SU Art Galleries

 

SU Art Galleries

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August 30 - September 30, 2011
University Gallery, Fulton Hall 109

RECEPTION: Friday, September 9, 6:00 - 8:00pm
Immediately following a conert by the Music Department Fauclty at 5:00pm in Fulton 112.

Join us for the 2011 Annual Art Department Faculty Exhibition in the University Gallery through the month of September. Painting, sculpture, drawing, installation, glass, ceramic, installation, and mutlimedia works recently completed by SU's Art Faculty will be on display. Particpating Faculty Artists include: Jeanne Anderton, Karen Bearman, Gary Brotman, Edward Brown, Alison Chism, Jessica Cross Davis, Helene English, Paul Flexner, Carl Goldhagen, Jim Hill, Marjorie Hill, Susan Holt, Elizabeth Kauffman, Jinchul Kim, John Mosher, Margo Nolan, Pamela Olszewski, Dean Peterson, Preston Poe, Sanaz Rahimlabafzadeh, Brooke Rogers, and Adam Weir.

Press for the Annual Faculty Exhibition in the  Daily Times.

 

Read more about the show  []
written by Leah Lewman

 

As another semester starts at Salisbury University, the University Galleries welcomes students back with The Annual Art Department Faculty Exhibition. Located on Salisbury’s main campus—1101 Camden Avenue, Salisbury, MD 21801—in Fulton Hall, room 109, Fulton Gallery opened the show on August 30, 2011, and will be open for viewing through September 30. The exhibition is filled to the brim with both fascinating and diverse art media from over twenty talented artists and educators.

Taking a walk through the gallery space, it becomes more and more apparent that the collective works revolve around themes of earth, nature, and the different ways that human societies interact with each other, and with that element of environment; building over it, embracing it, becoming a part of it, even ignoring it altogether. The artwork is arranged in such a way that these themes are able to intermingle, weaving in and out of each other while creating a harmonious sense of balance in the process.

Moving to the right upon entering the exhibition, an assortment of oil and watercolor paintings lines the far wall. Helene English’s urban scenes lead into two watercolor paintings of Assateague by Edward Brown. A large painting by Carl Goldhagen follows, entitled “Twistoflex #23.” Its thick, gestural lines of color and value have an almost demanding presence, pulling the viewer into the jumble of abstraction and controlled chaos. A nearby piece by Marjorie Hill—made of ceramic and recycled oil paint—stands on its own, mimicking the bright colors and abstract patterns shown in its aforementioned neighbor.

A colorful glass and mixed media installation by Alison Chism is displayed toward the center of the gallery, entitled “Current Vision.” A school of bright orange fish emerges and ascends from a canvas painted and assembled to represent water and land.

Continuing along an adjacent wall we find three paintings, all depicting different kinds of landscapes; one imaginary landscape, one cityscape, and one beach landscape. I found these interesting in that they pose similar, yet contrasting questions about human society. Paul Flexner’s beach and cityscape paint a more realistic picture, making their own statements about how humans go about their daily lives. Adam Weir’s “Seclusion,” however, requires a little more deciphering. His image of a row of townhouses—trapped in a timeless circle surrounded by a tall cement wall and a deserted sidewalk—hints at an aspect of our society that feeds on fear. One could read this as American’s fears of death, rape, murder, illness, terrorist attacks, and kidnapping; fears that have become more deeply rooted as a result of the media’s tendency to berate us with news stories and webcasts of only these kinds of stories, no matter the likelihood of their happening to each of us individually.

The opposing side of the gallery dons two large photographs by Jeanne Anderton, printed on fabric, that hang from the ceiling. As if size weren’t seductive enough, the subject matter draws the viewer in almost immediately. The photographs each portray a standing figure, in similar poses, one holding the head of a lamb and he other a heart. In “Behold The Lamb,” the veiled figure holds a skinned and decapitated lamb’s head as if to present it to the viewer, while in the other, called “Saint Theresa,” the figure cradles a heart in one arm while raising the other arm in a religious, prayer-like position.

 

As a whole, the Faculty Exhibition provides an extremely wide variety of both art media, and artistic subject matter. Ranging from drawings and paintings to mixed media, installation and video, the included works serve not only to entertain, but to indulge the viewer with visually, intellectually and conceptually stimulating ideas and images.

 

Still Life by Preston Poe                                 Carousel of Time(s) by Susan Holt