth-century ideal of the speaking likeness. Boldly illu inated and deftly modeled, Brigham's subjects are frozen in time, as if captured in the moment of suspended action. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Holly Trostle Brigham portraiture painting painter paintimngs Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/67ee84bc8695b929c9c8f4133c760d61.pdf a990f21898a6729cefc062a070fd7554 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 2019 June 11 LIT Creator An entity primarily responsible for making the resource Lyn Godly Date A point or period of time associated with an event in the lifecycle of the resource 2019 June 11 - August 4 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Artist Lyn Godley explores the relationship between art and technology in her exhibition, Lit. Inspired by the interaction of light with differing materials, Godley combines LEDs and fiber optics with photography to study the therapeutic applications of light, as well as both the emotional and physical impact light plays on viewers and consumers. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Lyn Godley photography light LEDs photographer https://omeka.wilkes.edu/omeka/files/original/98ab4ca01043f78d8fbffb1c34055e73.pdf e2fa6ec326656e352d62a79dfb382841 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 2019 August 27 Rust Belt Biennial Creator An entity primarily responsible for making the resource Tom Kirsch Lynn Whitney Deborah Orloff Tyler Calpin Lesly Maia David Schalliol Ted Partin Julia Dunham David Johnson Daniel Kraus Joel Brenden Sean Wysong Dana Marks JoelAnderson Samantha Vandeman Dan Farnum Jaime Alvarez Peter Ydeen Paolo Morales Ira Wagner Cody Schlabaugh Neal Johnson Glenna Jennings Charles Ceronne Gina Costa Maxwell Harvey-Sampson Carol Busada Maureen Drennan Mathew McCarthy Gillian Laub Anna Ogier-Bloomer Mark Ludak Frank E. Schoonover Anderson Scott Eric Kunsman John Lusis Parker Reinecker Peter Essick Emily Najera David Bernstein David Obermeyer John Wyatt Raymond Thompson Jr. Tom Lamb Hans Gilndlesberger Kylie West John Sanderson Andrew Moore Date A point or period of time associated with an event in the lifecycle of the resource 2019 August 27 - October 6 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The Rust Belt Biennial is a celebration of photography with work realized throughout the Rust Belt Region in all its manifestations. The exhibition covers the land, its people, and the histories ingrained in the soil across the Rust Belt Region. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Rust Belt Biennial Rust Belt biennial photography coal mining industry local history history personal histories coal steel Source A related resource from which the described resource is derived Rust Belt Biennial https://omeka.wilkes.edu/omeka/files/original/7d353f16143afc50ccfa9f36f2dd7584.pdf 6a634b25683d82f48d39e839ce44c27b 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 2019 October 22 Two Presidents, One Photographer Creator An entity primarily responsible for making the resource Pete Souza Date A point or period of time associated with an event in the lifecycle of the resource 2019 October 22 - December 8 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The iconic photographs of Pete Souza are well known from his tenure as Chief Official White House Photographer for President Obama. What most people don?t remember is that Souza, who was trained as a photojournalist, was also an Official White House Photographer for President Reagan. Souza was in his late 20?s, at the beginning of his career, when he joined the Reagan White House in 1983. More than 30 years later, Souza returned to the White House to join the Obama administration. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Pete Souza photography photographer photographs White House Barrack Obama Obama Administration Source A related resource from which the described resource is derived art2art https://omeka.wilkes.edu/omeka/files/original/b20946de9355f1cc54d6bdab3161b396.pdf 224c1c81400a1bfbdd95df0110afb944 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 2020 January 28 Material Pulses Creator An entity primarily responsible for making the resource Denise L. Roberts Claire Benn Jayne Willoughby Mary Lou Alexander Christine Mauersberger Barb Wills Elizabeth Brandt Nancy Crow Date A point or period of time associated with an event in the lifecycle of the resource 2020 January 28 - March 15 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The exhibition, focused on the art of quilt making, presents 17 works by seven fiber artists representing the United States, Canada and the United Kingdom. Curated by internationally renowned artist and teacher Nancy Crow, Material Pulses contributes to the dialogue of contemporary textile arts. Type The nature or genre of the resource Exhibition program Subject The topic of the resource quilt-making fiber artist fiber artists Source A related resource from which the described resource is derived Exhibitions USA Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/2e892c1f6920a5ce3c6cd3570bbef327.pdf 9993f23aca05b0836e51da87b45d5495 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 2020 August 25 Drawn Abstraction Creator An entity primarily responsible for making the resource contributed text from lender Date A point or period of time associated with an event in the lifecycle of the resource 2020 August 25 - November 11 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource The mid- to late-20th century in America was a time of boundary testing and social critique. Artists, too, challenged accepted techniques and subject matter while critically examining the role of art in society. The works in the exhibition capture the vibrancy of the emerging abstract movements during this time, including abstract expressionism, minimalism, op art, and pop art. Type The nature or genre of the resource Exhibition program Subject The topic of the resource drawing drawings abstraction Source A related resource from which the described resource is derived Kalamazoo Institute of Arts Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/b16d5b638976e667d026ad895bf939cf.pdf 85b18e008ce49a7c73c5141587ed4c9f 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 2021 February 9 Brutal Beauty Creator An entity primarily responsible for making the resource Martha Posner Heather Sincavage Heather Sincavage Date A point or period of time associated with an event in the lifecycle of the resource 2021 February 9 - April 11 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Martha Posner calls upon the themes of mythology and folklore to represent the duality of the darekst and most triumphant moments of women. She represents women with strength and determination while facing the wilds of the unknown Type The nature or genre of the resource Exhibition program Subject The topic of the resource Martha Posner Brutal Beauty sculpture strength women mythology folklore Me Too Amy Arbus mixed media transformation Rights Information about rights held in and over the resource SAG