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,

THE

FORUM

GALLERY AT JAMESTOWN COMMUNITY COLLEGE


DIANNE MALLEY

KELLY MCKAIG

TETSU OKUHARA

DAVID SEILER

PRISCILLA

A

SMITH

KAORU TOHARA

JAMES WILLIAMS

Ko. YAMADA

SELECTED BY JEFFREY HOONE

JANUARY

30

DIRECTOR,

LIGHT WORK,

THROUGH FEBRUARY

SYRACUSE,

24, 1 996

THE FORUM GALLERY AT JAMESTOWN COMMUNITY COLLEGE

NEW

YORK


2


JEFFREY HOONE

5

GREINER

6

DIANNE MALLEY

8

WILLIAM K

KELLY MCKAIG

1 0

TETSU OKUHARA

1 2

DAVID SEILER

1 4

SMITH

1 6

KAORU TOHARA

1 8

PRISCILLA A

JAMES WILLIAMS

20

Ko YAMADA

22

ACKNOWLEDGEMENTS

2 4


This is the sixth annual presentation of the PhotoNominal exhibition. In previous years, the exhibition has been selected by Christopher Scoates, director of the Atlanta College of Art Gallery in Atlanta, Georgia; Charles A. Wright, Jr., a freelance curator from Rochester New York; Carlos Gutierrez-Solana, former director of Artists Space in New York City; Susan Krane, direc­ tor of 20th century art at the High Museum of Art in Atlanta, Georgia; and Sandy Skoglund, an artist rec­ ognized internationally for her elab­ orately-staged photoworks. Each exhibition has had a uniquely differ­ ent character defined by the range of work submitted and by the aes­ thetic predilections of the person selecting the work.

The FORUM Gallery is extremely pleased to present PhotoNominal '96, an exhibition examining a cross­ section of approaches to both the content and methods of contempo­ rary photography. Over 275 artists from the U.S. and Canada submitted over 2 ,50P images to be considered for this year 's exhibition. Our juror this year Jeffrey Hoone, director of Light Work in Syracuse, New York, had the daunting task of reducing this enormous field to a manageable selection of work that could fit into our smallish exhibition space . Mr Hoone met the challenge with a curatorial clarity that has produced an extraordinarily stimulating exhibi­ tion. The nine artists selected by Mr Hoone for this year's show explore issues and themes that spring from a range of formal and ideological positions. While the show affords a great deal of visual diversity, a sense of adventure and discovery imbues each and every piece .

We are grateful to Jeffrey for his curatorial commitment and to the nine participating artists for their creativity and cooperation.

4


PhotoNominal '96 represents one of the oldest genres of art presenta­ tions the juried exhibition. From the venerable salons of Europe to the alternative Art Spaces in the United States, juried exhibitions have become a time-honored tradi­ tion. The wide open submission pol­ icy of PhotoNominal '96, like the best of previous juried exhibitions, drew a variety of work from across the United States and Cariada. The work selected for the exhibition reflects a diversity of approaches to the medium of photography, from straightforward documentary images to three-dimensional photo­ sculptures. Yet within the diverse choice of materials and methods employed by each artist, there are similarities that resonate in each of the artists' work. it wasn't until after I had made the final selections and had the opportunity to look at all the work together that I realized how each artist had expressed a sense of dislocation or uncertainty.

5

At their best, artists reflect the sen­ sibilities of a culture by asking the right questions. The' artists in this exhibition have created tangible visual repres~ntations of the chal­ lenges we face as a society. Byask­ ing the right questions, they also give us the hope of finding the right answers.


SELECTED EXHIBITIONS:

<.

H Oftf EERONT, DU KE UNr VE,R SITY,

DURHAM, N C, 199 5 . R EC EN T A co ISqIONS , N EW O RLEAN S M US EUM OF ART

N EW O RLE NS, LA , 1995.

ExHIBITION CHECKLIST' RED

CRossl WHITE Box, RACELAND, LA, 1990,

C-PAINT

24 X 28 INCHES. BINGO BOARD,

NEAR BOUTTE,

LA,

The cemetery series, titled The Reposed, is a group of color pho­ tographs made over the past five years which, in part, explore some of the unique characteristics, construc­ tions, and objects of graves and burial places in Southern Louisiana. My pho­ tographs are not intended to be an his­ torical documentation of these places, for that task would be anthropological in nature and would deserve extensive research and cataloging. These im­ ages are factually informative, but they are interpretations of the objects in their environment.

1990 C-PRINT

24 X 28 INCHES. BLUE HEART, HOUMA,

LA,

1989, C-PRINT, 24 X 28 INCHES. BROKEN HEART,

NEW

ORLEANS,

LA,

1990 C-PRINT

28 X 24 INCHES. WHITE WALL,

GREENWOO D CEMETERY,

NEW C-PRINT

ORLEANS,

LA,

1989, 24 X 28 INCHES.

FRAME WITH RED LIPS,

NEW C-PRI~T

ORLEANS,

LA.

1990, 28 X 24 INCHES.

The ornaments, fixtures, drawings, flowers, pictures, trinkets, and written words I find are the wonderful ways homage is paid and/or the existence of a loved one or friend is remembered. To this extent these images represent disintegration, rejuvenation, and life cycles. Additionally, they are docu­ ments of some of the ways, in our Southern culture, loved ones are remembered and eulogized, Viewing these images, we are left to provide our own fiction as to the circum­ stances of these things and places.

6

RECENT PHOTOGRAPHS,

LOUISIANA STATE UNIVERSITY,

BATON ROUGE,LA, 1995. WILLIA"" EGGLESTON/ WILLIAM GREINER,

CONTEMPORARY

A RTS

CENTER,

NEW ORLEANS, LA, 1993. PHOTOGRAPHS FROM THE COLLECTION,

MUSEUM OF MOD ERN A AT

NEW YORK, NY

1993.

THE REPOSED, RIVERSIDE MU SEUM,

BATON ROUGE, LA, 1993. REVIEWS, PUBLICATIONS, CATALOGS: THE SUBURBAN SOUTH, EDITED BY ALEX HARRIS,

NEW YORK, NY

SPRING, 1996

BLUE SKY # 14, BLUE SKY GALLERY, PORTLAND, OR, SPRING, 1995. W,LLIAM K. GREINER PHOTOGRAPHER, 30 MINUTE DOCUMENTARY, P.B.S. WLRN-TV MIAMI, FL, JUNE, 1994.

.. UNCOMMON PICTURES,"

THE TIMES-PICA YUNE,

NEW ORLEANS, LA, NOVEMBER 11 "TRUTHS

&

1994

RE V ERI ES , " BY TED, CALAS,

THE NEW ORLEANS ART REVIEW,

NEW ORLEANS, LA, MAY/ JUNE, 1993 "WILLIAM K. GREINER,"

PHOTO M ETRO,

SAN FRA NC ISCO . CA, MARCH, 1993.

,

EDUCATION :

M. B. A.,

SUFFOLK UNIVERSITY,

BOSTON, MA, 1985

B. F. A.,

TUFTS UNIVERSITY.

MEDFORD, MA, 1982. A.A.,

BRADFORD COLLEGE,

BRADFORD, MA, 1980.


7


SELECTED EXHIBITIONS: The body is one of the great fine herself to, at most, two STORIES FROM HER, hours of intellectual work a polifical arenas of our time . H ARTNETT GALLERY, UNIVERSITY OF ROCHE STER, day, and "never touch pen , Again we are experiencing a ROCHESTER. NY. 1995. brush or pencil as long as resurgence in attempts to S HE ART FACULT Y INVITATI ONA L E XHIB I TION,

you live ." limit women 's role and con­ KIPP G ALLER Y AND THE U N IVE R SITY MU S EUM,

I ND I ANA UNI V ER SITY OF PA ,

.strain our lives. We must be INDIA NA. PA . 1995 . Sowing His Oats and The aware of the ways in which JUST TA KE THIS : WOMEN/PAI N/MEDICAL HISTORIES, Seed and The Soil were these concepts are woven SA N FR ANCISCO CA ME RA W ORK, into the very fabric of our inspired by the outrage I feel SAN FR ANC ISCO, C A , 1994. ways of thinking. In my work over attempts by right-wing TH E EXA M INI NG R OOM, I attempt to make visible fanatics . to take away THE WO M EN' S HEALTH SHO W, CERE S GALLERY, century old traditions that women's reproductive N EW YORK. NY, 1994 . view women as inferior and rights. Theories of repro­ RE VIEW S, PUBLI CATIONS, CATALOGS: give voice to women's resis­ duction once held that the E XHI BITION CATALO G , STO RI ES 'FR OM H ER ,

BY DI NA LI GHT AND S A RAH E . W EBB,

tance . seeds of creation were U NIVERSI T Y OF RoC HE S TER,

man ' s alone with women ROCHES TER, NY, 1995 . Wandering Wombs was providing only the soil. It . "SOWING H IS O ATS," BV DI AN NE MAllE Y, inspired by Charlotte Perkins seems that many people still TH E WO M AN R EB EL . ATLA NTA. GA. VOLUME 1 IS SUE 2, 1995 . Gilman's story "The Yellow hold tight to such archaic Wallpaper" published in ~RE S PE CT WOMEN/PAIN/M ED ICAL HISTORIES,"

theories. BY DEB ORAH KNAFF, AR TWE EK ,

1892. The story is a study SAN JOSE , CA. VOLUME 25. NUMBER 8. 1995. of a woman's descent into "AR T PI CK OF THE WEEK," BY PETER FRANK, madness, caused by a wetl­ LA WEEKLY. Los A NG ELES, CA, APRil 1 1994. meaning but insidious hus­ "KERR & M AL LE Y," BY AND REA JUNO, band-doctor who follows S. REI SEARCH A NGRY W OMEN. SAN FR ANC IS CO. CA , NUMBER 13, 1991 Weir Mitchell's Rest Cure. His 'prescription was that she EDU CATION : M . F.A .. SUNY BU FFALO .

devote herself to domestic BUFFALO. NY, 1988

work and to her child, con­

B.F.A., EOI NBORO

STATE UNI VERSITY,

EDINBORO, PA , 1985 .

PA

WANDERING WOMBS , 1995 ,

S ILV ER G ELATIN PRINT

ACETAT E, W ALLPAPER,

SPEC IMEN CONTAINER , 48

8

x

20

3/4 INCHE S .


t.D

50 x

x 4

INCHES.

1995, C-PRINTS,

100

DIANNE MALLEY, DETAIL OF SOWING HIS OATS. SPEelMAN CONTAINERS, ACETATE, OATS,


"In creative living you or everything we do strengthens feeling that we are alive, that we are ourselves. One can look at a tree (not necessarily at a picture) and look creatively Although allied to creative living, the active creations of letter writers , writers, poets, artists, sculptors, architects, and musicians, are different. You will agree that if someone is eogaged in artistic creation , we hope he or she can calion some special talent. But for creative living we need no special talent."

GROUP SHOW, E XHIBIT

CHI CAGO, f L , 1995 . REVEALING M OM EN TS, tN SITU, CINCINNATI,

OH .

1994 BLI NDED BY THe L IG HT:

NEVI A COUISITIQN$ IN 20TH CENTURY PHOTOGRAPH Y ,

CINCIN NA TI ART MU SEUM, CINCINNATI,

OH,

1993. MEMENTO M ORI: A PHOTO QUILT,

CAGE ART IN THE W,ND OWS PROJECT CINCINNATI,

OH ,

1991

there is something to be said here about the anxiety that is a drive behind the artist's brand of creativity"

EDUCATION : B . A . . U NiV ERSITY OF

IOWA ,

fOWA CITY , fA , 1988 EXHI81TION CHECKLIST' UNTITLED, 1992 STITCHED SILVER GELATIN PAINT

-

D. W. Winnicott, "Living Creatively: An amal足

gamation of two drafts of a talk prep'lred for the Progressive League, t 970," Home is Where We

24

x

24 INCHES.

UNTITLED, 1992, STITCHED SILVER GELATIN PRINT

26 x

24

INCHES .

Start From; 1986, p. 52 . UNTITLED , 1992 , STITCHED SILVER G ELATIN PAINT

26

x

25 INCHES .

U N TITLED , 1992 STITCHED SILVER GELATIN PAINT

26

10

x

2 5 INCHES .


11


EXHIBITION CHECKLIST: HAG/WARA PROJECT (MACHETE),

1994.

SILVER GELATIN PRINTS,

5

X

10

INCHES.

FIVE BAMBOO,

1994. SILVEA GELATIN PRINT

40 X 52 INCHES. MI S A O OK U H A RA , HAG /WARA , JAPAN,

1993.

SIL V ER GELATIN PRINTS,

40

x

30 INCHES.

WOAK IN PAOGAESS .

In May of 1990, I made my first visit to Japan. After 50 years, I was finally going to meet my family in Japan. Both my parents' families live on Honshu, the main island. Sixty miles west of Hiroshima in the south'ern most state of Yamaguchi is a small mountain called Hagiwara. Hagiwara is covered by thick forests of pine and bamboo trees but much of the mountain has been cleared of trees and replaced by terraced rice fields that go all the way down to the town of Yanai by the inland sea. My father's family has I.ived on Hagiwara for 800 years and two of his youngest brothers, Yasuto 'and Misao and tneir families live and work there today. Since 1992, and again in 1994, I have bee'n photographing Hagiwara and my family there . I hope to create a body of work that will have meaning for me and perhaps some connections for the Japanese who share a similar

SELECTED EXHIBITIONS: PAIRINGS,

55 MERCER. NEW YORK. NY 1994 INTERNATIONAL PHO TO GRAPH Y, GOTLA N D KUN ST MU SEUM , GOTLAND , SWEDEN,

1994 ART INS TITUTE OF B OS TO N, BO S TO N , MA,

1994 . PHELA N

A WARD FELLO WS 3 ,

SAN FR ANCISCO CAMEAAW O RKS GALLER Y ,

S A N FRANCISCO,

CA,

1994

ROPE SHOW,

A RTiSTS

SPACE,

NEW YORK, NY 1992. RUTTENBERG COLLECTION, ART INSTITUTE OF CHICAGO,

CHICAGO, IL, 1991. REVIEWS , PUBLICATIONS, CATALOGS :

NEA/IA ARTIST TRAVEL GRANT

JAPAN, 1994.

JA M ES

D.

PHELAN

ART

THE INTUITIVE E YE .

ART IN S TITUTE OF CHI C AGO.

CHICAGO, I L , 1992 . " 100 NUDES, ~ SUN MAGAZI N E, T O'KYO , JAPAN, 191)1 NEA FELLOW SHIP, 1989.

New

YORK FOUNDATION FOR THE ARTS,

NEW YORK, NY, 1989.

AR~U

NEW YORK,

NY

12

AWARD,

SAN FRANCISCO , CA , 1993 .


13


DAVID

110

SOLO EXHIBITION,

OLG A D OLLAR GALLERY.

S AN FRANCISCO, CA, 19 96 . H OLL Y R OBERTS.

T ODD M URPHY , DA VID SEIL ER ,

A TAtUM GALLERY.

U NIVERSITY OF C ONNEC TICUT

STORR S, CT PH OTOWORK

1996.

'95,

BA RRETT H OUS E GALLERIES,

POU GHKE EPSIE , NY

E XHIBITION' CHE CKLIST' F IGUR E STUDY WITH LARGE STONE,

1 993. MI XED MEDIUM S.

87

x

77 INCHES.

F'GURE S UPPOR TED BY Two CHAIRS ,

1_993 MIXED ME DIUMS ,

48' x 40 INC HE S. F ,GURE S TUDY WITH PULLEY AND R OP E.

1993, MIXED MEDIUMS.

96

x 72 INCHES ,

Compositions , usually one or two nude figures isolated in a field of Baroque style black足 ness , are pieced together in toned sections of photo足 graphic paper then painted on and drawn on , so that the bodies' parts are fragmented and isolated , creating a patchwork of stripped and peeled flesh ; tortured and abused bodies submitting to some sublime ritual that is at once bizarre and divine; both fantasy and nightmare , not unlike the highly charged atmosphere of a circus arena.

14

I OWA ARTI S TS

Des

M OIN ES

1 995

1994 ,

A AT

C ENTER ,

DES MOINES, lA, 1 994 INTRODUC TI ONS ' 94 , OLG A D OLL AR GA LlEA ,(,

SAN FRANC ISCO, CA, 1 994 . T HE SURFACE OF TH E SIGN , CALIFORNIA STATE UNIVERSITY,

CHICO, CA , 1 993. REVIEWS, P UBLICATIO NS, CATALOGS : " THE BOD Y ELE C TRIC," SA CRA MEN TO NEWS AND REVIEW,

SACR...... ENTO, CA, JANU ARY 1 4, 1 993 . ED UCATION:

M . F .A ., UNIV ER SITY OF C ALIF O RN IA,

DA VIS , CA , 1 993.

B ,A " UN IV ER SI TY OF N O ATHERN I OWA,

CED AR FAllS, l A , 1990.


15


E XHIB ITI ON CHECKLIST' E VE'S DILEMMA, 1995 C-PRINT 16 x 20 INCHES. SEEKING PWMB , C-PRINT

16

x 20

1 995 INCHES.

. , 1 995, x 20 INC HE S.

W,TH FRIENDS LIKE THA T .

C-PRINT

16

C-PRINT

16

L UNA,199 5,

x

20 INCHES .

SELECTED E XHIBITI ONS: The tension between rational control SOLO EXHIBITION.

and emotional impulse has been A RTi SANA GALLERY,

DALLAS , TX . the impetus for art and meditation since the ancient Greeks detailed MIDDLE GALLERY,

ROCHESTER INSTIT UTE OF Te CHNOLOGY,

the struggle between Apollo and ROCHESTER, NY

Dionysus. More recently Jung and STANDING ROOM ONLY, other psychoanalysts saw the psy­ TeXAS TecH UNIVER SITY A AT DEP ARTMENT LUBBOCK, TX. che as bein~ split into two opposing impulses-one which seeks pleasure , WORKSPACE GALLERY, UNIVERSI TY OF COLORADO, joy and freedom from repression and B OULDER, CO . one which embraces rational con­ EA ST GALLERY sciousness and control. This body SCHWEINFURTH MEM OR IAL GALLERY,

of work is . based on that conflict as AUBURN , NY it explores the sometimes playful , DEPARTMENT OF ART ANO D eSIGN , EA S T Te XA S STATE U N I VER SITY, ironic and often anguished struggle COMMERCE , TX . between rational control and emo­ EDUCATI ON: tional impulse . I

M . F .A.,

UNI V ER S IT Y OF ILLI NOIS, CHAMPAIGN, IL , 1985 .

Using color and still-life elements BFA .,

both as symbol and pun in a photo­ TE XAS T ECH UNI VERSITY,

graphic tableau , the work incorpo­ LUBB OCK, TX , 1980 .

rates fragments from half-remem­ bered dreams and nightmares-noc­ turnal messages in each the rhythm of a cautionary tale. The chro­ mogenic prints are created by tradi­ tional methods with texture added to the image during the printing process . The result is a color print with a unique texture and muted palette .

DE

16


17


KAROl:J-I--I~

)U

A LL M IXED U P. S AWTOOT H BUIL DIN G GALLERI ES.

WIN STON 揃S ALEM. NC. 1995. A FFILIA TED AR TISTS E X H IBITION, IN D IANA E AS T ,

RI CHMOND. IN , 19 95. R EGIONAL J URJED P HO TO E XHIBITION,

EVANSVi llE M US EU M OF AR T

EVANSVI LLE , IN , 19 9 5 . C OMPUTER IMAGING: N EW T OOL FOR ARTISTS. I ND I ANA U N IVERS IT Y F INE ARTS L IB RARY,

BLOOM IN GTON , IN , 19 9 5 . R EGION AL J URIED PHO TO E XH I BITION,

E V A NSV I LLE MU SEUM OF ART

EVANSV ILLE , IN , 1 9 93. EDU CATI O N : M . F . A ., INDIAN A U N IV ER S ITY ,

BLOOMINGTON, IN , 1 99 5 .

My work is concerned with produc足 tivity which relates to my genera足 tion. I like to collect and view mass足 produced "multiples ." When I was born, the economy of my count ry was in transition . It was becoming strong and every part of society needed efficiency. The motto "Kei Haku Tan Sho" (light , thin, short and small) was adopted by industry . Plastic and light-weight metallic hOJT1e products became popular items because mass-production made them affordable.

B . F . A ., OHI O U N IV ER S ITY,

ATHE NS, OH, 1992 . A.F.A ., MU SASH INO ART U NIV ER SITY I

T OKYO, JAPA N, 1981 E XHIBITIO N CHE CK LI S T : ME TA M O R P HOSIS,

1 99 1

FIBERG RAPH ,

1 4 x 44 x

4

IN CHE S.

N INE FA CES , 1 994,

F1BERGRAPH ,

30 x24 x 3 INCHE S. ASHINAMI:

FEET W A VE , 1995,

SILVER GELATIN PAI NT , PLE X IGLAS,

4 7x 90 x 2 4 INC HE S.

18


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M J:

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a: a:

"m w

u:

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19


SELE C TE D ' E XHIBITI O N S: S TEEL TOWN ,

ARTSPACE, PETER BOROUGH, ONTARIO.

1 995.

STEEL TOWN , OLE AN P UBLIC GALLERY,

OLEAN, NY

1995 .

STEEL TOWN,

A SPACE, TOR ONTO, ONTARIO, 1995 S TE EL TOWN,

ARC G ALLE RY, CHICAGO , IL , 1995 . S TEEL TOW N, H AMI LT ON ARTI ST

H AM ILTON, O NTAR IO,

I NC.,

995.

STEEL TOWN,

THE New GALLER Y.

CALGARY, ALBERTA, 1994. S TE EL TOWN,

MODERN FUEL G ALLERY, KINGSTON, O NTA RIO,

1994.

REVIEW S, PUBLICATION, CATALOGS: " F AC T ORY PHOTOS I

STEEL T OW N EXHIBIT Re V IE W',"

BY JILL GLESSING , O UR TIMES MAGAZI NE,

T O R ON T O, ON TAR I O,

V Ol.

14 ,

AUG./SEPT

No.4,

1995.

" PH OTOGRAP HE R CAPTURES I MAGE OF 'INDUSTRIAL G O THI C'," BY JE FF M AHON E Y, T HE HAMILTON SPECTATOR,

H A).t ll TON, O N TARI O,

APRIL 1

1 995 .

" SHOWS T H AT RE Al l Y W ORK," BY P A UL BE NEDETTI ,

Steellown is an ongoing exami­ to the workers. This engaged nation and documentation of them in conversation. My im­ steel making and related indus­ ages confrbnt the vie wer from the perspective of the workers . tries throughout North America. My exhibitions portray the strug­ They portray a struggl-e for sur­ vival at a time of changing gle of both the workers and the modes of production and vali­ industries as they face an uncer­ date the cultural experience tain future . When companies close down , or pull out of tradi­ attached to the steel industry. tional steel towns in favour of Public awareness is necessary more cost efficient locations and to begin to inst itute industrial labour forces , they leave whole communities in a state of eco­ redevelopment and to insure nomic and psycholog ical depres­ economic regrowth . Education of the public is also necessary sion. to eliminate stereotypical im­ My project consists of an exhibi­ ages of blue collar workers. tion of 10 x 12 inch portraits of Steel/own educates and stimu­ blue collar workers strategically lates a moral 'impulse on the survival of steel and related placed on 7 x 9 foot industrial industries . landscape murals. The term "industry" and all its associa­ EDUCA TlON : tions makes people think of M.F .A ., metal , pipes and machines. By STATE UNI V ER SITY OF New YORK AT BUFFALO, BUFFALO , NY 1992. placing portraits on these land­ scapes I have created windows B . F . A ., S TATE U N IV ERS IT Y OF New YORK AT BUFFALO, into the industry that allows the BUF FALO, NY 1 990. viewer to think of the workers. A .O .C .A .,

T HE H AMILTON SPECTA TOR,

HAMil TON, O NTA RIO,

J ULY 24 , 1993 .

ONTARIO C OLL EGE OF ART,

In this work , I utilized techniques of personal interviewing . My process consisted of introducing myself and explaining my project

HAMILTON, 20

ON

TOR ONTO , ONTARI O, 1 9 6 9 . E X HIBITION CHE CK LI ST :

STEEL TOWN , WESTERN

NY, 1995


21


Due

to

circumstances

beyond our control , the artist's statement was unavailable at press time .

EXHIBITION CHECKLIST : F UNDAM ENTAL FRAGMENTS # SILV,ER G ELATI N PA INT

1 ,9

FU NDAMENTAL FRA GMENTS SILV ER G ELATIN PRINT

19

x

1

1 995 .

18 .5 INCHES.

#3, 1995 .

x

18 .5 IN CHES .

FUN DAM ENTAL F RAGMENTS

# 5 , 1995,

S ILV ER GELATIN PAI NT

x

19

F UNDAMENTAL FRAG M ENTS S ILVER' GELA TIN PAINT

18.5 INC HE S.

#7

1995 .

19 X 18 . 5

INCHE S.

FU NDAM E NTAL FRAGMENTS

# 8, 1995,

Si LVER GELATIN PRINT

x

19

18 .5 INCHE S.

FU ND A M ENTAL FRAGMENTS

# 9, 1995

SILVER GELATIN PRINT

x

22

19

18.5 IN CHES.


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23


GALLERY STAFF : DAN R . TALLE Y, DIRECTOR

MICHEllE HENRY I ASSISTANT

This exhibition was organized by The FORUM Gallery at Jamestown Community. College, 525 Falconer Street, Jamestown ,. New York 14701 (716) 665-9107

STUDENT ASSISTANTS: CLARK MYERS

NATHAN NAETZKER

The FORUM Gallery presents significant and professionally executed solo and group exhibitions of contemporary art

SUZANNE ALLEN

and related programs, events, and services to both the artist and non-artist residents of Chautauqua County, NY

REGINALD DARLING

GALLERY DEVELOPMENT COMMITTEE: NANC Y BARGAR

WADE DA'lENPORT

and the surrounding area. Through our programs, we strive to stimulate discussion, to challenge assumptions, and to

JUDE DIPPOLD

present artwork relevant to the social and cultural life of the general and special populations within our service area .

F'lITRICIA FREET

SHAUNA FAISCHKOAN

This exhibition is funded in part by the Fund for the Arts in

JENNIFER HANER-SMITH

Chautauqua County, which is managed by the Arts Council for Chautauqua County.

GLORIA LASSER

DENNIS DRew

ROBERT HAGSTROM

DAVID MUNNELL KEITH SCHMITT

LOIS STRICKLER

Programs of The FORUM Gallery are funded in part by the Ralph C. Sheldon Foundation,

NANCY WELLS

Inc., the Jamestown

Community College Foundation; the Faculty Student Association at JCC; and by our corporate and individual members.

JAMESTOWN CqMMUNITY COLLEGE

BOARD OF TRUSTEES :

JE ' ANNE G. BARGAR DONNA BEAL

MARY ELLEN BONNER

Photographs in this brochure were provided by the artis!s. All dimensions are listed in inches with height preceding width, then depth.

SHAWN HILL

V IClOAIA JAMES MARIANNE McELRATH LILLIAN VITANZA

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

CLARENCE

J.

Nev

PETERS ON

SAMUEL PRICE . JR .

CATALOG DE SIGN : SHAUNA FRISCHKOAN

Š 1996, The FORUM Gallery

CATALOG PRINTING :

24

STUDIO PRINTING, JAMESTOWN,

NY



PhotoNominal 1996