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Kim AbeleS Barbara Berk Don Bernier Robin Brewer Sigrid Erica Casey R. Clarke-Davis Billy X. Curmano Cheri Gaulke Peter Goin Tod A. Havel Scott Hirschberg Stacey Jones Sant Subagh K. Khalsa Robert Lawrence Lori Mac Richard Olderman Edward Pardee Michae l Schell Judith Selby

artists

consider

the

EN VIR ONMENT


Kim Abeles Barbara Berk Don Bernier Robin Brewer Sigrid Erica Casey R. C larke-Davis Billy X. Curmano Cheri Gaulke Peter Gain Tad A. Havel Scott Hirschberg Stacey Jones Sant Subagh K. Khalsa Robert Lawrence Lori Mac Richard alderman Edward Pardee Michael Schell Judith Selby

-artists

consider

the

ENVIRONMENT November 6 through December 11, 1993 Organized by The FORUM Gallery at Jamestown Community College This exhibiti on is funded in part by the Chautauqua Region Community Foundation


Environmental Considerations

Dan R. Talley

ronment. Apathy continued into the early administration to protect rangelands, During the post 200 yea rs, the world essay w as published, another English forests, water and mineral resources. 1960s until the publication of Rachel has increa sing ly real ized that we can­ economist, Stuart Mill, proposed a dif­ Corson's Silent Spring jarred the world ferent view in his Principles of Politico I While the administration ' s intentions no t co ntinue to use na tural re sou rces Econo my. Mill basically believed that were on target, their initial programs into renewed environmental activism . and indiscriminatel y di spose of the by­ Corson, a former biologist for the U.S . locked unity and overall cohesion. This products of manu fac turing and produ c­ humanity could cope with population Fish and Wildlife Service, sounded a tion w ithout co nsequence The birth of led to a call for a coordinated approach growth and that such growth spurred on warning about the dangerous side ef­ to the problem which met with initial thiS aw areness, earl y in the po st-Indus­ the develo pment of better techniques for fects of DDT and other pesticides. Silent resistance in Congress. However, a surge trial Revolution , wos nurtured by on managing existing resources. Mill fur­ Spring not only brought attention to of popular support from middle- and unlikely alliance o f politician s, econo­ ther believed that growth would spur the questionable agricultural practices, it upper-income citizens turned the con­ mists , scientists, poets, and pointers . quest for additional resource develop­ also awoke the world to a host of other gressional tide and enabled conserva­ Their concern come about primarily as ment, but he cautioned that such prac­ environmental threats. tion to become on official governmental a reaction to unprecedented bursts of tices might eventually rob humanity of Her work and works that followed, manufacturing expansi o n and the in­ responsibility. the possibility of solitude and that the including Barry Commoner's Closing world ' s natural beauty could be in even­ While some Americans of the time, creased annexation uf what come to be Cire/e, 1971 and Limits to Growth, a like Sierra Club's founder John Muir, seen as a rapidly dwindling resource tual leopardy if this path were followed. 1972 work written by a team of re­ In the mid- and late-18th century the advocoted resource preservation, most bose. searchers from Massachusetts Institute Many well educated people in the people were more in favor of a consid­ writings of two Americans, Henry David of Technology, inspired a new genera­ United State" and in Europe come to Thoreau and George Perkins Marsh , ered and careful use of existing re­ tion into environmental action. This new laid a foundation for the birth of the realize that this unbridled pace of devel­ sources. This moderate slant enabled movement, centered primarily on Ameri­ the movement to sustain the support of opment could not go unchecked without conservation movement. Thoreau's phi­ can college campuses, borrowed orga­ significant negative impact on their lives business, which, concerned about fu­ losophy that placed nature above mate­ nizational and communication tactics and the lives of generations to come. ture profits, also wanted to insure the rialism was succinctly stated in Walden, from the highly successful peace and his 1854 book that urged civilization to continued availability of resources . Eco­ These initial concerns about the deple· civil rights movements. This resurgence, tion of natural resources and the expo­ "Simplify simplify "2 Marsh's 1864 nomic considerations like these led to a in conjunction with the work of notional nential growth of the world's population book, Man and Nature, brought the role scientific method to resource manage­ organizations including the Sierra Club, gradually grew into a more general of conservation to the attention of a ment which in turn led to the implemen­ the Wilderness Society the National campaign that took on the issues of much broader public (the book was tation of conservation laws and the Wildlife Federation , and the Audubon human-generated pollutants and the pres·· retitled The Earth as Modified by Human development of new federal agencies Society provided pressure that brought ervation of unspoiled land areas. Action in 1874). These seminal works, including the Forest Service, the United Prominent 18th century English econo­ obout changes in lows oddressing on coupled with continued industrial ex­ States Geological Survey, The National array of environmental concerns . Legis· mist, Robert Malthus, in his 1798 trea­ pansion, startled many Americans into Park Service, and the Bureau of Recla­ lotion enacted as a reaction to the w ork tise An Essay of the Principle of Popula­ action on behalf of the environment. mation. tion as It Affects the Future Improvement The late 19th century sow America In the 1920s, changes in presidential o f this movement included the Notional of Society, expressed his belief that move from on essentially frontier society administrations and political bickering Environmental Policy A c t of 1969 the Clean Water Act o f 1972 , the Notional global population growth would eventu­ to a powerful industrial notion. Conser­ among individual factions significantly ally surpass the earth ' s ability to pro­ Fo rest Management Act of 1976, the vationists realized that America's natu­ weakened the vigor and enthusiasm of Clean Air Act amendments of 1977 the duce adequate food supplies . Malthus ral resources, especially its forestlands, the conservation movement. These believed that disease, wars , and de­ Notional Acid Precipitation Act of 1980, were in grove danger President Teddy changes coupled with the Great Depres­ creased birthrotes were the world ' s only Roosevelt, conservationism's best known and the creation in 1970 of the En viron­ sion and World War II virtually eradi­ salvation I A half-century ofter Malthus's mental Protection Agency. Environmenproponent, developed programs in his cated the nation's concern for the envi­

J


testament to the owe that nature inspires structure of our thoughts and attitudes . It tal catastroph es of the 19805, inclu d ing American wilderness caused by con · only shows us a moment in the process the Exxon Va ldez Oil Spil l, and the by producing countless landscapes and cepts such as " manifest destiny " The or the final result of our reckless environ· Chernobyl i ncident , coupled with in · seascapes , care fully drown studies of beauty of the image tends to sedate and mental actions. While there is on unde· exotic flora and fauna , and colorful creasing con cern over ocid rain and break our relationship with our more photographi c sun sets ad·infinitum . For niable shock value in such work, it too global warming , inspired worldwide critical social/political impulses. Much leaves us with little to ponder and with action such a s the formation of the many in our culture , these representa · of the work included in this show looks few insights into the values expressed tions embody the extent of the connec­ Green party in Germany and the world· speCifically at this link between images through our individual actions. tion between art and nature. To them , it wide spread of the green movement . and assumptions and requires that we Somewhere independent of these Environmentali sm is quite active on is all encapsulated in nicely executed examine our own port in the current rather stork diametrical positions, these many fronts with new groups forming vistas or handsomely rendered figures condition of our planet. metaphorical heavens and hells, is art­ that refer us to creatures that are known constantly around local , regional , no· Sadly here at the end of the 20th work that supplies commentary on the tional , and international issues. Organi· but rarely seen in our doily existence. century many of us still have vorying economic, social, and philosophical un· Such representations, while fanciful and zations like the Worldwatch Institute, degrees of disregard for the unalterable derpinnings that contribute to the cur· the Environmental Defense Fund, Earth genteel, tell us tragically little about the truth that we are dependent upon the rent eco-pathalagy This work is eva· unfortunate state of the environment as environment for our existence. We con· First t, and Greenpeace all have widely sive. It is less obvious than the previous differing strategies and philosophies, it now exists in a number of locations tinue to drive cars , purchase products, categories, but, by virtue of its subtlety, toke vocations, eat agriculturally ineffi· but they are all united in the view that worldwide. Perhaps more important, it is much more intellectually engaging cient foods, and basically make inces­ environmental problems are globol prob· these kinds of representations give us sant demands on the networks of pro· lems with far·reaching impact. These only romanticized views that seem to Artists Consider the Environment em· braces this kind of work. groups, and groups like them , have embody the way we wish we were duction and distribution that exact su ch raised awareness oround the world but The resulting show is not a "nature living in a kind of timeless Eden-like high tolls on our planet. Many of us try governmental differences and economic show. " It does not attempt to present the to be mindful of our actions and attempt reality where our relationship with the visual splendor and wonder of the natu· to strike a balance in our lives, but we considerations continue to hamper glo­ world is one of low impact coexistence. ral world . The resulting show is not a bal resolve on many vital issues. The must admit that even with the best o f Gone from these views are smoke belch· United Notions ' 1992 Earth Summit on intentions it is impossible to partake of ing factories, rivers of toxic sludge, and "shock show" It does not attempt to the Environment was considered by many eroded mountainsides that break the point out the obvious toll that civilization life in late 20th century society without in the movement to be a sad commen· image's fragile spell that links us to our and progress are taking on the resources inflicting a certain degree of environ· tory on the lock of global cooperation dimly remembered innocence . of our planet. Essentially this show is mental damage The nineteen artists a cooperation which will be necessary about attitudes: It is on examination of included in this exhibition have all, to This kind of work has nostalgic enter­ to solve the myriad difficulties facing the the collective frame of reference that we varying degrees, reflected on this di· tainment value but it has little to do with environment today While the problems lemma . contemporary reality or with contempo­ bring to the dependent relationship that rory modes of expression. The aesthetic we have with our surroundings . are worldwide and seem at times over­ Notes: No doubt, representational references whelming , we are reminded that the mindset behind such work embraces movement is essentially a gross roots one that urges us as individuals to tackle the problem by "thinking globally and acting locally."

.. .

Traditionally artists have been at the forefront of efforts to protect the environ· ment. They have long appreciated and reflected on the beauty of the natural world. Generations of ortists have given

1 Simi lar id eas have been expressed more reo

pre-Industrial Revolution notions of art. to the environment as described in the cently (19681 in Paul Ehrlich ' s crit ically ac· While this attitude is congruous with the first two categories of work expand our claimed The Populotion Bomb. romanticized notions of the environ­ knowledge of how the world looks and 2. This theme is similarly stoted In the Quaker ment depicted by the work, it is woefully feels and such knowledge is impor· slogan adopted recently by enVironmental"ts, out of touch with the brooder realities of tant and necessary but very little of "live simpt y th a t o thers may simply live ." 20th century art and society. the work in these categories causes us to Sources: The other representational extreme, examine our relationship to the image Confes5ion s o f on feo· Warrior , Dove Foreman , documentation that directly confronts that we hold of the world. It is quite Harmony Books, New York , NY 199 1 the degradation of our planet, has limi­ difficult to loo k at the splendor o f 0 tations also . That approach , likewise, Bierstadt pointing and simultane o usly Grafler's Aca demic Ame(Jcon, onlin e ed ition, Grol,er ElectroniC Publishing, 1993. tells us very little about the underlying think of the degrodation of much o f the


Kim Abeles Los Angeles, California

On·Site Smog Col/ector Sculpture, California Mu· The London Globe printed a new word, seum of Science and Industry, travelling exhibi· "Smog," coined in a speech at the tian, 199 1 1905 Public Health Congress. They Solo exhibition , Atlanta Pavilion , Atlanta Arts Fes· tival, Atlanta , G A, 1990. considered it a public service to de­ scribe this phenomenon. Eighty-six years Reviews, Pubtications, and Catalogs: later we possess , yet avoid using, the "Art and Advocacy," by Collene Chonapadh yay, technology to correct 95% of the pollu­ Artweek, December 3, 1992. "More Dirt on Bush," by Charis Conn , Harper 's, tion legacy. October 1992. The Smog Collectors materialize the "C o-Elaborations," by Judith Christensen, Visions , reality of the air we breathe. They Fall 1992 . " Kim Abeles," by Meg Fuj ima ru , Crescendo, Octo· achieve their potency most effectively ber 1992. when the image contradicts their sub­ " Pollution as Art," by Harrison Fletcher, The Regis­ stance. Thus, my process is a private ter, September 21 1992. retaliation brought to public attention. " Dirty Pictures," by Mark laman a, Westways, September 1992. I place stencil images on transparent "K im Abeles," edited by William Bartman, Art materials , then leave these on the roof Press Publica tion, 1988 . of my studio and let the particulate Education: matter in the heavy air fall upon them. M.FA, University of California, Irvine, CA, 1980. When the stencil is removed, the im­ B.FA, Ohio University, 1974. ages reveal themselves . To quote a stranger, they are " footprints of the Exhibition Checklist: Presidential Commemorative Smog Plate (Bush) , sky." Since the worst in our air can't be 1992, smog matter on porcelain, 12 inches seen, Smog Collectors are both literal diameter Courtesy of Turner/Kru ll Gallery, los and metaphoric depictions of the cur­ Angeles, CA. Presidential Commemorative Smog Plote (Reagan) , rent conditions of our life source. They 1992, smog matter on porcelain, 12 inches are reminders of our industrial deci­ diameter Courtesy of Turner/Krull Gallery, las sions: the road we took that seemed so Angeles, CA. modern. Presidential Commemorative Smog Plate (Corter) , 1992, smog maner on porcelain, 12 inches diameter Courtesy of Turner/Krull Gallery, los Selected Exhibitions: Angeles, CA. Kim Abeles: A Fifteen Year Survey, Santa Manica

Presidential Commemorative Smog Plate (Ford) , Museum of Art, Santa Monico, CA, 1993.

1992, smog matter an porcelain, 12 inches Solo exhibition , Turner/K rull Gallery, los Angele s,

diameter Courtesy of Turner/ Krull Gallery, los CA, 1993. Angeles , CA. Solo exhibition, laurence Miller Gallery, New Presidential Commemorative Smog Plate (Nixon) , York, NY 1992. 1992, smog matter on porcelain, 12 inches Solo exhi bition, Tu rner/Krull Gallery, los Angele s, diameter Courtesy of Turner/Krull Gollery, los CA,1991 Angeles, CA. Solo exhibition, laguna Art Museum Satellite Gal­ lery, Costa M esa, CA, 1991

4

Kim Abeles, Presidenlial

Commemorative Smag Plate IReag a n), 1992, smog matter on porcelain , 12 inches diameter .

Courtesy 01 Turner / Krull G allery, las Angeles, CA


Barbara Berk

Laguna Beach, California

, and Field and 'Sticks and Stones Letters are part of a series investigating

Barbaro Berk. Field, 1992, mixed mediums, 7 x 12 x 2 inches.

the tangible world of nature in contrast to the intangible world of symbols and ideas. Fieldexplores the idea o f foreground and background and how each could change places, depending on where one puts one's aHention. Thi s work focuses on the manipulation of nature through words. Our culture makes na­ ture the background so that we experi­ ence it through the filter of the ideas and words we have about it. In Field this order is reversed; it is the words that are in the background. My intention is to focus on the idea of the book as a field, an event in itself, not merely a place where events occur

'Sticks and Stones

'and Letters

uses leHers as physical, three-dimen­ sional objects that can be rearranged in any configuration to make any number of words, sentences, and ideas in many languages. By making the units of lan­ guage into tangible objects, and juxta­ posing them with natural materials, I am attempting to link the intangible world of ideas with the tangible world of the senses, both with parallel potential to elicit multiple meanings .

Selected Exhibitions: Natural Dialogue, California Crofts Museum, San Francisco, CA. 1993 , Deceptive Cadences, Galdenwest College, Hun· tingtan Beach, Co, 1991 Manipulated Environments , lang Beach City Col­ lege, long Beach , CA, 1990. Disconnected Choices, Mount 51. Mary's College, Los Angeles, Co, 1990. Barbara Berk : Recent Work , Arizona State Univer­ sity, Tempe, AZ, 1989. Outside New York, AIR Ga "ery, New York , NY 1988. Reviews, Publicotions, and Catalogs: "Museums, Ga"eries Don ' t Just Hang Art; They Insta" It," by Cathy Curtis, las Angeles Times, los Angeles, CA, October 28, 199 1 "Contributing to Solu ti on Through Art," by Dina Berland, Press Telegram, long Beach, CA. Sep­ tember 23, 1990 , "Outside New York," by Eli se la Rose, Women Artists News, Winter 1988/89, Education: M .F.A., Prall Institute, New York, NY Exhibition Checklist: Field, 1992 , mixed mediums, 7 x 12 x 2 inches . 'Sticks and Stones 'ond teNers, 1992, mixed mediums, 12 x 25 x 2 inches.


Don Bernier

BuHalo, New York

Using a ta x id ermy spec im en to repre足 se nt we stern concepts of ownership and contro l of no n-human landscapes (which w e have labeled "nature" or " the enviro nment"), Trophy questions the tradition a l, mec ha nical , patriarchal viewpoint s that human being s have hi s足 to rically co nstructed aro und th e natural w o rld . Each o f th e e ig ht spec i men-si zed panoramas depict a spec ifi c regio n in N o rth Am eri ca whi c h has been " re足 served o r protec ted " by th e U. S. a nd Canadian govern me nts. Setected Exhibitions:

Two Nights in T3R9 - Township 9 Ronge 3 Wes t of the Eosterly Line of the Stote, Buffo lo Co ble Access Media, Buffalo, NY, June-A ugust 1993 .

Periscope I, Hallwalls Contemporary A rt Center, Buffalo, NY May 1993 .

Video Refuses Festival 1993, The Video Menu a t limbo, San Franc isco, CA, April 1993.

muti/otion under the sun, Buffalo Co ble Access M edia, Buffa lo, N Y January 1993 .

Medio Montoge, Sta te Univers ity of New York a t Buffalo, Buffalo, N Y N ovember 1992 .

Education: M A H., State University o f N ew York o t Buffolo, pre sent . B.FA , Ko nsos City A rt In stitute, 1992. N ova Sco tia College of Ar t and Design, 199 1

Exhibition Checklist:

Troph y, color pho tographs, specimen pins, th read, ' 992 , 96 x 68 x 2 inches .

Don Bernier, Trophy, color photograp hs , specim en pins, thread,

1992, 96 x 68 x 2 inches.


Robin Brev#er

Indianapolis, Indiana

Recovered Landscapes is my interpreta­ tion of contemporary landscape. For me, it is not enough to document nature through traditional means of photogra­ phy . I also feel the need to include remnants of humans; found objects, to add dimension and address the viewer on a more personal level. These found objects represent the imbalance and impact of humans on the environment. By including human influence in the landscape, I hope to increase aware­ ness of the struggle between the two forces: humans and the environment. Selected Exhibitions: Recovered Landscapes, University of Hawaii Com­ mons Gallery, Honolul u, HI, 1993. Image XVIII, AMFAC Exhibi ti on Room, Honolulu, HI , 1992.

Robin Brewer,

Recovered Landscapes: Trampoline,

1992, mixed mediums, 36 x 48 x

3 inches .

Education: BFA , University of Hawaii Manoa, 1993. Exhibition Checklist: Recavered Landscapes: Frame, 1992, mixed me­ diums, 48 x 60 x 2 inches . Recovered Landscapes: Negative Carriers , 1992, mi xed mediums, 24 x 14 x 1 1/2 inches. Recovered Landscapes: Trampoline, 1992, mixed mediums, 36 x 48 x 3 inches.

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Sigrid Erica Casey When I was about six, an area of shrubs and grasses I walked through on my way to school was undergoing transmogrification. The impending loss of that lovely, unkempt place from my daily life so distressed me that I deter­ mined to save some small part of it from destruction . Taking shovel and wagon, I struggled to dig up a fragrant, four­ petaled shrub and bring it home to our yard . It still grows where I planted it, some forty years later Recalling this story of the mock-orange, I realize that land development and habitat preser­ vation were issues important to me even as a child. The work on exhibition here, part of a group called Vestigial Remains, arises from my joy in dwelling in the natural world. My first memories are the golden shoreside summers of my childhood, where the rhythm and revelation of the tides formed the structure of my days. Around the same time, I learned a song which I understood, though the words remained mysterious, " and to my listening ears all nature sings, and round me rings the music of the spheres ." Where I live now, the fields, woods ands streams are my restorative: as ever, it's the meditation of moving, observing, connecting that has value for me. My work develops from the reso­ nance of objects in transcendent dis­ play, where physical, conceptual and spiritual signifiers are melded to evoke essential definition. In Terrene Groves, the sensuality of the physical object conflates with the illusion of rational

ScoHsville, New York

scientific display and devotional reliquarian preservation to illuminate a meditation: what is a forest? What realm of comprehension can be con­ structed from isolated fragments , de­ prived of context and reduced to indus­ trial-scientific construct? With the fragility of the global eco­ system becoming increasingly evident, the alienation of contemporary urban life from the natural world greatly alarms me. How can we be truly concerned about life from which we are estranged? It is clear we are the species with the power to choose how we interact with our environment; it would behoove us to practice cultural traditions with respect for the subtle balances preserving the world, before that balance goes irreme­ diably awry But pessimistically, I ex­ pect our folly will be one day to finally desolate earth, only to hasten onward to the skies. Terrene Groves serves as the prophetic elegy of a portion of such a loss.

Setected Exhibitions:

Publication:

lIIuslra/ive Maleria/s, University of Nevada, Rena,

"An Interview with Sigrid Erica Casey," by Kathleen Campbe ll , CEPA Quarlerly, CEPA Gallery, Buffalo, NY Spring 1992.

NV 1993. Ups/ale Invi/a/ionol, Pyram id Center, Rachester, NY 1993. Ves/igial Remains, CEPA Gallery, Buffalo, NY

1992. lIIustra/ive Malerials, South Suburban College, South Holland, Il, 1991 lIIustra/ive Malerials, Uni versity of Coloroda, Boul· der, CO, 1991 New Images: Midallan/ic Slales, James Madison University, Harrisonburg, VA, 1990.

Sigr id Erica Casey, Detail of Terrene Groves, 1991 / 1992, etched glass, veneer, six components each 23 x 18 x 9 inches.

8

Education: M.FA , School of the Art Institute of Chicago, Chicago, ll, 1985.

Exhibition Checklist: Terrene Groves, 199 1/ 1992, etched gloss, ve­ neer, six components each 23 x 18 x 9 inches.


R. Clarke-Davis

Salem, Wisconsin

The artist chose not to supp ly a statement.

Selected Exhibitions: Camera Oscura, Hungarian Museum of Photogra­ phy, Kecskemet, Hungary, 1993. Invented Landscape, Milwaukee Art Museum , Mil­ waukee, W I, 1992 . N o High Tech, Worces ter Artist Group, Worces­ ter, MA, 1990 . The Prairie, The Lake and The City, Evans ton Art Cen tre, Evonslon , Il, 1990 _ 14 Artists, Goldsmi th Galle ry, l ondon, Eng land, 1983. Open Landscape, Impressions Ga llery, York , En­ gland, 1982 .

Reviews, Publications, Catalogs: Camera Oscura, Hunga rian Photography Museum, Kecskeme t, Hungary, 1993_ Pinhole 10urnol, Volume 7 number I, 1991 New Photographic/86, Central Washington Uni­ versity, Ellen sburg, WA, 1986_

Education: MA , University of landon, Goldsmiths' College School of Art and Design, london, England , 1982 . BA, Beloit College, Beloit, W I, 1975. R, Clarke-Dovis, Feste;ando lema nja Series (Dog and Tyre), 1991, si lver gelatin print , 20 x 24 inches .

Exhibition Checklist: Sites (Ice Chest), 1993 , si lver gelatin print, 20 x 2 4 inc hes. Sites (Old Style), 1993, si lver gelatin print, 20 x 2 4 inches .

Festejando lemanja Series (Dog and Tyre), 199 1 si lver gelati n print, 20 x 24 inches.

Festejando lemania (Dog), 1990, silver gelatin print, 20 x 24 in ches.

Festeiando lemania Series (Fish), 1988, silver gelatin print, 20 x 24 inches.

Q


Billy X. Curmano Artists paint fantasies; I've tried to live mine. Swimmin ' the River is both perfor­ mance and legend in the making. A leisurely 2,552 mile swim from the headwaters of the Mississippi River at Lake Itasca to the Gulf of Mexico. Not as an athletic event, but as a multilevel performance, exploring the intermix of art and life, arte-vita , while expressing an ecological imperative. The swim spans over 1300 miles from the drought of '87 to the legendary flood of '93. It may be viewed as the repetition of a single form (my body) recurring within the landscape. Swim strokes mimic brush strokes, leaving im­ permanent trails that almost impercepti­ bly alter the river's flow Like a lover, the river embraces me and I serve as her "Ambassador for Clean Water" The swimmin' metaphor reflects a midwestern sensibility and expresses an aHempt to reclaim the "Father of Waters" from industry and pollution by seeking a balance among wildlife, people , profit and planet. Fourth of July Freedom and such Yankee Doodle and all that stuff. Let me say impliCitly, "Without freedom from Toxicity, We ain't got much!"

Reprinted w ith slight modifications from

ArtWorks USA

Seleded Exhibitions: International Miniprint Ex hibition, Municipal Mu­ seum City of Ourense, Ourense, Spain, 1993 and 1992 . Homeless Hilton: New York , NY Fra nklin Furn ace, New York , NY 1990. Swimmin " The Drought, Minneapolis Art Institute, Minneapolis, MN, 1988 . Oppression/Expression, The Contemporary Art Center, New Orleans, LA, 1986 . III Vienno Grophikbiennale, Albertina Museum Secession, Vienna, Au stria, 1977 Artists' Proposols lor Human Environment, Milwau­ kee Art Museum, Milwaukee, WI, 1971

Reviews, Publications, and Catalogs: "Recent Diversity, " by Duane and Sarah Preble, Artlarms, Horper& Row, New York, NY 1993. "Performance Excerpts," by Billy X. Curmano, New Observations, New York, NY May/J une 1993. "Swimmin' the River," by Billy X. Curmana, Art Journal, New York, NY 51 :2, 1992 . Article by Dominique Mazeud, Break through , Glo­ bal Education Associate s, New York , 11 :2·4, 1990.

Billy X. Curmono, Aula Portroit as Auto Icon mixed mediums, 4 x

2 1/4

x

2 1/ 4 inches .

Education: Art Students league of New York, New York, NY 1982 . M.S., University of Wisconsin, Milwaukee, WI , 1977 B.F.A., University of Wisconsin , Milwaukee, WI, 1973 .

Exhibition Checklist: Auto Portroit as Auto /can , mixed mediums, 4 x

2 1/ 4 x 2 1/4 inches. Swimmin " Drought to Flood Stage and Beyond, live performance, Novembe r 5, 1993, Jamestown, NY Swimmin ' the River, videotape, 10 minutes.

The Drought cata­

log, M inneapolis Ar ' In sti tu te, 1988 and Ar' Journal, Summer 1992,5 1:2, College Ar' Association, New York,

NY Photograph of Billy

X. (urmano Swimmin' Ihe River.

10

""-....:.:;;;..-J~_ _~_ _ _"""''''-'''--_ _ _ _ _ _ _ _.;;...;._ _ _ _ _ _ _ _ _ _.....~


Cheri Gaulke Pillar of Smoke

L.A. River Pro;ect The videotape, L.A. River Proiect, is part of a larger mixed media installation created in collaboration with four high school students (Susan Barron, Jose Esquivel , Leonard Martinez, and Manuel Ortega) and their teacher (Susan Boyle). The concrete-lined channel known as the Los Angeles River is ignored by many residents, but to these young urban Latinos the river is a wonderland of nature, trash, graffiti, architecture, human interaction and recreation. The

Los Angeles, California

Selected Exhibitions:

Fragile Ecologies; Ar/isls' Interprela/ions a nd Solu· full installation incorporates photo­ For generations, some Native Ameri­ lions, Queens Museum of Art, Flushing, NY can tribes have used a sacred pipe to graphs, water analysis, collected trash, 1992-1994. and an architectural drawing of the make offerings to the sky above. When Communi/as: The Femin ist Arl o( Building Commu­ nity, Art Galleries, California State University, students' future vision for the river The a child blows out birthday candles and Northridge, CA, 1992. dramatic centerpiece is a "video river" makes a wish, she hopes her request Smog : A Maller o( U(e and Brealh , California composed of 12 video monitors facing will rise with the smoke. This videotape Museum of Photography, Riverside, CA, 1992. the ceiling through which the image of asks the question: if wishes and prayers Burning the Bush, solo performance , Highways, Santa Manica, CA, 1992 . rushing water flows. The L.A. River ascend on smoke and if rising smoke is Busz Wards Public Art (rom l os Angeles, (EPA, Proiect installation is currently touring sacred communication, then what are Buffalo, NY 1991 U.S. museums in the exhibition Fragile we communicating with smog? Pillar of Ecologies: Artists, Interpretations and Smoke was originally created for a Los Reviews, Publications, and Catalogs: Solutions ci rculated by the Sm ithsonian. Angeles exhibition called Smog: A Fragile Ecologies: Conlemporory Arlisls' Inlerp re­ la/ion s and Solulions, exhibition catalog , Bar­ Malter of Life and Breath. A haunting bara C. Matilsky, Rizzoli, 1992 . Communi/os : The Feminist Arl 01 Community Build­ soundtrack by L. A. composer, Vinzula, ing, exhibi tion catalog, Belly Ann Brown and makes the viewer conscious of their Elizabeth Soy, Art Galleries, California State own breathing and heightens the inten­ University, Northridge, CA, 1992. sity of visual juxtapositions a trip down Completing Ihe Circle: Artists' Books on Ihe Envi­ ronmenl, exhibition catalog , Betty Bright, Min­ the esophagus reveals pollution-spew­ nesota Center for Book Arts, 1992 . ing smokestacks and crowded freeways "Cheri Gaulke at Highways," by l ouise Steinman , within the blood stream. The result is an VISIONS Art Quarlerly, LA Artcore, los Ange­ evocative visual and aural meditation les, CA, Volume 6, number 2. "Gallery of Trash," by Elizabeth Hess, The Village on the spiritual dimensions of smog. Voice, New York, NY October 6, 1992. "Bewilched , Bothered , But Not Bewildered," by Doug Sadawnick, The Advocate, November 5, 1991

Education: M.A. , Goddard College, los Angeles, CA, 1978 . M.A. Feminist Studio Workshop at Woman's Build­ ing, las Angeles, CA B.F.A., M inneapolis College of Art and Design, Minneapolis, MN, 1975 . Exhibition Checklist: l. A. River Proiect, Videotape in collaboration w ith Susan Barron, Susan Boyle, Jose Esquivel, leonard Martinez and Manuel Ortega, 12 Cheri Gaulke, Still from Pillar 01 Smoke.

11

minutes .

Pillar o( Smoke, videotape, 9 minutes.


Peter Goin Reno, Nevada The Atomic Energy Commission, shortly ofter World War II, recommended that a 640 square mile " testing ground " be carved out of the 5,400 square mile gunnery range in use by the military in southern Nevada. The testi ng of nuclear weapons was considered essential to national security, and President Truman authorized the opening of the Nevada Test Site on December 18, 1950. The first atmospheric test at the new site was conducted at Frenchman's Flat on Janu­ ary 27, 1951 Hanford and White Bluffs, Washington had already been "condemned," paving the way for the construction of facilities manufacturing weapons-grade plutonium . One hundred and nineteen tests were conducted until a moratorium was es­ tablished from 1958 to 1961 Until the United States and the Soviet Union signed a limited test ban treaty on August 5 , 1963, another one hundred and two "devices" were detonated. Since 1963, however, all explosions have been underground. Just as information about the harmful effects of radiation was scarce, the folklore about everything nuclear ex­ ploded. Contemporary dances, drinks, and even the "bikini" owe their name­ sakes to the nuclear age. Although many Nevadans remember driving to the roadside along Highway 95 to watch the blasts, the test site itself is strictly OFF LIMITS. Rarely have photog­ raphers been allowed to document the visual effects of the nuclear tests, and if

so, their results were considered secret and confidential. These photographs are the product of a rare opportunity to photograph within the nuclear lands. The artifacts and sites throughout these nuclear lands repre­ sent icons in the range of myth and political ritual surrounding the nuclear age . This project contains these main sites: Nevada's Nuclear Test Site, the Trinity Site in New Mex ico, the Hanford Nuclear Area in Washington, and re­ cently, the Marshall Islands' sites of Bikini and Enewetak Atolls. John Hopkins University Press published Nuclear Land­

Setected Exhibitions: Nuclea r La ndsca pes, Virgini a Beach Center for the A rts, Virginia Beach, VA, 1993. Linea a Puenle: A rl A boullhe Mexican/ US . Bor­ der Experience, M useum of Contemporary Art , Son Diego, CA, 199 3. Phoen ix Museum of A rt, Phoenix, AZ, 199 2. Sea ttle M useum of History a nd Industry, Seattle, W A, 199 2. Ba ltimore M useum of A rt , Baltimore, MD, 1991 Publications: Slopping Ti me. A Repholographic Survey o f Lake Tah oe. Essays by Elizabeth Raymond and Robert E. Blesse, Universi ty of New M exico Press. 199 2. Arid Wa lers: Pholographs from the W a ter in W esl Proiect. University of Nevada Press, 1992 .

scapes.

Pet er Goi n,

Nuclear Landscapes:

Nevada Tesl 5ile

(Sedan Cra/er), / 988, dye coupler print, I I x 14 inc hes.

t2

N uclear la nd scapes . John s Hopkins University Press , 1991 Tracing the Line. A Ph%gra phic Surve y o f the M exican-A merican Border. A rt ist book, 1987

Exhibition Checklist: Nuclear landscapes: M arshall Islands (Abandoned To wer A nchors), 1990 , dye coupler print, 11 x 14 inches . Nuclear landscapes: Marshall Islands (Coconut Gra veyard), 1990, dye cou pler pri nt, 11 x 14 inches. Nuclear landscapes: Han ford (Orchard Site), 1989, dye coupler print, 1 1 x 14 inche s. Nuclear Landscapes: N evada Tes t Site (Seda n Crater), 1988, dye coupler prin t, 1 I x 14 inches .


Tod A. Havel My work is a personal celebration of self in sight and sound. Finding a me­ dium I could work well in and the resulting mode of self expression are the reasons for the celebration. Film is my chosen med ium, and at least part of my work is simply an expression of love for the medium , Beyond celebrating the pleasure of things visual and acoustic, my work is a quest to understand vi sion. I'm fasci­ nated by vision , not only the way we see the world around us but also how we see the world within us . A fascinat­ ing form of inner visions are our dreams, Visually minimal , my dreams consist of one or more haunting images repeated in cyclic patterns which incite a terrify­ ing feeling o f oppression and at times a prolonged sense of ecstasy My per­ sonal dreams are at the center of my work . M uc h of my work reflects the impor­ tance of water to life and creation, as well as exploring the experience of being born again in a new phase of life outside of our earthly realms , Turtle Dreams is a sea turtle's lament, as baby sea turtles crawl into the surf and swim out to sea, where birds, crabs and fish regard them as an animated sushi bar It is also the Filmmaker's dream in which he tries to approximate the vanishing point of distance beneath the water, where the mysteries of the deep begin the illu sion, too subtle for color, of submarine visual infinity

Tad A Hovel, Slilllram Turlle Drea ms. Pholo coulesly 01Tony Alleg ro

13

Miami, Florida

Setected Exhibitions: Moving Imoges, Sawhill Gallery, Harri son burg , VA, 1993. Night Wo rks, Azida Arts Gal lery, Son Francisco, CA. 1992 . The Kiddie Comero That Wasn 't, Arti st Television Access, Son Francisco, CA, 1992. Kill Your Televisio n, The N orth Miami Cen ter for Con temporary Art, Miomi, FL, 1992 . The Ann Arbor Film Festivol, Ann Arbor, MI, 199 1 The Sinking Creek Film Festival, Noshville, TN, 1990. High Definition: A Show of Contemporory Video, The North Miami Center for Contemporory A rt , Miami, FL, 1990.

Reviews, Publications and Catalogs: "Video Art," by Helen Koh en, Th e Miami Herald, Miami, FL, 1990.

Education: B.S., Communications, University of Miami, Cora l Gables, FL, 1989.

Exhibition Checktist: Turtle Dreams, 1990, film /videotape, 4 3/4 min· utes .


Scott Hirschberg

New York, New York

My work is very much about the world we live in, and how we live in it. I work with video, painting, and mixed media projects. With each I wish to communi­ cate the essentially sacred nature of life. Often times this is accomplished by depicting the degraded state of the environment by reminding us that our loss of vital connection with nature has enabled us to destroy it, and that ulti­ mately we are only destroying our­ selves. My art remains hopeful, how­ ever, that we will perceive of the need for a shift in our thinking and our rela­ tionship with the environment. And we will continue

,

.~ •

--• • •

..0 _

_

Selected Exhibitions: Artists Speak Against the War, Art in General, New York, NY 1990. Four person exhibition, PARTS Gallery, Minneapo­ lis, MN, 1990. Foot in the Door, Minneapolis Institute of Arts, Minneapolis, MN, 1990. Recycling America, Speedboat Gallery, 51. Paul, MN, 1989. Recent Paintings, Boliau Memorial Gallery, Northfield, MN, 1988.

Scott Hirschberg, Still from Spring Fever in New York.

Awards: Art Director of the Year Award, New York Univer­ sity for work on David Kaplan's Little Suck-a­

Thumb.

Education: BA, Carleton College, Northfield, MN, 1986.

Exhibition Checklist: Spring Fever in New York, 1993, videotape, 10 minutes.

t4


Stacey Jones

New York, New York

Mine is an art that often reflects a view of the individual as one who does not experience himself as the active agent in his grasp of the world. This piece in particular conveys 0 sense of being overwhelmed and suggests man ' s in­ ability to control events. His dominion over nature is as tenuous as a line traced in the sond in the face of a rising tide. Selected Exhibitions: Materials for Gro wth , Arlscape '92 , Baltimore, MD, 1992 . Confinements, Fine Arls Gallery, University of Maryland, Baltimore, MD, 1992 . Stacey Jones , Andrea Ruggieri Gallery, Washing· ton , DC , 1991 Window Installations, TUllle Gallery, McDonagh School, McDonogh, MD, 1990. Other Rooms, Kunstraum Project, Morgan Annex, Washington, DC, 1990. Ob;ects D'Art, Hand Workshop, Richmond , VA, 1990.

S'acey Janes, End 01th e W orld, Part I, 1992, mi xed media, 31 x 4 3 x 25 inches .

Reviews, Publications, and Catalogs: "UMBC Art Exhibit Bridges Sc ulpture and Architec· ture," by John Dorsey, The Baltimore Sun, Balti· more, MD, April 17 1992 . "Keeping Up with the Joneses," by Ali ce Thorson, City Paper, Wa shington , DC , May 24 , 1991 "Melancholia," by Lenore Miller, New Art Exam· iner, Washington, DC, March 1991 "Report from Washington : DC Dreaming ," by J. W Mahoney, Art in America, N ew York , NY February 1991 'Other Rooms," by Patrick finnigan, Sculpture, Washington, DC , September/ October 1990. "The Shope of Blackboard Memories," by Paul Richerd, The Washington Po st, Washington , DC , June 2, 1990. Exhibition Checklist: End of the World, Port I, 1992, mixed media, 31 x 43 x 25 inches.

15


Sant Subagh K. Khalsa Distress Signals is a body of work which combines landscape imagery with vari­ ous forms and methods for relaying messages asking for assistance. Thi s includes Morse code, and various signs and symbols. Objects and icon s of worship and prayer are also used to send a call to a higher source. The work is my callout to the human race for awareness, consciousness, and respon­ sibility towards the environment/ecol­ ogy of the planet. The Sacred Breath is a meditation environment which focuses on the rela­ tionship between trees and their gift of oxygen which sustains human life. The mixed media installation includes a lung shaped altarpiece with a photograph of the trunk and branches of a tree . On the altar below sits test tubes filled with materials representing the elements of earth, air, water, and fire. On a smaller wooden altar sits a Prayer Book, resem­ bling a Tibetan prayer book, contain­ ing photographs of trees with the words " inhale" and " exhale" on each image. All are invited to interact with the work, sit, handle the prayer book, and medi­ tate.

San Bernardino, California

Selected Exhibitions: Arid Walers , UMC Fine Arts Gallery, University of Coloro do, Boulder, CO, 1993. land Revisiled, The Art Works , Riverside, CA, 1993. Smog: A Matter of life and Breath, Californi a Museum of Photography, Riverside, CA, 1992. The Country Between Us, Huntington Gallery, Massachusetts College of Art, Boston, MA, 1992. Photo Salon, Turner/ Krull Ga llery, Los Angeles, CA,1992 . What Have We Done?, Film in the Cities, Saint Paul, MN, 1991 Reviews, Publications, and Catalogs: " Natural Elements," by Devoroh Knoff, Artweek, 24:4 , Februory 18 , 1993 . "Art that Intim ates Noture," by Devorah Knoff, The Press Enterprise, Riverside, CA, January 19, 1993. "Smog A Motter of Life and Breath ," by Judith Spiegel, New Art Examiner, December 1992 . " Issues and Comments, " by Dowson and Manches­ ter, Review, San Francisco, CA. September/ October 1992. " Bracing and Original Landscapes by Women, " by Kelly Wi se, BasIon Globe, March 4, 1992 . Frame/Work - Southern California Portfolio 1991 Catalog, los Angeles Center for Pho tographic Studies. Sant Subagh K. Khalsa, Dislress Signal, si lver gelatin prints, 24 x 24 inches.

Education: M.F.A., California State University, Fullerton, CA, 1990. M.A., California State University, Fullerton, CA, 1983 . B.FA, Maryland Institute College of Art, Balti · more, MD, 1973.

Exhibition Checklist: Distress Signal, 1992, silver gelatin prints, 24 x 24 inches. The Sacred Breath, 1992, mixed mediums, 72 x 36 x 60 inches.

16


Robert Lawrence

Minneapolis, Minnesota

3 Scripts for Performance is an uncon­ ventional meditation on environmental issues . The tape uses a language that was common in " early video" but is virtually unheard today It is minimal and conceptual. My interest is not in the 4 1/2 minute running time of the tape, but rather in the projected "perfor­ mances" outside the video display I think of the tape as a "raster sign" pointing to metaphoric activities in "the real world." In that sense the tape is a kind of t.v commercial, or maybe a public service announcement. It is part of an ongoing series of video, sculp­ ture, installation and 2D work dealing with our discou rses on nature. Selected Exhibitions: Athens Internationa l Film Video Festival, A thens Film Center , Athens, O H, 1993. US. Super 8 Film and Video Festivo'- Rutgers Film Cen ter, Rutgers, NJ, 1993. Film and Video Showcase, Wa lker Art Center. Minneapolis, MN, 1992. Tendin g 10 Code, Pyramid Atlantic, Washington , DC, 1992 . Pla nls and Animals, Minneapolis Institute of Art, Minneapolis, MN, 1991 Video Arl Goes to th e Movies, The Kitchen, New York, NY 1990.

Robert lawre nce , Still from 3 Scripts for Performance.

17

Reviews, Pubtications, and Catalogs: "Plants and Animals," by J Arginteono, Arts Maga­ zine, Minneapolis, MN, May 1991 "Native Band, " by D. Hellecksan, St. Paul Pioneer Press, SI. Paul, MN , June 1991 "Critic's Choice," by Mary Abbe, Slar Tribune, Minneapoli s, MN, May 1991 "Human N ature," by Laurie l ee, Minnesota Doily, Minneapolis, MN, May 199 1 "Volumes," by A. Fi scher, Arls Magazine, M inne­ apoli s, MN, March 1990.

Educatian: M.FA , University of California, La Jolla, CA, 1987 BA , University of California, Berkeley, CA, 1983.

Exhibition Checklist: 3 Scripts for Performance, 1992, videotape, 4 1/2 minutes.


Lori Mac

Portland, Oregon

My recent work, Travel N otes , is a diary; a book of photographs and writ­ ing from travel s in the western United States. I traveled alone to wilderness areas, multi-use areas and National Parks, looking closely at myself, the place and the experience. I am inter­ ested in the land and how it is perceived and used. I could use words like extrac­ tion or ecology. I want to be honest. I love my tent. I think of words like spon ge or microscope or jellyfish . I am inter­ ested in small pieces of the big picture ; everyday life mixed w ith dirt and sky It is my hope to share personal ideas which I can only find and express through thi s work.

Reviews, Publications, and Catalogs: "C learcut," Foundation for Deep Ecology, Son Francisco, CA, 1993. " Women 's Art," by Randy Grogg, The Oregonian, Portland , OR , March 19 1993 .

Education: B.S., University of Utah, Sa lt Lake City, UT, 1982 .

Exhibition Checklist: Travel Notes page 4 , 1993 , silver gelatin prints with found objects and te xt, 24 x 20 inches. Travel Notes page 5, 1993, silver gela tin prints with found objects and tex t, 24 x 20 inches. Travel Notes page 9, 1993, si lver ge latin prints and text, 24 x 20 inches . Travel Notes page 21 1993 , silver gelatin prints wi th found objects, 24 x 20 inches . Travel Notes page 22, 1993, silver gelatin prints and text, 24 x 20 inches . Travel N otes page 25, 1993 , si lver gelatin pri nts w ith found ob jec ts and text, 24 x 20 inches.

Selected Exhibitions: Travel Notes, White Gallery, Portland, OR, 1993 . Red Light / Green Light, Comerawork Ga tl ery, Portland , OR, 1992.

Open Juried Photographic Exhibition, Long Beach Art A ssocia tion, Long Beach , CA, 1991

Open Juried Exhibition, Long Beach Art Associa ­ tion , Long Beach, CA, 1990 .

Red Light / Green Lig ht, University of Ca liforn ia , Berkeley extension, So n Francisco, CA, 1990.

LACPS Annual Members Exhibition, Los Angeles Center for Photographic Studie s, Los Angeles, CA, 1989 . Current Works 1989, Society for Contemporary Photography, Kansas City, MO, 1989 . Lori Moc, Trovel NOles

page 25, 1993, silver gelatin print and lex t,

2A x

20 inche, .

\~llhnUI h,llln).!.1 nq~.II I \l· 11111'.1.1 111 1 Int' f('.tI

18

.....

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Richard Olderman I have always had a bewildered and curious fascination with the stuffed wild­ life I would discover encased behind transparency in Ihe various nalural his­ tory museums I would explore as a child. This particular experience, the deli berale presentation of a beast of the wild in an almost fairy tale setting, continues to this day . The discovery that the photographic image of this encoun­ ter provides an even greater degree of entrancement has encouraged me 10 explore further The quiet contempla­ tion of the photograph, the seeing of the hide, hair, and feathers of various ani­ mals depieled, reveals a sensation of life in the eyes of glass and a quiel sti rri ng in the constructed a nd arranged pose. Here is Ihe point for me: to presenllo you the possibility that the spirit of a once free roaming , living creature can be seen and heart-felt most clearly in a photographic repre senta tion of its like­ ness; and Ihat this once proud being, stitched, stuffed, wired, and so carefully arranged behind glass , can so easily be rec o rded on Ihe emulsion in my camera. In this case, it is the photo­ graphic image Ihat holds and illumi­ nates the spirit of the deceased animal, not ils display I have always felt there was something trying to make contael as I peered into those arlificial environ­ ments something nat to be seen with the eye somelhing still alive.

Richard O lderman, Jaguar, from the se ri es A Visual Study of on Un-Notural His tory, 1993, silver gelatin print, 16 x 20 in che s.

19

WilmeHe, Illinois

Education: M .F.A .. Art Institute of Chicago, Chicago, IL, 1972.

Exhibition Checklist: Bear from the series A Visual Study of an Un· Notural History, 1993, silve r gelatin print, 16 x 20 inches.

Cheetah from the series A Visual Study of an Un· Natural History, 1993, silver gelatin print, 16 x 20 inches . Jaguar, from the series A Visual Study o f an Un· Na tural History, 1993 , si lver gelatin print. 16 x 20 inches. Lion from the series A Visual Study of an Un·Natural History, 1993, silver gelatin print, 16 x 20 in ches . Orangutan from the series A Visual Study of on Un· Natural History, 1993 , silver gelatin print, 16 x 20 inc hes.


EdYlard Pardee I sculpt, deconstruct, and reconstruct elements until it appears that a new kind of innate reality exists . I reinforce this reality by utilizing the gestalt idea of closure the mind's completion of what the eye receives ; the nature of parts is determined by and is secondary to the whole. Further, I photograph my sculp­ tures close up, in a familiar setting, or from an intimate point of view More reinforcement comes from creating the sharp focus, hyper-realistic style that is common in modern food photography It is also essential that the final images be life size. My photographs contain paradoxi­ cal information, a familiar reality has been revoked. There is a momentary uncertainty, a perceptual dilemma, in which the viewer may be taken in to translate the riddle. This is my intent. However, my aim is not solely tromp I' oeil; to create aesthetic illusions which may deceive and entertain. My sculptures are imaginarycreations of gene reconstruction . They are brave new designs of genetic refinement, the engineering of species. They are better nature through chemistry However, I hope these transgenic parodies will serve to transport the viewer to other meanings and concerns. I want my work to provoke questions about the direction and ecological uncertainties of genetic engineering.

Fairfax, California

Selected Exhibitions: All California luried Exhibition, Son Diego Mu· seum 01 Art, San Diego, CA, 1993. Imagination , Suffolk Community Col lege, Riverhead, NY 1993. Aesthetics '93, McPherson College, McPherson, KS, 1993. Food Art, Redding Museum 01 Art and History, Redding, CA, 1993. 20th International Art Exhibition, Georgia Tech University, Atlanta, GA, 1993. Photowork '93, Barrett House Galleries, Poughkeepsie, NY 1993.

Reviews, Publications, and Catalogs: "Imagination Gets Its Just Rewards," by Helen A. Harrison, New York Times, March 14, 1993 . "Social Statements Strong in Photo Exhibit," by James G. Shine, Daily Freeman, Poughkeepsie, NY February 19 1993. "Aesthetics '93," by Estelle Renberger, Friendship Hall Gallery, McPherson College, McPherson, KS, April 1 1993 .

Education: B.S., University 01 New Hoven, New Hoven, CT 1962 .

Exhibition Checklist: Potent Pending, 1993 , Cibachrome print, 14 x 17 inches. Bel/erNature Through Chemistry, 1992 , Ektacolor print, 1 1 x 14 inches. Camano, 1992, Cibachrome print, 17 x 14 inches. Cucumber With Added Fiber, 1992, Cibachrame print, 14 x 17 inches. Gene Design VF 45, Unbreakable Egg, 1992, Ektacalor print, 17 x 14 inches.

Edward Pardee, Gene

Design VF 45,

Unbreakable Egg.

1992, Eklacalar prinl, 17 x 14 inches.

L -_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _---'


Michael Schell Lingering-Epiphany is a portra it of deserts: Mojave, the slums, the Cross, and the quiet mind. To some, a desert is a place with an arid climate. To me, it is anyplace where life persi sts in a harsh environment. The Mojave Desert, like the rest of the American We st, projects an overwhelm­ ing sense of loss. A loss of innocence, since it has been defiled by roads , cities and aqueducts, and a loss of history, since its rich past is visible only in trace s: an abandoned mine or an In­ dian rock drawing. It is a place which thousands cross every day in cars and trucks, but where one is still profoundly alone the perfect metaphor for the pastmodern condition.

a cross-shaped tombstone appears, in­ congruously, in a desert gully The music relents and softens, suggesting the quiescence one often feels during a religious experience, or while alone in the desert. If romanticism refers not so much to a 19th century aesthetic paradigm, but to what Monroe Beardsley has called a "striving for the infinite," then one can readily note the traditional association of romanticism with science and scien­ tific research. It is the effort to penetrate nature, to unlock divine secrets, that reveals the romantic side of scientific inquiry Certainly scientists, like roman­ tic poets, begin with the empirical ob­ servation, of people or of nature. And scores of scientists, Einstein and Poincare among them , have emphasized the aesthetic relationship between scientist and subject matter, declaring the need for beauty and elegance in any formula or theory. This link between science and nature is the basis of a dialectic used through­ out Higher Laws. Synthesized images of sc ientists and technicians working in research laboratories alternate with outdoor scenes shot in the American West. The dichotomy is brought to­ gether at the end by an extended se­ quence shot during a service expedi­ tion to a remote seismometer in the Sierra Nevada.

The squa lor of our urban deserts also speaks of loss and abandonment: the street people standing around , the boarded up buildings all signs of past lives and affluence. Likewise, the Cross is a symbol of the past, of an antiquated religious co ntext whose eloquence is long lost. Splattered acrass the urban landscape, it is no longer an object of particular significance, but is simply part of the environment, like the sage­ brush which blankets the West. The imagery unfold s in an austere pallet of monochrome yellows, browns and reds. The accompanying score is a collage of distant sounds: trains, birds, metal instruments. It is harsh and am­ biguous music. At the end of the work,

Michael Schell, Slill from

Lingering-Epiphany.

New York, New York

The accompanying score employs a more abstract dialectic, alternating be­ tween two ideas: a rhetorical "density" music using digitally synthesized sounds, and a lyrical, sinuous music performed by a solo viola (the viola sounds are part of the recorded fabric and are not performed live). These non-referential sounds act as a sort of aural substrate for the imagery A ground perhaps, but not relegated to background status as a result. The title Higher Laws suggests divine truths as well as empirical theories. But the specific reference is to Thoreau: "We are most interested when sci­ ence reports what men already know practically or instinctively, for that alone is a true humanity, or account of human experience." Today, scientists warn us of ozone depletion, global warming and the im­ pending ecological collapse of our planet. Amid this is the hope of a new global environmental consciousness. I would like Higher Laws to be viewed within the context of this hope. Setected Exhibitions: 77 Hz, Roulelte, New York, NY 1993. Three Rivers Arts Festival, Piltsbu rgh , PA, 1993 . Image Union, WTTW-TV Chicago, Il, 1993. Artem{ls} Rising, The Kilchen, New York , NY 1993. Amigo Art Show, Cenler for Exploralory & Percep­ tual Art, Buffalo, NY 1992 . Amigo Art Show, Dallas Video Fes/ival, Dallas, TX, 1992 . Exhibition Checklist: Higher Laws, 1990, videa/ape, I I minutes. Lingering-Epiphany, 1990, videotape, I I 3/ 4 minutes.

21


Judith Selby Novato, California There are so many things we do n' t see anymore : categories of di sregard , chemical imbalances, the extinction of species. The earth is ac hing fro m th e burden . Now crushed in gutters, blown d ow n alleyways , hidden in bushes, I find the fil ters and stained shred s o f cigarette s. I have gathered cigarette butts in parking lots, on the steps o f formidable government building s, in places o f pri stine beauty, everywhere, everywhere. TOBACCO QUIPU is the visual doc u­ mentation of an art and healing cer­ emony Each day for te n minutes for thirty days, I performed a ritual to cl eanse the earth . From various locat ions in the San Franc isco Bay Area , I collected di scarded cigarette butts. Using the Inca quipu as a model, I strung the butts on long colored wires. Between each group of ten, a pattern of beads was added to indicate the day of the week. Found objects were used to denote the site of collection. When displayed, the strands of the quipu are arranged to form a 12 foot diameter circle. Cigarette companies were queried about the biodegradibility of the mate­ rials they use. Those written respo nses to my request for information along with my journal describing the co llecting process are adjuncts to the installati o n. TOBACCO QUIPUwith its empha sis on tobacco and its abuses highlights th e need fo r eco logical aw areness in re­ gards to thi s pervasive social problem .

Selected Exhibitions: 8us Shelter Ga llery. San Fra ncisco M useum 01 Modern Art. Sa n Fra ncisco. CA, 1993 . Vin ti: One Year, University Ga llery, University 01 Delaware, Newo rk, DE , 1993 . Vinti: One Year, N ational A IDS Conven tion, San Froncisco, CA, 199 1 Aging: The Process, The Perception, The FOR UM Gallery. Ja mestown, N Y 1990 the subject is AIDS, Nexus Contemporary Art Cen ter, A tlanta, GA, 1989 . Crocker Kingsley, Crocker Art Museum, Sacra­ mento, CA, 1988 .

Reviews , Publications, and Catalogs: "Landmarks Along City Street s." by Reena Ja na, Artweek, Son Jose, CA, 1992 . " Healing Thro ugh Art," by M irka Knas ter, Ea st­ West Journal, Boston, MA, 1990. " Fight Aga inst A IDS," by Li z Lufkin , Sa n Francisco Chronicle, Sa n Fra nci sco , CA, 1989. " Vin ti : A Por tra it o f Hope," by Ca th erine Se iden berg, San Francisco Se ntinel, So n Fran­ cisco, CA, 1989 .

Education: M .A , Sa n Fran cisco Sta te Un iversity, So n Fran­ cisco, CA, 1994 . 8A, Pitze r College, Cla remon t, CA, 1972 .

Exhibition Checklist:

TOBACCO QUIPU, 1992, mixed mediums, 12 feet in diameter.

Judi th Selby, TOBACCO QUIPU, t 992, mixed med iums, t 2 'eet in diameter.


AcknoYlledgements

The FORUM Gallery presents signifi­ cant and professionally executed solo and group exhibitions of contemporary art and related programs, events, and services to both the artist and nonartist residents of Chautauqua County, NY, and the surrounding area. Our pro­ grams focus primarily on the leading edge of today's art. Through our pro­ grams, we strive to stimulate discussion, to challenge assumptions, and to present artwork relevant to the social and cul­ tural life of the general and special populations within our service area.

The FORUM Gallery at Jamestown Community College P O. Box 20 Jamestown, New York 14702-0020 (716) 665-9107

Catalog design: NeoText

The FORUM Gallery is located on the campus of Jamestown Community Col­ lege at 525 Falconer Street.

Catalog printing: Studio Printing,

Gallery hours: Tuesday Saturday 11 a.m. 5 p.m. (Thursday 11 a.m. 8 p.m.)

Editorial/production assistants: Michelle Henry, Amy Rice, and D. Clarke Smith

Jamestown, New York Unless otherwise noted, all photographs were provided by the artists. All dimensions are listed in inches with height preceding width, then depth.

Gallery staff: Programs of The FORUM Gallery are funded in part by the Jamestown Com­ munity College Foundation; the Faculty Student Association at JCC, The Chautauqua Region Community Foun­ dation; The Ralph C. Sheldon Founda­ tion; and our corporate and individual members.

Dan R. Talley, Director Michelle Henry, Assistant

The FORUM Gallery is an Associate Member of the National Association of Artists Organizations.

Student assistants: Amy Rice D. Clarke Smith

Gallery development committee: Nancy Bargar Renate Bob William Disbro Mike Fitzpatrick Robert Hagstrom John Hiester Cletus Johnson Gloria Lasser Alberto Rey Lois Strickler Mary Beth Zacher

© 1993, The FORUM Gallery


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The FORU M Gallery

Artists Consider the Environment  

artist consider the environment

Artists Consider the Environment  

artist consider the environment