Selected Past Exhibits
墨西哥照明:当代墨西哥艺术*
担任策展和策划委员会委员,并作为墨西哥摄影的场地
Ground Zero, group exhibition (Dec. 2001) *
由Frank Shifreen和Julius Vitali共同策划
“这是一个纪念展览,也是一个庆祝展览,但也有一个批判的边缘. 我相信探讨重要话题的政治艺术展览的重要性. Many artists and critics disagree. 他们认为政治是一种宣传和玷污艺术的侵扰. 然而,艺术可以创造一个空间,打破魔咒. 艺术可以对变节的恐怖主义行为起到威慑作用, 同时也是对失控的反动政府的威慑." --Frank Shifreen
Marc Brodzik (Spring 2003)
来自费城的艺术家Marc Brodzic依靠美国的大众媒体 ? specifically advertising ? as a point of departure for his art. 受过平面设计方面的商业艺术家训练,有广告牌绘画的背景, package design, and painting, 他的兴趣从早期在这些领域的工作发展到对具体是什么越来越感兴趣 ?advertising? was saying ? and doing ? to American consumers. 尽管艺术家被道德冲突(一个人不购买产品就不是他/她最好的想法)所排斥 ?X?尽管他对广告所产生的影响很大,但他也被商业主义的风格所吸引. From large, 形象有力的广告牌要便宜, 杂货店的宣传单和橱窗广告, 布罗季奇把他的排斥和这种吸引结合在一起. He creates his own ?products,? ?packaging,? ?messages,? and ?ads.? View Marc's work at www.brodzik.com.
Black American Artists, (Fall 2003)*
co-curated by James Rose
这个展览是为了回应一篇关于美国黑人艺术家的看法的文章而构思的. In the article, 作者写了黑人艺术家的艺术是如何经常在民间艺术的背景下呈现的, ethnic art, or as outsider art. In other words, 这显然是在白人艺术的主流之外, politicized, pigeonholed, and subject to a stereotypical genre. It was ?black art? ? judged by a different criteria than ?white? art ? at worst considered ?substandard,? at best ?different.? 我开始策划一个展览,探索受过学术训练的美国黑人艺术家的当代艺术, professional, and creative. I wanted to ignore the stereotype of ?black art? as being different. 这些作品是关于美国黑人的经历. Maybe its time, however, 用美国的经验来讨论这个问题, 因为这些艺术家与数百万其他美国人分享了这些显而易见的主题. 这些经历是我们国家遗产的一部分, my national heritage, as much as war victories, space exploration, national disasters or world leadership. 他们不应该被忽视或遗忘.
Bloodline (Nov. 2004)
《赌博平台大全》是一个利用物品的展览, text, 艺术品和艺术成为一种封装的美学体验,揭示了一个人的影响和影响?s life, Russel Buckingham, Sr. 这个前所未有的展览也探讨了20世纪对这个人的影响. 正如他的儿子,艺术家拉塞尔·白金汉所说. 该装置包括这位摄影师收集的物品, collector, and war veteran that included photographs, letters, precious archaic art works, as well as worthless old greeting cars, notebooks and receipts. 这些东西阐明了个性的细微差别, both passionate and cold, intellectual and greedy.
《赌博平台大全》(2005年4月)
Born and raised in India as a Hindu, Salma Arastu创作的画作反映了她自己的遗产和生活经历, including marriage to a Muslim, her life in Iran and Kuwait, and her work full-time as an artist. Her lyrical and spiritual work, based on memories of her childhood, her love of people, and her deep faith inspire her art. Mystical Indian miniatures, artist Paul Klee, Arabic calligraphy, 民间艺术也影响了这位艺术家,她对美和人性的深刻信仰使她的作品既个人化又具有普遍性.
With Undying Spirit: Greg Weaver (Oct. 2005)
1967年毕业于十大正规赌博平台大全,获得政治学学位, Greg Weaver, a native of the Lehigh Valley, 他在迪肯大学继续他的教育, School of Law, before beginning his career in the arts. Always interested in art, especially painting, 他开始在卡内基梅隆大学学习艺术, in Pittsburgh, 1974年,他在那里获得了美术学士学位. Returning to Allentown, PA, Weaver?美国市中心的工作室成为艺术家、音乐家和诗人的天堂 ?70?s and ?80?s. They showed up at his studio to make art, to participate in art happenings, music jams, and poetry slams. In the meantime, Weaver continued to paint, 并开始在阿伦敦艺术博物馆展出他的作品, the Allan Stone Gallery in NYC, 以及纽约市和他的家的各种画廊, in the Lehigh Valley. He painted heavy, impasto, large scale abstracted cows and fisherman, for example, referring to his work as ??urban American folk art?我的艺术是一种文化能量的翻译?这对那些没有艺术专业知识的人和知识渊博的人来说都是一种语言??
美国流浪汉肖像:凯瑟琳·洛伊霍尔德(2006年3月)
?I have always been a traveler. 我的父母喜欢冒险,反过来,他们也灌输给我同样的渴望. On my father?s deathbed I asked him what his favorite place had been; his eyes were serene as he replied, ?Kashmir, India.? 这和我在火车乘客身上看到的一样? eyes when I ask them of their travels. The hobos? 对未知事物的渴望源自于他们的自由感. Traveling on a freight train?completely unprotected, open to the elements, 尽管是一百多年前用手在岩石上凿出的长达八英里的山脉和隧道?是最后一次伟大的自由冒险,”艺术家解释说. 凯瑟琳花了一年时间和美国流浪汉一起乘火车, who learned to trust her, taught her the rails, hobo laws and lifestyles, 并允许她进入他们的世界拍摄这部纪录片.