NOVEMBER .... "'.~. . . . . . ' -
Conterrporory Art Cooter
Nexus Gallery StaH: David Deis Julia A. Fenton Ann Holcomb Dan R. Talley, Director
Nexus Gallery Interns: Julia De Leon E. K. Huckaby Jill Jordan Lee Schaeffer Elizabeth Simmons Caroline Young Catalog design by Pattie Belle Hastings.
Cover design inspired by Tyler Stallings' Warning Project.
漏 1988, Nexus Contemporary Art Center
608 Ralph McGill Boulevard
Atlanta, Georgia 30312
Nexus Contemporary Art Center is pleased to present Comment, an exhibition of social and political art. This exhibition is the culmination of an enormous amount of hard work on the part of the participating artists, the gallery staff, gallery interns, volunteers, and the entire support staff of Nexus Contemporary Art Center The exhibition reflects Nexus' ongoing commitment to present art that is important to our time and relevant to our lives. On behalf of the Board of Directors and Board of Advisors of Nexus Contemporary Art Center, I would like to thank everyone who has contributed their time, talent, funding, and energy to make this show a reality. Special thanks go to Dan R. Talley, Director of Nexus Gallery for developing and curating the exhibition and to the gallery staff, David Deis, Julia A. Fenton, and Ann Holcomb, for their extremely thoughtful and dedicated input into the realization of the exhibition. I would also like to commend Pattie Belle Hastings for her sensitive design and production work on this catalog. Finally, I would like to thank you, our audience, for your continued support and interest in the programs of Nexus Contemporary Art Center Louise E. Shaw
Words about Comment: A Curatorial Statement
Dan R. Talley
This exhibition is the outgrowth of a commitment to display some Arpilleras from the collection of Chilean poet Marjorie Agosin. The Arpilleras, essentially narrative tapestries that provide glimpses into the human rights violations inflicted by the Pinochet government, are produced by women in Chile from left-over yarn and other discarded materials. Agosin describes the pieces as being "born of necessity, created under conditions of intense human need." The pieces have a formal innocence similar to much American Primitive Art but are motivated by a commitment to communicate a collective frustration over that country's repressive government. The conviction in the work is startling and clear The decision to show the Arpilleras seemed to complement and further focus an already developing idea足 that of organizing a show around the notion of art as public address. The resulting exhibition attempts to examine the reduction or elaboration of political and social ideology into visual form. Ultimately, the specific content of the work in this exhibition is of less importance than the artist's assertion, through the act of making, that social/political issues have a profound influence on their lives and that a possibility for recourse exists ttl rough their art. Predictably, much of the work in Comment has a leftist twist (although one piece by a pseudonymous artist examines our "politically correct" assumptions). The style of the work in the show ranges from three dimensional cartooning to the extremely polished vocabulary of post-modern installations. And while some of ttle work in ttle exhibition functions in a straightforward manner similar to the Arpilleras, the majority of the work displays an art system savvy that mixes political point with artworld-ese in such a way as to partially re-route the work's "message," thus directing the viewer away from the "quick read" and into a more thoughtful and engaged interaction with the piece. The exhibition is culled from work submitted in response to a general "call for artists" who produce art that has "social or political content." This "call for artists" which was published in art periodicals locally, regionally, and nationally, produced tremendous response. Over 200 artists from the U.S. and Canada sent
material, some with letters of appreciation to Nexus for presenting such a show at a time when political apathy in this country seems to outweigh political activism. Invariably, when putting together a show such as this , several questions surface about the ability of art to create meaningful social change. Often with smug assuredness, critics claim that money spent on such exhibitions could be better used for direct social action . A related argument is that gallery exhibitions are essentially "preaching to the saved ." Both arguments seem constructed on a rather narrow idea of the function and possibilities of art. In a recent Atlanta lecture, Vito Acconci discussed his need to put his work into public spaces rather than gallery exhibitions, feeling that the galleries are too insulated from real world concerns and thus a less potent arena for political change or reaction. All such arguments imply that the function of art with political content is to produce a quantifiable change either in the viewer's outlook or in real world conditions. This inflated expectation seems to ignore art's subtler possibilities. It implies that politically sympathetic viewers can be written out of the equation and that the work's message is only effective if it finds and converts a neutral or antagonistic target. To consider art's possibilities so narrowly is to give up on the notion that art provides a much needed spiritually and emotionally uplifting experience that can focus attention, galvanize conviction , and reinforce the sympathetic viewer's belief system . These qualities are definitely needed in a world that seems so intent on quelling idealism.
Comment was chosen as the title for this exhibition because of its implication of "personal opinion" and its connotation of "casual remark." By linking this notion of linguistic informality with the formidable issues of war, media manipulation, world hunger, religious frauds, illegal immigration, teen age pregnancy, capital punishment, racism, abortion, dehumanizing urban developments, disease, economics, apartheid, child abuse, etc., a new syntax develops. In this revised construction the artist and viewer exert force on the issue-the issue becomes a malleable and dissectible subject. This renewed examination holds new perspectives and conceivably the possibility for new solutions. (A special note of thanks to Julia A. Fenton, Ann Holcomb, and Caroline Young for their dedication to this project and their much appreciated curatorial input. Also, my gratitude to Pattie Belle Hastings for her tireless work on this catalog.) D. T.
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Lutz Bacher, detail from "Speech," 1984-88, cibachrome, glass, and wood, each 16 by 20 by 2 in.
Nancy Bless, detail from "Mom Leaves Baby on Bus," 1988, offset posters, each 11 by 28 in.
Kimberly Burleigh, "Greeking," 1987, oil on canvas, 44 by 58 in.
Mark Clark, "She's Gone Out," 1988, photograph, wood, and paint, 16 by 27 by 1/2 in.
"" Margaret Crane and Jon Winet, "Untitled" (from "Baby on Board" series), 1987, mixed mediums, dimensions variable .
Ken Dixon, "Altarpiece for a Re-Naissance," 1986, oil on canvas, 82 by 80 in.
Michael A. Lucas, still from "Welcome Home," 1985, videotape.
Ken Light, "Victim of Bandits, San Ysidro, California," 1985, b/w silver gelatin print, 101/4 by 10 1/4 in.
Ken Light, "Indocumentados Discovered in the Trunk of a Car Abandoned by Their Coyote, San Ysidro, California," 1985, b/w silver gelatin print, 10 by 10 in.
~ Mery Lynn McCorkle, "Elizabeth at 11 was sexually molested by her family doctor She thought it was somehow her fault. He was 80 and respected." 1988, acrylic on paper, 37 1/4 by 29 in.
A. Lyn Miller, "Amok," 1987, oil and charcoal on canvas, 40 by 60 in.
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Maxine Olson , "Human Rights," 1985, oil on canvas, 65 by 89 in.
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Kristin Reed , from the series "Who are the Terrorists?," 1988, mixed mediums, 17 by 26 by 1/4 in.
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Connie Samaras, "Paranoid Delusions: With This Army We Will Only Win," 1987, photograph and text, 40 by 30 in.
Barbara Schreiber, "Riverfront Property," 1988, acrylic on paper, 25 by 40 in.
o Kevin T Kelly, "Study for 'Secret Service'," 1988, mixed mediums, 30 by 37 by 1 1/2 in.
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Susan L. Seniuk, "Campaigns Are the Hearts," 1987, acrylic on rag paper, 53 by 108 in.
.;;;. Stan Sharshal, "In this Place," 1988, laser copies on wood, variable dimensions.
William F Turcotte, detail of "Talk Jew," 1988, enamel paint on glass blocks, 7 blocks each 8 by 8 by 3 in.
.:;) TYMM, "Hostage," 1985, acrylic on canvas on board , 12 by 15 by 3/4 in.
Architectural Jihad, Atlanta , GA. Architectural Jihad: Aesthetic Holy Wars, is a coalition that publicizes acts of architeCture and urbanism, so as to generate a climate of critical reflection within the architectural profession , the world of politics, and the public at large. Most of the energies will be devoted to exposing so-called "bad moves," although attention will also be given to significant accomplishments, regardless of size or scope. A consortium of interests comprises the membership, including students of art, architecture, and design who wish to discover a better landscape for the building of a great city, professionals who are tired of having their talents and labors usurped by unqualified real-estate agents and advertising executives, and by long-time Atlanta landowners who feel that the recent tide of poorly-designed and poorly-zoned speculative development poses a threat to their personal property interests. -Architectural Jihad Q
Developers Kill Cities, 1988, offset posters. (llIus.)
Anne H. Arrasmith, Birmingham, Al. B.A. University of Alabama, Birmingham, AL, 1970. Selected Exhibitions:
"Works on Paper," (Arrasmith/Cabaniss), University of Montevallo, Montevallo,
AL, 1987' "Halma Invitational," Huntsville Museum of Art, Huntsville, AL, 1987' "CoffeltlWade/Arrasmith," Space 111 Birmingham, AL, 1987 Reviews, Publications, Catalogs: "Review," by James R. Nelson, The Birmingham News, Birmingham, AL, September 1987 Q
Strange Fruit-The Magnolia Tree, 1987-88, mixed mediums, dimensions variable.
Lutz Bacher, Berkeley, CA. Selected Exhibitions: "Corporate Crime/Malicious Mischief," Installation Gallery, San Diego, CA, and Media, San Francisco, CA, 1987-88;
The Final Meal is a commentary on the way society chooses to relate the execution of one of its members who has threatened its orderliness. After the reinstation of the death penalty in Texas , the newspapers would print a description of the final meals of those people being executed. In reading these accounts, information can be obtained as to the identity of the executed. The tradition of a final meal is nearly as old as that of execution as punishment. It is one of the last free choices one is able to make. It appears that it is likewise traditional to print a description of the final meals in th e newspapers as public information. From a sociological pOint of view, the meals are usually of common foods. In reading the accounts that were collected over approxi mately a two year period, one could make assumptions concerning the socia-economic levels, as well as perhaps ethnicity, of those being executed . Tortillas were often requested, as well as fried chicken, "Big Macs," and cereal. Unleavened bread was requested by one person . Often large amounts of food were ordered, but many times nothing or very little was eaten. Quiche, blackened red fish, or chocolate mousse were not ordered. -Jill Bedgood Q
The Final Meal, 1986, mixed mediums, 28 by 72 by 37 in.
Myfanwy Bekker-Williams, Aledo, TX.
New Mexico State Universtiy, Las Cruces, NM, 1976-77
Pretoria Technical College, South Africa, 1969.
"New Art Forms," Perception Gallery, Houston, TX, 1986;
"Transitions," William Campbell Contemporary Art Gallery,
Fort Worth , TX, 1980. Reviews, Publications, Catalogs:
"Review," Texas Monthly, Austin , TX, July 1988;
"Review," Dallas Morning News Magazine, Dallas, TX, 1987
I find a great misconception as to what constitutes serious art today. As a
working artist in the 80's, a time of no real dominant directional thrust worldwide,
I feel a freedom from conventional routes. To me, this is a renaissance creating
an inviting scenario. My concerns, presently, are what I am saying visually, how I
am saying it, and most importantly, why I am saying it. I am interested in
"Recoding Sexuality," Houston Center for Photography, Houston, TX, 1986; "Photographs and Words," Museum of Modern Art, San Francisco, CA, 1981. Reviews, Publications, Catalogs:
Corporate Crime, Installation Gallery Publication, San Diego, CA, 1987'
Theory and Flesh, Theory and Flesh (publisher), San Francisco, CA,
1984-86. My usual concern is with the construction of socially mediated subjectivity in which exchange of power between men is choreographed as normative heterosexuality and for which real media events, advertising and pornography are the limit texts. I see my work on sexual representation and the media icon or star system, along with the tabloid publication THEORY & FLESH, as vehicles for analyzing narrated reality constructed from confession, diagnosis, and denial. At the present time, I am especially aware of the double taboo of taboo subjects by (taboo) women. -Lutz Bacher '"" Speech, 1984-88, cibachrome, glass, and wood, each 16 by 20 by 2 in. (1IIus.) '"" Jokes, 1988, photographs on aluminum, each 30 by 40 in. Jill Bedgood, Austin, TX. M.F.A. University of Texas, Austin, TX, 1983. B.F.A. Louisiana State University, Baton Rouge, LA, 1976. Selected Exhibitions: "Art of the Madonna," St. Patrick's Church, Chicago, IL, and Zolla Lieberman Gallery, Chicago, IL, 1988; "Back to the Future," Lawndale Art and Performance Center, Houston, TX, (WCA Conference), 1988; "New Works," Laguna Gloria Art Museum, Austin, TX, 1987 Reviews, Publications, Catalogs: "Church Symbol Meets Modern Art," New York Times, New York, NY May 1, 1988; "Texas: Jill Bedgood-How to Get into the Modern: The Last Resort' " High Performance, Los Angeles, CA, Vol. 10, No.4, 1987
addressing total environments, as in a specific space, confined by walls, or if outdoors, by greenery. To create serious art is an extremely personal decision for the artist and usually a very private one. Therefore, it is almost impossible for most critics to distinguish between serious and whimsical work, especially in this renaissance-esque climate. It then remains our own personal responsibility to continue to be developmental and earnest in our private creative endeavors, and in our search for our own truth . Our collective creative process then becomes our history. -Myfanwy Bekker-Williams '"" River of Apartheid, 1988, acrylic on canvas and metal sheet, 76 by 100 by 3 in. Nancy Bless, CinCinnati, OH. M.F.A. Ohio State University, Columbus, OH, 1978. B.A. Scripps College, Claremont, CA, 1976. Selected Exhibitions:
"Holy War," Franklin Furnace, New York, NY, 1987
"Diet T.V.," C.E.P.A., Buffalo, NY 1985.
Reviews, Publications, Catalogs:
"Burnt Earth: Terra Cotta," by Maureen Bloomfield, Dialogue, 1986;
"Gallery in Transil: Photography Rides the Transit System," Photo Communique,
Buffalo, NY 1984. '"" Mom Leaves Baby on Bus, 1988, offset posters, each section 11 by 28 in. (III us.)
Kimberly Burleigh, Athens , OH. M.F.A. lndiana University, Bloomington , IN, 1980. B.F.A. Ohio University, Athens, OH, 1977 Selected Exhibitions:
"Of Plato's Cave," Greathouse, New York, NY, 1988;
"Kimberly Burleigh, " Feature, Chicago, IL, 1987;
"From the Files: Curator's Choice," Alternative Museum,
New York, NY 1987 Reviews, Publications, Catalogs: "Words Help Tell the Message in Painting ," Chicago Tribune, Chicago, IL, September 25, 1987' "Review," New Art Examiner, Chicago, ll.JWashington, DC, October 1986. t;;;>
Greeking, 1987 oil on canvas, 44 by 58 in. (1IIus.)
Ned Cartledge, Atlanta , GA.
Boys High School, Atlanta, GA, 1935.
Selected Exhibitions: "Ned Cartledge: Comment and Satire," Georgia Museum of Art, Athens, GA, 1987; "Atlanta in France," The Sorbonne, Paris, and Refectoire des Jacobins, Toulouse, 1985; "Return Comment: Ned Cartledge," UUCA Gallery, Atlanta, GA, 1985. Reviews , Publications, Catalogs:
Ned Cartledge, Nexus Press, Atlanta, GA, 1986;
American Folk Art of the Twentieth Century, Rizzoli, New York, NY 1984.
During the United States' involvement in Viet Nam, Cartledge carved his first
political work. Though he is regarded by some as a folk artist because of his lack
of formal art training, the artist still insists that he is merely a woodcarver.
Someone has written of Cartledge's work: "It is not Grandma Moses revisited.
Rather, he creates sharp, sometimes biting, sometimes humorous, but always
pOinted social commentary on the contemporary scene."
-excerpted from a flyer about Ned Cartledge
For the Lack of an Education , 1988, oil on wood, 18 by 18 by 51 /2 in.
The Fundamentalist, 1987 oil on wood, 19 by 6 by 8 in.
Did our parents love us and do we love ourselves? Most modern concepts of love trap us by making others responsible for our happiness. The promise of love is liberation, so why does it often involve bondage? My work explores the choices people make that either free them to love or bind them to uncertainty. -Mark Clark t;;;>
She's Gone Out, 1988, photograph, wood , and paint, 16 by 27 by 1/2 in. (1IIus.)
Listen , I'm Tired, 1988, photograph, wood, and paint, 17 by 22 3/4 by 3/4 in.
Crane + Winet, Berkeley, CA. Margaret Crane Graduate studies, San Francisco State University, San Francisco, CA, 1982-83. B.A. San Francisco State University, San Francisco, CA, 1981 . Jon Wi net M.A. San Francisco State University, San Francisco, CA, 1973. B.A. University of California, Berkeley, CA, 1968. Selected Collaborative Exhibitions:
"Wall to Wall," New Langton Arts, San Francisco, CA. 1988;
"Edict and Episode," Installation, San Diego, CA, 1987;
"Jon WinetlMargaret Crane," Media, San Francisco, CA, 1986.
Reviews , Publications, Catalogs:
"Wall to Wall: Intelligence on the Wall," by Maria Porges, Artweek,
Oakland , CA, May 7 1988;
"Produce and Destroy: Picturing Consumerist Fascism," by Mark Durant,
Shift, San Francisco, CA, November 1988.
Time/Life, 1988, mixed mediums, 120 by 96 in.
Michel Demanche , Mechanicsville, MD. M.F.A. North Texas State University, Denton , TX, 1980. B.F.A. University of Texas at Arlington, 1975. Selected Exhibitions:
"Michel Demanche," Texas Women's University, Denton , TX,1988;
Selected Chilean Arpilleras
(From the collection of Marjorie Agosin, Wellesley, MA.)
Chilean Marjorie Agosin , Assistant Professor of Spanish Literature at Wellesley
College, Wellesley, Massachusetts, has authored several books of poetry.
Additionally, she is the author of Scraps of Life: Chilean Arpilleras, published by
Red Sea Press, Trenton, NJ, 1987 The product of eight years of study, research ,
and reflection, the book is a factual look into the lives of the "arpilleristas,"
Chilean women who produce small appliqued and embroidered wall hangings that
account and protest the human rights violations of the now lame-duck Pinochet
'"" Arpilleras, various artists, various dates, mixed mediums, various dimensions. Mark Clark, Winston-Salem , NC. B.F.A. Western Carolina University, Cullowhee, NC, 1983. Selected Exhibitions:
"Red Clay Survey," Huntsville Museum of Art, Huntsville, AL, 1988;
"Polaroids," S.E.C.C.A., Winston-Salem, NC, 1988;
"Love Letters," Pleasant Artware, Winston-Salem, NC, 1985.
Reviews, Publications, Catalogs:
"Polaroids," Winston-Salem Journal, Winston-Salem, NC, 1988;
"Three Cameras," Spectator Magazine, Greensboro, NC, 1985.
There is beauty in sadness.
Hank Williams meets Edvard Munch.
Dialogue is the core of most of my work. I collect things which people say about
their lives and then create images that comment on them . The best poetry is
candid human speech. I am interested in how people describe and deal with the
absence or presence of love in their lives....
I want to show the places we inhabit when struggling with ourselves and others.
"Dance Macabre with Joseph Davis," St. Mary's College of Maryland, St. Mary's City, MD, 1988; "lntroductions/88," Judy Yoen Gallery, 1988. Reviews, Publications, Catalogs:
"New Talent," Ultra, March 1988;
"Spotlight on a Woman's World," Dallas Morning News, Dallas, TX, October1988.
...Recently I have moved towards temporal images in association with my partner
Joseph A. Davis, III. Conceptually we are still using a variety of appropriated
images to re-emphasize the futility of current world behavior. The series entitled
"Exercises in Futility," is made up of seven site-specific installations (video) and
associated performances. These works are planned to be shown in conjunction
with the works from the series Uncle Sam's Home Defense.
'"" Uncle Sam's Home Defense: Steel Shelter, 1985, mixed mediums, 96 by 120 by 20 in. Ken Dixon, Lubbock, lX. M.F.A. Arkansas University at Fayetteville, AK, 1968. B.A. Drury College, Springfield, MO, 1965. Selected Exhibitions:
"International Invitational," Maastrict, Holland, 1987'
"Ken Dixon," San Antonio Art Institute, San Antonio, TX, 1986;
"Texas Currents," San Antonio Art Institute, San Antonio, TX, 1985.
Reviews, Publications, Catalogs: "Disparate Elements...Compelling Combinations," Forum, Kansas City, MO, September 1986; "Review," San Antonio Express, San Antonio, TX, July 1986. '"" Altarpiece for a Re-Naissance , 1986, oil on canvas, 82 by 80 in. (1IIus.)
Peter Goin, Reno, NV.
M.A., M.F.A. University of Iowa, Iowa City, lA, 1975-76.
B.A. Ha'mline University, St. Paul, MN , 1973. Selected Exhibitions:
"Nuclear Landscapes," Visual Studies Workshop, Rochester, NY 1988;
"Contemporary American Landscape," Houston Center for Photography,
Houston, TX, 1988; "Tracking the Line: A Photographic Survey of the Mexican/American Border," Sierra Nevada Museum of Art, Reno, NV, 1988. Reviews, Publications, Catalogs:
"Markings Along the Line," Artweek, Oakland, CA, 1988;
" Tracing the Line," University of Nevada Library, Reno, NV, 1987
The military presence in Nevada is pervasive, including many target and air-zone
ranges as well as the Nevada Test Site.
Bravo 20 Bombing Range, is a short interpretation of one specific site in the
Carson Sink north of Fallon, Nevada. The Stillwater Wildlife Refuge, located just to
the south of Bravo 20, recently experienced a massive waterfowl and fish kill
estimated to exceed the tens of millions. Scattered bomb fragments, completely
destroyed vehicles (including school buses), and live missiles litter the torn playa.
Lone Rock Mountain reduced to a 500 foot tall mound of rubble punctuates the
dangerous terrain . Bravo 20 has been exploited as a bombing site for over forty
years. A contrasting and often sympathetic audio tract combined with
accentuating titles demonstrate our cultural attitudes about the western landscape,
using Bravo 20 as an ironic example.
Bravo 20 Bombing Range, 1988, videotape, running time 6:30.
Richard Green, Atlanta, GA. B.F.A. Atlanta School of Art, Atlanta, GA, 1970. Selected Exhibitions:
"Atlanta '88," National Democratic Convention, Atlanta, GA, 1988;
"Atlanta Arts Festival," Atlanta, GA, 1987'
"Mattress Factory," Atlanta, GA, 1987
lincoln, .0005, 1988, acrylic on paper, 23 by 29 in.
A.J., .0020 , 1988, acrylic on paper, 23 by 29 in.
The concept of creating icons and iconoclastic imagery for the next generation has
been the basis of my most recent work. The intention of this work lies primarily in
confronting the viewer on an intellectual and visceral level simultaneously through
the juxtaposition of related and seemingly unrelated images. Through the use of
both invented and appropriated media imagery, I attempt to create tableaux laden
with metaphoric references which transcend the initial reaction to the work so that
various levels of interpretation may occur. Therefore, the response the work
which elicits from the viewer (whether favorable or not) becomes important. I consider the work to be a success if it is met with vehement outrage or disgust
because I generally depict subjects which evoke the same feelings in me. It is not
my intention to create pretty or passive work, but to assault the viewer visually and
make him respond. Art should be made for "strong eyes" and when my work is
reacted to with ambivalence, I regard it as a failure.
On a superficial level, my work has been compared to the Pop artists of the 60's,
but I consider the work to be Post-Pop or "Pop with a bite" because it thematically
makes allegorical references to subjects as diverse as politics, religion, history,
and literature. Personalities who have been aggrandized by the media and have in
essence become icons for today's culture are often the target of my art.
Debunking these myths and creating my own iconography for tomorrow's culture
is the moving factor in my making of art.
-Kevin T. Kelly
Study for 'Secret Service' 1988, mixed mediums, 30 by 37 by 1 1/2 in. (III us.) Study for 'The Great American Televangelical Sideshow' 1988, mixed mediums, 30 by 37 by 1 in.
Wayne Kline, Atlanta, GA.
Master Printer, Tamarind Institute, Albuquerque, NM, 1983.
M.F.A. Florida State University, Tallahassee, FL, 1981. B.F.A. Atlanta College of Art, Atlanta, GA, 1977 Selected Exhibitions:
"Atlanta College of Art Faculty Show," ACA Gallery, Atlanta, GA, 1985-88;
"Nexus Political Art Show," Nexus Contemporary Art Center, Atlanta,
GA, 1984; "Reflex and Reaction, Viet Nam Veterans," Washington Project for the Arts, Washington, DC, 1983.
1988, acrylic on canvas, 42 by 60 by 1/2 in.
Note 88, 1988, acrylic on canvas, 42 by 60 by 1/2 in.
Tendai Johnson, Athens, GA. B.F.A. Candidate, University of Georgia, Athens , GA, 1988. Selected Exhibitions:
"Azania," The Downstairs, Athens, GA, 1988;
"Scholarship Exhibition ," University of Georgia, Athens, GA, 1987·
"Arte Contemporanea Mostra, " Palazzo Casali, Cortona, Italy, 1987
Reviews, Publications , Catalogs:
Review: Scholarship Exhibition, University of Georgia, Athens, GA, 1987
My childhood as a white boy growing up in Zimbabwe while under a white racist
minority regime has had an impact on my work. My present study dwells on the
human condition which is unavoidably influenced by its immediate political and
social environment. South Africa today faces the immoral and brutal truths of
apartheid, and it is in this environment that my work finds visual formulation
through personal experience and frustration. Aluta Continua!
Hour in Soweto, 1988, oil on canvas, 50 by 40 in.
1988, mixed mediums, 24 by 30 in.
Kevin T Kelly, Ludlow, KY
B.F.A. Art Academy of Cincinnati, Cincinnati, OH, 1987 Selected Exhibitions:
"8-8-88," A.B. Closson Gallery, Cincinnati , OH, 1988;
"Exhibit 280," Huntington Museum of Art, Huntington, WV, 1988;
"Fact, Fiction and Fantasy," University of Tennessee, Knoxville, TN, 1987
Reviews, Publications, Catalogs: "Impact of Information on the Individual," Art Academy News, Cincinnati, OH, 1988; Exhibit 280 (catalog), Huntington Museum of Art, Huntington, WV, 1988.
Reviews, Publications, Catalogs: "Atlanta's Rolling Stone Press Gathers Ink," The Atlanta Journal/ Constitution, Atlanta, GA, December 1987; "Lithography Alive and Well Under Atlanta Artist's Care, " The Gwinnett Daily News, Lawrenceville, GA, April 1988. <¥>
In Loving Memory, 1986, lithograph, 31 by 22 in.
The Innocent, 1987 lithograph, 30 by 33 in.
Paul E. Kohl, Baltimore, MD . M.A. Purdue University, West Lafayette, IN, 1983. B.F.A. San Francisco Art Institute, San Francisco, CA, 1977 Selected Exhibitions:
"Collectors Show," Maryland Art Place, Baltimore, MD, 1988;
"Paul E. Kohl," College of Notre Dame, Baltimore, MD, 1987·
"New Directions in Photography," Fogg Museum, Cambridge, MA, 1975.
Reviews, Publications, Catalogs:
Third Rail, Third Rail Publications, Cambridge, MA, 1984;
Camera Mainichi, Asahi Shinbun, Tokyo, Japan, 1978.
This work is from an ongoing series of pictures taken at Civil War battle sites that
are combined with writing about my experiences in Viet Nam where I served in the
Army Medical Corps in 1967-68.
As most people understand by now, the experience of war causes irreversible
changes in those to whom it happens. I have memories now that include blood,
bone, and people broken into bits like cheap plastic dolls. These memories are as
much a part of me as my hair. They do not go away. When I walk the land of the
battle sites, I can feel the same memories trapped in the dirt. We are both
captured by the past.
My concern in making these pictures is not to extol the macho virtues of the
warrior/soldier, but to attempt to come to terms with the sadness and suffering
that I saw and that continues to live inside me and others who were there-no
matter which side of the political fence they fall on now. I would like the pictures
to also be a warning to those that don't know. War is not heroic. It is full of crime,
both large and small. Either of which will haunt you forever.
-Paul E. Kohl
Why We Lost the War, 1988, series of four photographs with text, each 20 by 24 in.
Ledwith + Bogan, Atlanta, GA. Irene Ledwith B.F.A. Georgia State University, Atlanta, GA, 1983. Selected Exhibitions:
"Witness of the Time," U.I.C.A. Grand Rapids, MI , 1988;
The Dog Bite (artist's book) , Nexus Press, Atlanta, GA, 1988.
Neill Bogan B.A. Georgia State University, Atlanta, GA, 1980. Selected Exhibitions:
"The Fisherman Sings to the Fish," (performance in collaboration with Chip
Epsten), Arts Festival of Atlanta, Atlanta, GA, 1988; "Circle," Lyndon House, Athens, GA, 1987; "Remember. She Loved Them Both in DiHerent Ways," (performance in collaboration with David KoHman), Atlanta Biennale, Nexus Contemporary Art Center, Atlanta, GA, 1986. Reviews, Publications, Catalogs:
"Theatre," Artforum, New York, NY May 1987
"Rat and Duck: New Work," Banner Herald, Athens, GA, May 1982.
I was asked by Art Pluribus Unum in Atlanta to produce a poster during the 1988
Democratic Convention. Neill Bogan and I collaborated on the poster and chose
as its subject developer/architect John Portman. Portman became a focus during
the convention not only because of the extravagant parties he threw, but because
the city's janitors (whose pay and conditions rank the second lowest in the
country after Newark, NJ) were striking against him. Bogan and I originally
wanted to comment on the strike by these people who clean his structures.
However, in developing this poster we couldn't help but see a relationship
between Portman's treatment of the janitors and his architecture's treatment of
the people who live in the city and make up its life.
(Artist's note: ...John Portman is credited as the originator of the "Atrium" hotel, responsible for the cityscapes of Atlanta, Houston, and Dallas, and recenlly began construction on the largest single western investment in the People's Republic of China.)-I.L. Q
Fortifying the City, 1988, oHset poster, 17 by 20 in .
Michael A. Lucas, Columbus, OH. M.F.A. Ohio University, Athens, OH, 1985. M.A. Morehead State University, Morehead, KY 1983. B.F.A. Wayne State UniverSity, Detroit, MI , 1977 Selected Exhibitions:
"Five Ohio Voices," Spaces, Cleveland , OH, 1988;
"Social Life," Center for Photography, Woodstock, NY, 1988;
"Ohio Selections," Dayton Art Institute, Dayton, OH, 1987
Reviews, Publications, Catalogs: Ohio Selection 87, Dayton Art Institute, Dayton, OH, 1987'
"Ohio Selection 87 " New Art Examiner, Chicago, IL, December 1987
Welcome Home focuses on satellite dish owners in Southeast Ohio. Considered an Appalachian region , this area is composed of a rural population . The steep hills and the absence of metropolitan areas means poor television reception, and low population density means no cable access. As a result, many people are buying satellite dishes and can now access more than 100 stations from all over the United States, Canada, and Mexico. I wanted to investigate how this saturation of media might be affecting these people's lives. From personal observation, I reached several conclusions about media saturation . For many of these people, the sheer abundance of information that television provided had both an opening and a closing eHect on their lives. No matter what information was accessible, people honed in on what was most interesting to them and became fixated with it. Finally, even with the wealth of information available, most people utilized television as a source of entertainment and a means of escape from the real world, concentrating on things of little importance. -Michael A. Lucas Q
Welcome Home, 1985, videotape, running time 30:00. (llIus.)
Mery Lynn McCorkle, Avondale Estates, GA. M.F.A. University of Oregon, Eugene, OR, 1979. B.A. University of Georgia, Athens, GA, 1970. Selected Exhibitions:
"Recent Work," Image Gallery, Portland , OR , 1988;
"Learning to Live Alone," Hult Center for Performing Arts, Eugene, OR , 1987'
"A Naive Person's Guide to 1984," Scripps College, Claremont, CA, 1984.
Ken light, Vallejo, CA. B.A. Ohio University, Athens, OH, 1973. Selected Exhibitions:
"To the.Promised Land," Gallery at the University of Oregon, Eugene, OR, 1988;
"Group Show," Burden Gallery at Aperture, New York, NY 1988.
"With These Hands," Universad de Sinola, Mexico, 1987
Reviews, Publications, Catalogs:
Ken Light: To the Promised Land, Aperture, New York, NY 1988;
Ken Light: With These Hands, (essay by Paula DiPerna, introduction by Cesar
Chavez), Pilgrim Press, New York, NY 1986. o La Novia, Tequixtetec, Oaxaca, 1986, blw silver gelatin print, 10 by 10 in. Q Q
Feet of the Campesino, Oaxaca, 1986, blw silver gelatin print, 10 by 10 in. Los Compadres, San Juan, Yolotetec, Oaxaci\ 1986, blw silver gelatin print, 10 by 10 in.
o Mother and Nursing Child, Acaquizatan, Oaxaca, 1986, b/w silver
Reviews, Publications, Catalogs:
Forty Oregon Printmakers (catalog), Oregon Arts Commission, Salem, OR, 1988;
"Learning to Live Alone," What 's Happening, Eugene, OR, 1987
For me one of the primary functions of art is to bear witness. It is far easier to
bear witness to the beauty, the sumptuous colors, the textures of our world than
to the suffering, the brutality. Sometimes events will not allow the easier choice.
I started doing paintings about child molestation in early 1987 after hearing about
the reinstatement with back pay of a fellow community college instructor who had
been convicted of sexually molesting a nine year old child the year before. I was
outraged . I showed the first paintings of the series at the Fall 1987 faculty show
and received strong criticism for being so insensitive to my fellow instructor's
situation . At that same time too many people, male and female, told me their
experiences as children. The pain and the humiliation of the actual molestations
were compounded for them by disbelief followed by enforced silence. The pain of
sexual violence does not heal with silence. The damage that is done is for life....
-Mery Lynn McCorkle
gelatin print, 10 by 10 1/4 in. o Mother and Daughter Washing Clothes for New Year, Oaxaca,
1986, blw silver gelatin print, 10114 by 10 1/4 in. Q Q
Caught Running from La Migra, San Ysidro, CA, 1985, b/w silver gelatin print, 10 1/2 by 10 1/2 in.
o Indocumentados Discovered in the Trunk of a Car Abandoned by
Their Coyote, San Ysidro, CA, 1985, blw silver gelatin print, 10 by 10 in . (llIus.) Q
Victim of Bandits, San Ysidro, CA, 1985, b/w silver gelatin print, 10114 by 10 1/4 in . (IIlus.) 'Mi Vida,' Young Couple Hiding from La Migra, San Ysidro, CA, 1986, blw silver gelatin print, 10 by 10 in.
o Apprehended Father and Son in the Back of an INS Truck, San
Ysidro, CA, 1986, b/w silver gelatin print, 10 by 10 in. Q
La linea, US-Mexican Border, 1985, blw silver gelatin print, 10 1/4 by101/4in.
Robert Thompson's Plaything, Age 9: Thompson with a 1986 felony conviction for sexual abuse, continues teaching math at Lane Community College in Eugene, Oregon. 1988, acrylic on paper, 371 14 by 29 in. Elizabeth at11 was sexually molested by her family doctor. She thought it was somehow her faull. He was 80 and respected. 1988, acrylic on paper, 37 1/4 by 29 in. (IIlus.)
David Merkel, Rochester, NY B.F.A. University of Wisconsin, 1976. Selected Exhibitions:
"Contemporary Icons and Explorations," Davenport Museum of Art,
Davenport, lA, 1988; "Desire/Destiny," Mission Gallery, New York, NY, 1987' "Social Terrrorism ," Blue Gallery, Boston , MA, 1987 Reviews, Publications, Catalogs: "Media-Driven 'Truths' Receive Examination," Forum, Kansas City Artist's Coalition, May 1988; "Visual Art Theatre," Art Papers, Atlanta, GA, 1988. My work reflects an ongoing interest in the cultural effects of institutionalized power. Since 1985, the work has focused on exploring the power of the media and its impact on our lives. The media, in its consumer forms, has not only shown the ability to create consumer needs and desires, but also to shape and define our cultural self-image through the manner in which it interprets and presents information to us. The fact that we rely on the same medium to supply us with both fact and fantasy has resulted in a blurring of the distinction between the two, and the increasing difficulty we have in distinguishing the authentic from the artificial. The works, whether object or installation, are intended to act as catalysts for the re-examination of the media-driven "truths" that surround us; the role that they have come to play in our lives and the ex1ent of our dependence on them. -David Merkel
Andrew Polk, Tucson, AZ. M.F.A. Indiana University, Bloomington, IN, 1976. B.F.A. Memphis State University, Memphis, TN , 1972. Selected Exhibitions:
"Large Works on Paper," University of Washington , Seattle, WA, 1988;
"63rd Annual International Exhibition," The Print Club, Philadelphia,
PA,1987; "Figuratively Speaking ," Neville-Sargent Gallery, Chicago, IL, 1986. Reviews, Publications, Catalogs:
"Man as Machine, " Tucson Weekly, Tucson, AZ., November 1987;
"Prints Exhibit Princely," Eagle-Times, Claremont, NH , October 1987
Home Abortion, 1988, acrylic and oil stick on paper, 114 by 94 in.
Kristin Reed, New York, NY M.F.A. Pratt Institute, Brooklyn, NY 1982. B.F.A. Massachusetts College of Art, Boston, MA, 1979. Selected Exhibitions:
"Ex1inction of the Guinea Pig," C.E.P.A. Gallery, Buffalo, NY 1987'
"Urban Images of the 80's," Exit Art Gallery, New York, NY, 1987'
"Mass: Group Material," New Museum, New York, NY 1986.
Reviews, Publications, Catalogs:
"An Immovable Feast," by Grace Glueck, The New York Times, July 1988;
"Hot Art in the Summertime," by Lucy Lippard, In These Times, Chicago, IL,
A. Lyn Miller, Valencia, CA. M.F.A. Candidate, California Institute of the Arts, Valencia, CA, 1989. B.F.A. Rhode Island School of Design, Providence, RI, 1983.
For some time my work has involved painting or drawing with the use of serial photographic imagery. The underlying theme is the importance of consciousness in today's world of media mind control and illusory freedoms which breed complacency in the populace and power elites of the worst kind . Programming and context is carefully designed by those whose will it is to manipulate us and to keep us unconscious, while they carry out their lucrative plan to rape and plunder the earth.
"Second Skin, " Callenwolde Fine Art Center, Atlanta, GA, 1987'
"Mattress Group Exhibition," Atlanta Arts Festival, Atlanta, GA, 1986;
"Power and Gender," 161 Mangum St, Atlanta, GA, 1985.
At a certain point in my artistic development I began to be more concerned about expressing what I was thinking about, rather than the natural world I saw in front of me. This, in retrospective, came about largely as the result of developing political ideas through analysis, reflection, and awareness of the society I had
Cultural Terrorism , 1987 mixed mediums, 26 by 26 by 2 in.
Undisguised Fear, 1986, mixed mediums, 16 by 60 by 4 in.
Reviews, Publications, Catalogs:
"Reviews," Artforum, New York, NY, March 1988;
"Second Skin ," Art Papers, Atlanta, GA, January/February 1988.
Amok is about the struggle to fight off the desires of letting one's instincts control
them . in this case, the painting is of a personal battle. My addiction to brownies
and the fight against it. The left panel... which is a painted surface, is a
reproduction of a 1942 David Stone Martin poster made for the U.S. Office of War
Information. The right is a rendered enlargement of a deluxe brownie. Both
images are highly stylized and project art as propaganda, but the left panel was an
image used to stir the emotions, while the right side is a large illustration of a
treat-large enough to express gluttony.
-A. Lyn Miller
Amok, 1987 oil and charcoal on canvas, 40 by 60 in. (III us.)
Maxine Olson, Athens, GA. M.A. California State University, Fresno, CA, 1975. B.A. California State Unviersity, Fresno, CA, 1973. Selected Exhibitions:
"Mostra," Palazzo Vagnotti , Cortona, Italy, 1988;
"American Realism," William Sawyer Gallery, San Francisco, CA, 1985;
"Oakland Museum Invitational," Oakland , CA, 1981 .
Reviews, Publications, Catalogs: Sex: Female, Occupation: Artist (catalog), Nick Treadwill, Kent, England, 1984; 'Sociological Considerations,' Artweek, Oakland, CA, November 1982. The painting Human Rights, resulted from a Gay Rights Parade in San Francisco. Because of the women and blacks as well as gays, the painting draws attention to the common struggle we are all having to be recognized and accepted for our differences. -Maxine Olson t::;;>
Human Rights, 1985, oil on canvas, 65 by 89 in. (1IIus.)
been observing. A synthesis began to happen between what I saw, what I thought, and what I had learned to do with materials. The instinctual drive to express visually and emotionally became augmented by and inseparable from a personal commitment to a struggle for social change. -Kristin Reed t::;;>
Who are the Terrorists?, 1988, series of three images, mixed mediums, 17 by 26 by 1/4 in. (1IIus.)
Connie Samaras, Ann Arbor, MI. M.F.A. Eastern Michigan University, Ypsilanti, MI, 1980. B.F.A. University of New Mexico, Albuquerque, NM, 1972. Selected Exhibitions:
"Paranoid Delusions," Ithaca College, Ithaca, NY, 1988;
"Money/Power," Franklin Furnace, New York, NY, 1987'
"Liberty and Justice," The Alternative Museum, New York, NY 1986.
Reviews, Publications, Catalogs:
WWIII Comics, New York, NY 1987;
"Industrial Detroit, " by Delores Slowinski, Dialogue, 1986.
For many years I've incorporated a narrative text both in my static and video
work. The text to these pieces resembles much of my past work in that the
language is accessible because it mimics both a conversational voice and
elements of pop culture like pulp novels, t.v. dialogue, etc. The texts, a
combination of both my imagination and a great deal of research, are a blend of
fiction and fact. Fiction and reality are blurred in order to encourage the viewer to
question the manner in which she or he constructs her or his belief system . The
photographs, which serve as "evidence" to the text, allow the viewer to scrutinize
electronic information in a static rather than fleeting context. This, in turn , allows
her or him to examine the ways in which the medium of television itself conflates
fiction and fact. Another important aspect to these photocollages is the element
of overlay. In television, the image often overrides the narrative. Here, the text is
positioned in an equal if not dominant pOSition, thus eliciting a re-reading of both
verbal and visual information.
Paranoid Delusions: Young Urban Professionals, 1986, photo collage, 30 by 35 in . Paranoid Delusions: With This Army We Will Only Win, 1987 photo collage, 40 by 30 in. (1IIus.)
Michael Schell, Brooklyn, NY M.A. The University of Iowa, Iowa City, lA, 1985. B.M. University of Southern California, Los Angeles, CA, 1983. Selected Exhibitions: "16th Annual Electronic Music Plus Festival ," Composers' Resource, Atlanta, GA, 1988; "II Biennial International Video Festival," Museum of Modern Art, Medellin, Columbia, 1988; "Video Screening," DCTV, New York, NY Reviews, Publications, Catalogs: "Comment" by Michael Schell, Minnesota Composers' Forum, S!. Paul, MN , 1987' International Youth Film Festival (catalog), Turin, Italy, 1986. Clearly, Selfsame is about men , and our self-images, our personae. But it is also about all kinds of presentations, the contrast between the intimate self and the packaged self, and the ultimate realization that the sophistication of the latter does not erase the former. Beneath the unsullied facade of Wall Street executives lie men who indulge in the universal rituals of dressing and undressing, defecating, masturbating. The rigid code of dress and behavior promulgated by the chronically tie-clad agents demonstrates the disqualification of the body: it is relegated to the circulation of signs, which is the realm of all produced and consumed objects. I consider Selfsame a music video, provided one can divest that term of its commercial connotations. The imagery and sound are my own, and both employ elaborate analog and digital synthesis. The work is dedicated to filmmaker Tom Chomon!. -Michael Schell
Selfsame , 1987 videotape, running time 9:00.
"Two Sculptors: Georgiades/Smith," Space 111 , Birmingham, AL, 1988; "1986 Whirlpool Foundation, " Traveling Exhibition, 1986.
Reviews , Publications, Catalogs: "Two Sculptors, " by James R. Nelson, Birmingham News, Birmingham AL, May 1988. .:;>
Global Game, 1985-86, steel and paper, 54 by 54 by 6 in.
Plaque for a Building, 1985, cast bronze, 6 by 15 by 2 in .
Tyler Stallings, Atlanta, GA. B.F.A. Candidate, Atlanta College of Art, Atlanta, GA, 1990. Selected Exhibitions: "Art In Transit," Atlanta Arts Festival, Atlanta, GA, 1988;
"Bananaland," Seven Stages, Atlanta, GA, 1988;
"Impulse to Order," North Arts Center Gallery, Atlanta, GA, 1988.
The warning tape creates a clashing visual code: the tape is used as a warning
signal, the gallery space is thought to be passive- usually a mere "showroom"
for artwork. When the warning tape is superimposed on the gallery space its
meaning and authority are destablized by pluralizing its meaning which is done
with the introduction of a foreign element (tape) . A spectacle that comments on
social conditions is not being made but the space itself is being exposed .
Warning Project, 1988, vinyl tape, dimensions variable.
Daniel B. Tisdale , New York, NY Otis Art Institute of Parsons School of Design, Los Angeles, CA, 1984-85. B.A. California State Polytechnic University, Pomona, CA, 1983.
Barbara Schreiber, Avondale Estates, GA. B.F.A. Maryland Institute College of Art, Baltimore, MD , 1977
Selected Exhibitions: "Everson Museum Biennial," Everson Museum, Everson, NY 1988; "The New Codes," Richard/Bennett Gallery, Los Angeles, CA, 1988; "Too Strong, Too Black," Artists Space, New York, NY 1988.
Selected Exhibitions: "The Scenery," Callanwolde Fine Art Center, Atlanta, GA, 1987; "Atlanta in France," The Sorbonne, Paris, and Refectoire des Jacobins, Toulouse, 1985; "Anxiety Fair," High Museum of Art, Atlanta, GA, 1981.
Reviews, Publications, Catalogs: "Review," by Christopher Knight, Los Angeles Times, Los Angeles, CA, July 8, 1988; "Exit and Entrances," by Carlo McCormick, Artforum, New York, NY January 1988.
Reviews, Publications, Catalogs: "The Scenery: Works on Paper by Barbara Schreiber," by Barbara McKenzie, Atlanta Journal/Constitution, May 1987' "Barbara Schreiber: To Hell in a Handbasket," by Joyce and Angel Medina, Art Papers, Atlanta, GA, March/April 1985. &;? &;?
Riverfront Property, 1988, acrylic on paper, 25 by 40 in. (1IIus.) Traffic Reports: In the Road (Bombs, Money, Democrats, Ceiling Tiles, Barbed Wire, Fire, Chickens, A Domestic Disturbance) 1988, acrylic on paper, 8 images each 7 1/2 by 3 in.
Susan L. Seniuk, Seattle , WA. M.F.A. University of Washington, Seattle, WA, 1986. B.F.A. University of Michigan, Ann Arbor, MI , 1973.
My work in both the past and the present has always dealt with the interpretation of the images from the stand point of the viewer. I create the images, while the viewer creates the dialogue (verbal or nonverbal) that defines the piece for themselves. Part of the intrigue of my work, for me, has been the irony of grafting images from life (television, magazines, or wherever) and reforming these images into a new and/or different way of seeing and interpreting these images. -Daniel B. Tisdale &;?
Frederic (Post Plantation Pop), 1988, photocopy and graphite, 14by97/8in. FDA (Post Plantation Pop) , 1988, photocopy and graphite, 17 by 11 in. Self-Portrait (Post Plantation Pop), 1988, photocopy and graphite, 161/2 by 91/2 in.
Selected Exhibitions: "Specific Gravity," Cornish Institute, Seattle, WA, 1988; "Susan Seniuk," Eastern Washington University Gallery, Cheney, WA,1987' "Opening Show," The Significant Form Gallery, Seattle, WA, 1986
William F. Turcotte, Roswell, GA. M.F.A. Candidate, Georgia State University, Atlanta, GA, 1989. B.F.A. Atlanta College of Art, Atlanta, GA, 1983.
Reviews, Publications, Catalogs: "Coded Readings, " by Ron Glowen, Artweek, Oakland, CA, November 21 1987
"Mat1ress Factory," Performance Gallery, Atlanta, GA, 1986;
"Student Exhibition ," Atlanta College of Art, Atlanta, GA, 1983.
Campaigns Are the Hearts, 1987 acrylic on rag paper, 53 by 108 in. (llIus.)
Stan Sharshal, Atlanta, GA. M.F.A. Hartford Art School, Hartford, CT 1975. B.F.A. Atlanta College of Art, Atlanta, GA, 1973. &;?
In this Place, 1988, laser copies on wood, variable dimensions. (1IIus.)
A. Lamar Smith, Birmingham, AL. M.F.A. The School of the Art Institute of Chicago, Chicago, IL, 1984. B.F.A. The University of Montevallo, Montevallo, AL, 1981 . Selected Exhibitions: "Spotlight '88," Moody Gallery, University of Alabama, Tuscaloosa, AL, 1988;
Mother would take her hand and point, "....there, and over there." I would look
over there, and over there, and wherever the hand pointed-but I didn't see the
Jew Hater. I saw trees and grass. On the street mother would nod, "him" and
"her" I looked at the hims and hers and I didn't see Jew Haters. I saw Mrs. June
and Mr. Ambrose. Not Haters-they were my best friends' Mothers and Fathers.
My Mother was smart. She saw more than me. I was blind. I had to be.
-William F Turcotte
Talk Jew, 1988, enamel paint on glass blocks, 7 blocks each 8 by 8 by 3 in. (llIus.)
TYMM, New York, NY
(Tim Y9hn and Mary Malott)
M.F.A. University of Texas, Austin, TX . • B.A. Radcliffe College, Cambridge, MA.• Exhibitions:
"Worlds Colliding ," Carnegie-Mellon University, Pittsburg , PA, 1988;
"Grottos and Fountains," Trabis/MacAfee Gallery, New York, NY 1988.
Reviews, Publications, Catalogs:
"Review," Art in America, New York, NY May 1988;
"Review," The New York Times, New York, NY November 8, 1985.
B.A. Columbia College, New York, NY • Collaborative Exhibition (TYMM):"Examination of Contamination," Parker/Smalley Gallery, New York, NY 1985. • Dates omitted at artists' request. &:;>
Hostage, 1985, acrylic on canvas on board, 12 by 15 by 3/4 in. (1IIus.)
Bitburg, 1985, acrylic on canvas on board, 12 by 15 by 3/4 in .
Archbishop, 1985, acrylic on canvas on board, 15 by 12 by 3/4 in .
Mark Verabioff, Brooklyn , NY F.A. Diploma, Nova Scotia College of Art And Design, Halifax, Canada, 1985. Selected Exhibitions:
"Other Versions (Perversions)," Artists Space, New York, NY, 1988;
"Signaux Poetiques," Walter Phillips Gallery, Banff, Canada, 1986;
"Video Canada, " Museum Ludwig, Koln, Federal Republic of
Germany, 1986. Reviews, Publications, Catalogs: Other Versions (Perversions) (catalog) , Artists Space, New York, NY, 1988; "Life Like It," Canadian Art, Toronto, Canada, Winter 1986.
The questions in my piece do not provide this singular, community experience, but are valid questions concerning the "community," coming to this show. I'm hoping to provide a more active response and, perhaps, just a little discussion . -Jessie Washington-Lincoln &:;>
A Test for Liberals, 1988, text, 8 works each 16 by 20 in.
• This is a fictitious representation developed by an artist who wishes to remain anonymous.
Terry Wolverton , Los Angeles, CA.
Feminist Studio Workshop, Los Angeles, CA, 1976-78.
"dis-a-buse: to free from a misconception or delusion, " The Woman's
Building , Los Angeles, CA, 1986; "Excavations," Barnsdall Park Gallery Theater, Los Angeles, CA, 1985; "Familiar," Social and Public Art Resource Center, Venice, CA, 1984. Reviews, Publications, Catalogs: "Review: dis-a-buse," by Linda Burnham, High Performance, Los Angeles, CA, 1986; "Review: Excavations," by Jeanne Shanin, Artweek, Oakland, CA, 1985. The videotape, Me and My Shadow, grew out of a longer performance piece of the same name which was performed in Los Angeles, San Diego, and New York City in 1984. That performance in turn grew out of four years of working intensively with a group of other white women on healing and combatting our own racism .... 1would hope that people viewing the tape will identify with my stories and start remembering their own early encounters with racism. I hope they will grieve their lost innocence, feel compassion for themselves and other white people, stop feeling guilty and start feeling empowered. Is that too much to ask? -Terry Wolverton &:;>
Me and My Shadow, 1987 videotape, running time 20:00.
A narrative fantasy that incorporates emblematic codes in the representation of "red" Canadian and "blue" American gay lips, along with "red/blue" bilateral! bisexuals. Keyed text scanned in the form of clauses and airport codes, isolates all performers in distributed geographic location. A disjunctive audio track connecied with seductive visual effects, creates this dream of a desired nation. A Canadian lip broadcasts "....it has been arranged by the Intermale and Underdykes of the United States of America and Canada, to unite in the union of the world 's first totally gay nation....come on now....cross the 49th.... " The duel conquest for nationalism within their own subculture is the fantasy. -Mark Verabioff ~
Crossing the 49th, 1985, videotape, running time 9:45.
Jessie Washington-Lincoln, SI. Louis , MO.' M.A. Yale University, New Haven, CT, 1978. B.A. Harvard University, Cambridge, MA, 1975. Selected Exhibitions: "Aforementioned Visions and 24 Ashtrays," Street Number Gallery, Los Angeles, CA, 1987; "Between Ceiling Fans and Roaches," Nouveau Gallery, San Francisco, CA, 1986; "Blah Blah as Relevant," Hogart Gallery of Art, New York, NY 1985. Reviews, Publications, Catalogs:
"Cartoon Balloons as Metaphor: The Real DaDa," Optics Quarterly, 1987'
"Living by Paris Time on the Mississippi," The Artist's Revie w, 1985.
The reason for this piece is to provide both a humorous and hard realization of certain specific, everyday political realities that confront many of us. Plus, quite possibly, it could contain issues facing us in the future. It is very hard for me to believe the current state between politically aware men and women will continue forever. This piece is in direct contrast with much political art dealing with more general and accepted issues such as nuclear war, South Africa, established women 's issues and so on. The conclusions of these kinds of pieces, most of the time, become a collective and agreeable experience for the viewers.
Contributing support for Nexus programming provided by the National Endowment for the Arts, Institute of Museum Services, Georgia Council for the Arts, Bureau of Cultural Affairs-City of Atlanta and Fulton County Arts Council-Fulton County Commission. Special thanks to: AT&T, Ivan Allen Co., Atlanta Journal and Constitution, American Express Foundation, Bank South, Carter & Associates, Coca-Cola Foundation, CONTEL, Long Aldrich & Norman, Magnum Production Services, Portman Properties, Rockefeller Foundation , Ida A. Ryan Charitable Trust, Shepard Convention Services, Southern Bell. Additional support provided by: Arthur Anderson & Co., Camera Country USA, Deloitte, Haskins & Sells, Dowling Architects, Emory University/Art Department, Fay Gold Gallery, Fidelity National Bank, Great American Gallery, Graphics Industries, King & Spalding, Peachtree Arts Society, Pella, Inc., Showcase Photographics, Stevens & Wilkinson, Inc., Winter Construction Company.
DECEMBER 23, 1988 .... "'.~ ...... '- ~-I"I A 'I"IV~' ,_ ~ ..... ~. Nexus Gallery StaH: David Deis Julia A. Fenton Ann Holcomb Conterrporory...