1 15 5 https://omeka.wilkes.edu/omeka/files/original/60b25e3455b2fabc1f9c8574ba8e8a84.pdf 463080b0c41ccffab7723147e955d766 PDF Text Text Johnnie Win*nm ffi*ss �Cover: Sand Bend Drow (SBD-01), 2OO4 ocrylic, mixed medio on linen 60 x 57 in, Collection of Stephen Holler, New York, NY (detoil) �Johnnie Winonc Ros Jonuory llMorch 5 2006 Johnnie Winono Ros SordoniArt Gollery Wiikes Universiiy Witkes-Borre, Pennsylvonic �uorl Dnoniw einnrloL �Johnnie Winono Ross Jonuory lS-Morch 5, 2006 SordoniArt Gollery Wilkes University Wil kes-Borre, Pennsylvonio �O 2006 Sordoni Art Gollery, Wilkes University 150 South River Street .l8766 Wilkes-Borre, Po Telephone 57 O- 4OB- 4325 Fox 570-408-7733 sordoni.wilkes.edu 2000 copies were printed by Ook Lone Printing Cotologue design: John Beck, Scronton .l950s for the mogozine of thot nome by Herb Lubolin Typefoce: Avont Gorde, designed in the ISBN: 0-942945-27-l �Acknowledgments ince first encountering the work of Johnnie Winono Ross neorly two yeors ogo, I hove hod the greot good fortune of working with people who hove given generously of their time, expertise, ond enthusiosm, Foremost omong them, of course, is the ortist himself who hos liberolly shored both his tolent ond his insight ond hos mode working on this project truly o pleosure ond o privilege, A greot debt of thonks olso goes to the stoff of the Stephen Holler Gollery in New York, porticulorly Stephen Holler ond Doniel Fenis, for their tireless support, potience, ond good humor. lt wos, in foct, on exhibition of Ross's work of the Stephen Holler Gollery in 2OO4 thot prompted my initiol interest in following the work of this foscinoting ortist. Ronold R, Bernier, Ph.D. Director ��A Conversotion with Johnnie Winono Ross The conversotion took ploce between the outhor (nna) ond the ortist (iwB) from October 5 to October 19,2005. More thon one reviewer hos mode the ossociotion between your pointing ond thot of Minimolist ortist Agnes Mortin ond the logic of the grid, But there olso oppeor to be less remorked-on ossociotions thot could be drown between your work ond, for instonce, the color drips ond woshes of Morris Louis ond Ad Reinhordt, ond the primory structures ond stocked verticols ond horizontols of Donold Judd. Could you comment on the significonce, if ony, of the work of these ortists to your nns: own pointing? lwn: 'The Agnes thing.' lt is one of those things thot I don't fully understond, ond I hove given it o greot deol of thought, My work hos hung in the some room with Agnes's work, ond they ore quite different, she demoteriolizes the pointing os onobject, ldoolmosttheopposite, lcollottentiontothephysicolobject,,.but,,. we both creote pointings ihot either ollow the viewer to feel o sense of tronscendence, or the pointings themselves to tronscend the weight of their own physicol presence, There ore certoinly severol ortists, both contemporory ond historicol, thot do the some, I think the effect of tronscendence is the common link between our work, ond it is something thot few viewers or writers hove commented on, Just using the word fronscend, or trying to tolk obout it, is quite tricky ond usuolly not ottempted, but it is certoinly port of both of our pointings, os well os Brice Morden, Ad Reinhordt, Donold Judd, Jockson Pollock, Mork Rothko, etc, . . . �It is thot feeling thot you get in the smoll of your bock, thot thing thot you con't quite verbolize, it is something thot con only be communicoted visuolly, whot viewers/writers usuolly lond on with the Agnes thing is 'white' ond 'horizontol bonds': The primory colours thot I use ore titonium white ond zinc white. The density, opociiy, ond physicolity of titonium offer o strong yet subtle controst to the ephemerol, otmospheric tronslucency of zinc. Eorth/sky. lf you use white os o colour (few ortists hove, Robert Rymon is certoinly one, Morondi onother), it feels obsolute next to other colours, it is pure without ony odulterotion visible, you con't mix onything wiih it without o feeling of dilution, lt is o difficult colour to use effectively. I use white-not only os o colour, but os o moteriol, l'm not sure Agnes Mortin uses white beyond the white of the gesso ground. Her colours ore generolly very thin woshes over white gesso. ln most of the pointings white is the support thot is under the other colours, The horizontol bonds. , , Brice Morden relied on'grid structure' untilthe Cold Mounfain series. When I wolked into Dio where those were first exhibited, I sow o new possibility with contemporory structure' Thot series chonged how I sow the world; literolly when I wolked from the Cotd Mounfotn series I wos different, He not only mode the grid orgonic, mony ortists hove ochieved thot, but . , , he seporoted the verticol from the horizontol with the complexity of turning the ground into otmosphere, insteod of mere support of the grid lines on the some plone' Seems 'BOs' Thot is simple, but it isn't, Thot shook my visuol world. When wos thot? Eorly when I begon to opprooch the horizontol more symbolicolly, more of o physicol moteriol, o component. Cy Twombly olso did much the some of obout the some time, just different ond not os cleor. Over the post 25 yeors or so, my big step wos to creote the somewhot rigid horizontol controsting the orgonic quolity of the �verticol drip. Agoin, it seems simple but there ore severol things hoppening within thot controst of moteriol ond effect. Morris Louis wos not much of on influence. I never found his work thot interesting, except the lorge size thot couses on impoct, . , but, , , Jockson Pollock, imposto point over eorlier drips, Thot got my ottention when I wos quite young in the '50s. Ad Reinhordt, of course, Kosimir Molevich even more, the first of the contemporory oesthetic, we ore still deoling with thot, one of the first ond still one of the few who successfully combined ihe spirituol with contemporory vision, Donold Judd's monostic oesthetic, on extension of Bouhous design. How con he creote so much with so little? Suson Rothenberg, onother importont ortist for me. I continue to romble on, but for the moment let's stop, nna: Your process ond technique is evidently o long, poinstoking, slow one, one which includes repeoted scropings ond burnishings of the surfoce. Could you describe this process, its rotionole, ond the importonce of this sense of slowness ond occretion to your convoses? "long, poinstoking, slow," 114ln: I didn't stort out to creote o working process thot is As on ortist, I never found technique by itself to be thot interesting or reolly very importont. I om bosicolly on intuitive pointer, with much to owe to obstroct expressionism, lntuitive moves hoppen quickly. They ore reoctive, honest, direct, ond complex to understond. Crofting on object, whether it is o titonium white bond, or o burnished surfoce, or o perfectly stretched linen tocked with copper is contemplotive, intentionol, slow, ond done with obvious skill, Melding those two woys of working into one seomless stroin of energy creotes o mogic; it seems to contoin the primory ospects of 'being,' ,l50 times This ploy between intuition ond the contemplotive is ployed out moybe 'history.' just it overpointing but doing repeoting, per pointing, giving the lt is not o �within the context of ihe structure of on individuol pointing-until o resononce, o mogic occurs. lf I could do the pointing in one cycle ond see the mogic I would certoinly be o hoppy pointer, but with my simple mind, it tokes scores of cycles' A morble stoirwoy in o new structure hos for less interest thon seeing o morble stoirwoy thot hos been used for 400 yeors, lts weor is its history, the hordness is softened by the touch of countless feet, when one is holding on Anosozi pot with o burnished surfoce, it is B0o-9oo yeors old, you know the process of rubbing o smooth stone over ond over to horden the surfoce, the time it tokes, the beouty, the core of the moker, , , mogic , . ' Your nne: This sense of slowness seems to be expected of your viewers os well. convoses require o certoin potience of the beholder, long ond close observotion, ond the expenditure of consideroble effori, o stote of meditotion of sorts' ls this o foir ossessment? :wn: Yes, contemplotive, meditotive-it is on importont port of the diologue 'mogic' is not o possive between you os o viewer/me cs on ortisi, Experiencing the 'self.' oct. lt tokes energy, openness, sensuolity, ond o need to see beyond pointingnns: l'm interested in the longuoge you use to tolk obout your fronscendence, spirifuol, ond, in porticulor, your reference to Molevich ond his efforts to discover o visuol longuoge oble to tronscend mundone experience ond noiurol oppeoronce ond ploce the viewer in touch with on olternotive, ultimotely spirituol world through pure, non-objective form. ,*n: The obove is tricky, Much of how tronscendence ond the spirituol ore perceived by the reoder/viewer is context, One con sound 'woo woo' very quickly. As on ortist, ond olso you os o writer/curotor, we ore reolly in on unknown oreo here, ond difficult to orticulote, First, you ore deoling with o non-verbol experience (the feeling or sensotion one gets when viewing) thot is not dependent on words, �some type of sensuol response in mony people, whether it is the smoll of the bock thing thot I feel when I see or heor something thot offects my core, or o sense of well being or even the opposite, ogoin quite tricky to orticulote, nna: Elsewhere you olso mention the need to "see beyond the self," Together with the ideo of 'tronscendence,' this sense of o coll to invisibility, to unrepresentobility. would seem to be port of the oesthetic trodition of the Sublime-the ideo thot something 'beyond' tronscends the limits of our ordinory phenomenol being, Would you go os for os to soy thot the ideo of ihe Sublime is port of whot you ore ofter, ond thot, perhops, your pointing moy be seen/experienced os on There is instrument or embodiment of the spirituol? .lwn: The Sublime, o tricky oreo once ogoin. Context, , , mony of the ortists ond composers of the eorly-to-mid twentieth century used symbolism to key the viewer/ listener to sublime direction. This of best is romontic ond rother schlocky, ond goes downfromthere. Molevich'sSupremotism(19.l4-.l9.l9)wostoppingintosomething quite different-unchortered territory, I think Brice Morden picked up on this with his Cold Mounfoin series, Jomes Tenellsometimes olso enters this reolm, os well os John Coltrone. And yes, Agnes sometimes. I try not to noil this down too much, I don't understond it, but I do know when l'm in thot oreo, whether with my own work, or experience it through someone else's, I only ottempt to provide o situotion for the viewer to experience something thot is outside of everydoy experience-o quick meditotion? o deeper understonding/perception? . . , but thot is bosicolly whot you soid before , , . but context removes this from being too 'woo woo,' I find it interesting thot my work is doing so well ot this point in our culture, lt is reolly outside of prevoiling ortworld 'speok.' , , , ln one sense, is it reflecting something thot is needed? I t �RRB: ln spending time looking ot your work, time the pointing itself urges-insists on, even-it seems thot there ore opporent tensions, suspended oppositions, or perhops better, equivolences, in your work between: surfoce ond depth; repetiiion ond spontoneity; opocity ond tronsporency; presence ond obsence; emptiness ond plenitude. Con you comment on this? .rwn: I believe in the ol' Joseph Albers soying, "you never see o colour isoloted, but olwoys reloted to o society of colour" (l octuolly combined two quotes there), Every mork, or copper tock, or piece of linen, surfoce, or colour is reloted to the collective whole of the poiniing (o Jungion phrose), Like noture, Within thot relotive context "opposites" creote on energy, o life, or power, Tension , , , the bolonce between two opposing forces . , , doesn't quite describe it for me, lt is more like sensing the potentiol between two opposiies. nna: Finolly, there seems to be o subtle but deliberote evocotion of the physicol environment in your pointing, of geologicolstructures ond formotions, porticulorly of the southwest where you now live ond work. Could you tolk o bit obout these implied experiences or sensotions of the desert environment ond its importonce to your work? lwn: Eorlier, when you osked obout Mortin, Judd, ond other ortists, which I oddressed briefly, those were/ore influences, certoinly importont within the longuoge of the visuol, os well os contemporory historicol context, (But) Notureis the inspirotion, Nothing is more powerful, importont, complex, simple, owe inspiring, Noture is mother, Art is friend, I don't use specific shopes, colours, or potterns from noture, but use the power of o ploce, I work with the effect it hos on me os o person, The owe. The mystery, The beouty, When I look through the gloss doors of my studio ond I see the mountoins everydoy, I om humbled, lt would seem olmost silly to try to imitote the oppeoronce �of the mountoins, but I try to creote something with some of the complexity ond power, on object to elevote one's senses, something thot chonges your sensibilities os when looking of those mountoins, or looking out over the conyons, with o gentle wind, feeling the sun on your skin, sond on your honds, the smell of soge, you just keep looking, you ore not possive, your senses ore heightened, they become quite shorp, you get thot feeling in the smoll of your bock. I try to creote on experience similor, but different. lt's not obout Mortin or Judd. You ore humbled by being o smoll port of noture, �I Sond Bend Drow 6BD-01),2OO4 ocrylic, mixed medio on linen 60 x 57 in, Collection of StePhen Holler, New York, NY �I k �Sand Bend Draw (SBD-06),2OOs ocrylic, mixed medio on linen lB x 17 in. Collection of Michoel Koch, New York, NY �13 ., ir i.1 t:, $ 4. 5 ;, ,f 3:: t! ,t ; $;, a r 'ir I t I *: & u t. '--' r-t !$ s t' : .t ., -t. r i j. s i 'S T &' * { :$. t: &, '*i & ;'*. 3q- '*, ill:S , !3*l :i-' -q d& l*w *li "* _s._:*-._G:i i �Sand Bend Draw (SBD-10),2OO5 ocrylic, mixed medio on linen 48 x 451/z in. Courtesy of the Stephen Holler Gollery, New York, NY ��Dry Wosh Seeps,2OO4 oil, mixed medio on convos 20 x 1$/q in. Privote collection. courtesy of the Siephen Holler Gollery, New York, NY ��So// Seeps ,03,2005 digitol print on paper 241/t x 22 in. Courtesy of the Stephen Holler Gollery New York, NY ��So/f Seeps .02,2OO5 digitol print on poper x 22 in. Courtesy of the Stephen Holler Gollery, 24t/z New York, NY �I tt)&il ll4h4tl flq tttt th 4! lrMcn / *t | \.t 't.i . lt , a\ *r.t)tt.l .}! d l{ .l r',4 *l i i*r i:itb:riI nI l r;ir**l&Sr:&*.&t8r****d!&t1**&i*iEL5*a*lSj �Exhibition Underwtilers Friends of the Sordoni Art Gollery M&T Bonk Andrew J, Sordoni, lll Wilkes University Business Council Sponsors Benco Dentol Creotive Business lnteriors First Liberty Bonk ond Trust Morquis Art ond Frome Quoker Oots Stoff Ronold R, Bernier, Ph,D,, Director Brittony Kromer, Coordinotor Bruce Lonning, Preporotor project wos supported in port by the Pennsylvonio Council on the Arts, o stote ogency funded by the Commonweolth of Pennsylvonio, ond the Notionol Endowment for the Arts, o federol ogency, This PIt{l[yUAil[ i0lJililt 0il Iflt t @ Advisory Commission Joseph Butkiewicz Morion M, Conynghom Virginio Dovls Dorin Fields, Ph.D, Joseph E, (Tim) Gilmour, Ph.D, Robert J. Heomon. Ph,D. Keith A. Hunter. Esq. J. Michoel Lennon, Ph.D, Melonie Moslow Lumio Theo Lumio Kenneth Morquis Alison Moslow Honk O'Neol Arnold Rifkin Chorles Shoffer, Esq, Suson Adoms Shoemoker, Esq. Williom Shull Helen Forr Sloon Andrew J, Sordoni, lll Sonford B. Sternlieb, M.D, MindiTholenfeld JoelZitofsky, Choir ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2006 January 15 Johnnie Winona Ross Creator An entity primarily responsible for making the resource Johnnie Winona Ross Ronald R. Bernier Ph.D. Date A point or period of time associated with an event in the lifecycle of the resource 2006 January 15 - March 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource By calling attention to the physical object, Johnnie Winona Ross allows the viewer to feel a sense of transendance beyond the weight of the object itself. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Johnnie Winona Ross abstract art abstraction https://omeka.wilkes.edu/omeka/files/original/6b87f217965305a3c6c1add3323255af.pdf 36bd525bdd2aca0ab59ef69805c0ebfb PDF Text Text ���������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2008 October 17 A New Paradigm: Recent Work by Ron Ehrlich Creator An entity primarily responsible for making the resource Ron Ehrlich Ronald R Bernier Date A point or period of time associated with an event in the lifecycle of the resource 2008 October 17 - December 12 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource American painter Ron Ehrlich is known for achieving rich surfaces and subtleties of tone melding the techniques of vessel-making with the spontaniety and vitality of action painting Type The nature or genre of the resource Exhibition program Subject The topic of the resource Ron Ehrlich painter painting abstract abstract art Rights Information about rights held in and over the resource SAG https://omeka.wilkes.edu/omeka/files/original/1d64c5b9b616a4d27174b194adadd1ce.pdf 81748cfc16c7262bc9c6799c8f46d1d9 PDF Text Text �������������������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2010 January 18 Brian Wood Creator An entity primarily responsible for making the resource Brian Wood Christian Hawkey Date A point or period of time associated with an event in the lifecycle of the resource 2010 January 18 - March 14 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Brian Wood is an American contemporary artist working with multiple media in New York. His paintings, drawings, photographs, prints, films, and books are exhibited internationally and are held in many private and public collections. Brian Wood works primarily with painting and drawing. Throughout his career, Wood has been immersed in questions about consciousness and ontology, the mystery of intense images arising to awareness, and their complex relationship with and away from time. Type The nature or genre of the resource Exhibition program Subject The topic of the resource painter paint painting abstract abstract art https://omeka.wilkes.edu/omeka/files/original/b64853f073cc2fd4650acaf6d6622d01.pdf 21b50ae47cf753974b1c8afe4e74e84d PDF Text Text �II- IJ )oroonr .rl'l t,allen *\:I;'rlrJl',,,"", Wilkes-Barre. PA 187b6 =Tel570-408-4325 Fax570-408-7733 wilkes.edu/ sordoniartgallery Gallery Hours: Noon - 4:30 p.m., daily Seyntour Lipton: A Study Works from the Sordoni Art Gallery's Permanent Collection June 14 - August B, 2010 Non-Profit Org. U.S. Postage PAID Permit No. 355 \Nilkes-Barre, PA � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 2010 June 14 Seymour Lipton: A Study Creator An entity primarily responsible for making the resource Seymour Lipton Date A point or period of time associated with an event in the lifecycle of the resource 2010 June 14 - August 8 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource Seymour Lipton was an American abstract expressionist sculptor. He was a member of the New York School who gained widespread recognition in the 1950s. He initially trained as a dentist but focused on sculpture from 1932. His early choices of medium changed from wood to lead and then to bronze, and he is best known for his work in metal. He made several technical innovations, including brazing nickel-silver rods onto sheets of Monel to create rust resistant forms. Type The nature or genre of the resource Invitation Subject The topic of the resource abstract abstract art sculpture sculptor Seymour Lipton 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