Singing Masks/Automata/ Multimedia
Curator: Michael Peglau
Exhibition: October 20 – November 18, 2016
Reception: November 11, 5:30 – 7:30 p.m.
Sounding. Listening. Connecting. Dreaming.
I am an unabashed animist. I believe that everything is infused with what, for want of better word, might be called spirit. There is intelligence at the heart of all matter. Human intelligence is just one peculiar manifestation of this larger ground of being. Other manifestations are radically different, incomprehensible to conventional human sensibilities. Yet all things give voice to the underlying cohering essence, the spirit swirling through cells, molecules, atoms, quarks and superstrings. If we listen carefully we can resonate along with these primary vibrations and receive information, knowledge, altered understanding.
This has been the thrust of the teaching by the Singing Masks that I have been making and employing in ceremonial/performances over the past thirty-five years. Their voices and iconographic presences have been continual reminders of connection with that animistic sense of spirit-essence in rivers, rocks, sky, trees, as well as among all things animate. They have become guides in all my work into shifting perspectives, into experiencing everything as holy (William Blake), into mythic and oneiric reality. This same sensibility has also come to inform my approach to making automata, sculptural instruments and a variety of multimedia creations.
The ceremonial/performance pieces inspired by the Singing Masks are not entertainments in a traditional sense. They are not music, theater or dance meant to tell a story or lead one along a preconceived path. They are more often invitations to dive into ineffable richness and chaos even, to discover and explore
Whenever possible I like to make use of found objects as well as inexpensive materials, including electronics. I have also sometimes incorporated state-of-the-art computer technology to loop and pitch-shift the voices of the masks in real-time. This can be heard in recordings of some performances. I do not hide the technology. Nor do I make much effort to gloss over the inevitable awkward gestures needed to control the devices in my near-blind masked condition. I have an interest in the convergence of the primal and the present, the sacred and the mundane. In the Dream Time presence of the masks, automata, sculptural instruments and multimedia, even the most trivial occurrence may be recognized as having its own kind of perfection and beauty.
Dreaming. Connecting. Listening. Sounding.
Curator: Margaret Kuntz
Exhibition: August 30-October 6
Reception: September 9, 5:30 – 7:30 p.m.
Left turns at night.
I only work from life, which is a half-truth.
I make left turns more than right turns, mostly at night. At those stoplights that don’t have a green turn signal I wait for a break in the oncoming traffic, and go.
The painting is me in space.
Continuity is contingent on interruptions, or is it the other way around?
‘What if’s and ‘why not’s.
Looking begins with naming.
Painting is simultaneity experienced viscerally.
Does knowing something is abstract make it more real?
Does something verifiable open up the possibility for abstract thought?
The image is everywhere; I wonder what stays.
Contours and silhouettes,
Echoes and parallel possibilities,
Spaces interrupted and painterly interventions.
processes of life and decay
June 3 – June 24, 2016
Opening Reception : June 3, 4-6 p.m.
Artist Talk: June 3, 4:30p.m.
I seek to understand why humans are so troubled by the inevitable processes of life and decay that we feel a need to create an artificial distance between ourselves and the aspects of the human experience that make us uncomfortable.
I am speaking to the distancing from our food sources, from our bodies, from our instincts, from the environment and from death. We’ve developed machines and unnatural procedures in hopes of bypassing the difficult or distressing conditions of life. We try to perpetuate the good: keep our food fresh, preserve our bodies, and fight sickness & corrosion. As in the story of Siddhartha’s enlightenment, we are being blinded from the negative sights and ultimately prevented from seeing life for what it really is: as a process of constant change.
With my work I am tracing the symptoms of the epidemic that I observe to be stemming from mankind’s disengagement with their natural processes, and through the creation of investigative artworks that focus on the abnormalities arising out of repetitive manipulation, I offer up my notes to the world in the hopes that someone more political than I will be curious enough to respond with a solution.
Sleep has Eyes
Exhibition: March 17 – April 30, 2016
Reception: April 1, 5:30 -7:30 p.m.
Artist Talk: March 31, 5:00 p.m.
The Korn Gallery is pleased to present the exhibition Sleep has Eyes by Robert Yarber on view March 17 through April 30, 2016. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4 p.m., selected weekends and by appointment.
This exhibition consists of paintings and drawings Yarber has done from 2005 to the present. Organized by Drew Professor of Art, Michael Peglau, the exhibition features work whose focus lies not in the pursuit of simple family resemblances of style nor of a series of imagistically related works. Instead Yarber has elected work for this show which all arose of what he has termed, ‘the intensity of his response to the moment.’
Since the early 1970’s, Yarber has created a unique oeuvre which is remarkable in the compositional complexities of its inhabited and natural spaces and in its deployment of figures, ranging from supine to falling to levitating. Yarber’s work is no less fascinating in terms of his great resources as a colorist. Beyond his total command of both artificial and natural light effects, he often pushes his color into an extreme zone, where coupled with his imagery, it unmoors his work from being exclusively engaged in a shared social world. Instead, his color in it’s aggressive, incandescent interaction with his imagery opens into an interior world where, while we all venture there, unlike Yarber few of us return fully cognizant of its uncanny vividness.
Yarber has had a remarkable career with numerous exhibits in New York, including the Whitney Biennial, many exhibitions internationally, including the Venice Biennial, and many exhibitions in major galleries in Los Angeles and San Francisco. He currently is a distinguished Professor of Art at Pennsylvania State University.
January 18 – February 20
Reception: February 5, 5:30 – 7:30 p.m.
Ben Pranger’s current sculpture combines organic and architectural elements in hybrid constructions of papier-mâché, plaster, wood and paint. Moving between organization and chaos, the work often begins with a fragment of a previous work. Blobby masses are built around skeletal structures or scaffolding supports bulbous growths. These contrasting forms operate in tension: pixilated grids emerge from fluid forms like cities colonizing an indeterminate terrain. The sculpture is a kind of failed architecture, where structures, overwhelmed by disaster, collapse under the weight of matter, only to rise again from the ruins to rebuild the city anew. While the sculpture is decidedly low-tech, investigating material-based abstraction, it also imagines future worlds and habitations, suggesting sci-fi, dystopian scenarios.
Ben Pranger earned a BFA from Oberlin College and MFA from The School of the Art Institute of Chicago. He has shown his work throughout the U.S., including recent group shows at Drawing Rooms (NJ), Artist-Run/ Satellite Show (Miami), Trestle Gallery (NY) and Grizzly Grizzly (PA). He has participated in artist residencies at Kohler Art/Industry, Fine Arts Work Center of Provincetown, the Marie Walsh Sharpe Studio Program, and the Virginia Center for the Creative Arts, and has received sculpture grants from the Virginia Commission for the Arts, the Virginia Museum of Fine Arts, the Pollock-Krasner Foundation and the New Jersey Council for Art.
Exhibition: October 20 – November 20, 2015
Reception: November 6, 5:30-7:30 p.m.
The Korn Gallery is pleased to announce the exhibition, Fragments, which includes recent etching and collage work by Robin Koss, on view October 20 through November 20, 2015. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4p.m., selected weekends and by appointment.
Working primarily with digital and time-based media, printmaking, and collage, Robin Koss explores the nature of perceived experience and the space of the mind. Her work suggests a journey through an imagined landscape. Drawing from an exploration of natural and constructed environments, she creates intricately woven images that are both recognizable and abstracted at once. By physically layering elements within a composition she echoes the process of remembering, and as images fade away and reappear, Koss produces a dynamic web of sensory information and visual imagery.
Robin Koss was born in Philadelphia, Pennsylvania. She earned a BFA from the University of Delaware in 2002 and an MFA in Computer Animation and Digital Imaging from New York University in 2004. In 2012 she completed her MFA in Studio Art from Maine College of Art. Robin has participated in numerous residencies both nationally and internationally, in places such as Florence Italy, Siena Italy, The Scuola Internazionale di Grafica in Venice Italy, Vermont Studio Center, and The Printmaking Center of New Jersey. She has exhibited work in New York, Boston, Portland, Maine and in numerous cities in the state of New Jersey. She currently works in Pennsylvania, New Jersey and New York City.
Exhibition: September 3 – October 8, 2015
Reception: Thursday September 10, 5-7pm
The Korn Gallery is pleased to announce the exhibition, Linemaker, which includes recent drawings and paintings by Jason Karolak, on view September 3 through October 8, 2015. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
Rooted in a drawing process, Jason Karolak’s paintings are composed of brightly colored linear elements set against a context of dark grounds. Through addition and erasure, Karolak builds permeable structures that fluctuate between a graphic surface and a deeper dimensional space. The works are geometric and abstract, but nevertheless suggest elements that are absorbed from the physical world.
Leading up to the painting process, Karolak spends time making ink drawings and sourcing form and color. The habit of walks in his studio neighborhood of northwestern Brooklyn as well as in more natural settings, such as Pelham Bay Park and the New Jersey Shoreline, assist the artist in gathering chromatic palettes and structural elements. Artificial lights, signage, architecture, and encounters in the landscape provide concrete experiences of phenomena that get digested into an abstract studio language. Neither formal or overtly expressive, Karolak’s imperfect geometry suggests a kind of personal handwriting that manifests on the scale of the body.
Critic Thomas Micchelli writes of the work in Hyperallergic, “The vitality of Karolak’s painting proceeds from a deft understanding of the simplest of ingredients: the handmade line; the active ground; the freedom of improvisation and the rigor of minimal means. The paintings are also a joy to look at — the unabashed hedonism of their hot colors and choreographed shapes leads the senses to a contemplation of their propulsive infrastructure, where the barely visible and the well-hidden act as dark matter simultaneously holding the elements together and breaking them apart.”
Jason Karolak was born in Rochester, MI in 1974. He earned a BFA from Pratt Institute in 1997 and an MFA from The School of the Art Institute of Chicago in 2006. He has shown extensively across the country, including recent solo exhibitions at McKenzie Fine Art in New York and Robischon Gallery in Denver. His work has been reviewed in The New York Times, ARTnews, Art in America, and Hyperallergic, among others. He currently lives and works in Brooklyn, NY and is a Visiting Assistant Professor of Art at Drew University.
Elizabeth Korn and Her Times
May 29 – June 30, 2015
Opening Reception May 29, 4-6pm
Curated by Kether Tomkins, Alexa Zbieranowski, Anthony Rossi
and Professor of Art History, Emerita, Sara Lynn Henry
Born in Breslau, then Germany, Elizabeth P. Korn studied at the National Academy of Fine and Applied Arts at the University of Breslau, with subsequent studies at the Berlin Museum of Fine and Applied Arts, then in Rome, Madrid and New York City, where she took classes at Columbia University, the Institute of Fine Art, The New School and the Art Students League. In 1939, she and her eminent scientist husband, Arthur Korn, and their 17-year-old son fled Nazi Germany because of their Jewish heritage, first attending a scientific conference in Norway, then making their way to the United States, nearly penniless, where they settled in Jersey City, New Jersey, close to Arthur’s new position at Stevens Institute of Technology. Elizabeth worked as an illustrator of children’s books and as a portrait artist, mostly of scientists. In 1946, after her husband’s death, Elizabeth became the founding professor of the Drew art department, teaching both art history and studio art as a one-person department up until her last year of teaching, with her retirement in 1966. She was a cultured, effective and caring teacher. Through her personal charisma and support, several of her students went on to distinguished art careers. During her time at Drew and after her retirement, Elizabet painted in a number of daring modalities-abstract, expressionist, the Neo-Dada reliefs with classical motif, all of which you can see i the exhibition.
Sara Lynn Henry
Professor Emerita of Art History, Drew University
Senior Thesis Exhibition 2015
May 1 – May 8, 2015
Reception: May 1, 5:30 – 7:30PM
Adjonte’ De Vine
The League of Peace and Power
Exhibition: March 24 – April 24, 2015
Reception: April 10, 5:30-7:30pm
The Korn Gallery is pleased to announce the exhibition, The League of Peace and Power, photographs by Rebecca Soderholm, on view March 24 through April 24, 2015. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
The title of the exhibition is derived from a colloquial name for the 15th century Iroquois Confederacy. The League of Peace and Power acknowledges a descendant human spirit that has persevered through white settlement, the industrial revolution, the fall of manufacturing, and now the social landscape of a new American economy.
Soderholm finds everyday narratives that reveal environmental and economic pressures, determination and binding love, in places that host the risk-takers, the hard-workers and the left behind. A man, exhausted, cleans mud out of his plumbing store in Fort Plain after a flood in the Mohawk Valley. Boys bullied in the vacant lot of a defunct glove factory respond with a united hardscrabble resolve to fight back. A bridge over Rockwell Falls is a destination for bikini gawkers, graffiti writers and thrill-seekers who drop eighty feet into a narrow ravine. A young mom reads her baby a bedtime story in the sweet domestic space she creates in an RV campground for motocross racers.
The eleven prints in this exhibition are part of a larger body of work made across Central and Northern New York State between 2011 and 2014.
Soderholm received an MFA from Yale University and a BFA from R.I.T. Her photographs and videos have been shown in recent solo exhibitions at 511 Gallery in New York and the Warehouse Gallery at Syracuse University. She was named the Meredith S. Moody Artist in Residence at Yaddo in 2013 and was an artist in residence at the Saltonstall Foundation for the Arts and the LeWitt/Doran Residency in Italy. Prints from The League of Peace and Power are in the permanent collection of the Yale University Art Gallery and are published in, and on the cover of, the 2015 edition of Stone Canoe: A Journal of Arts, Literature and Social Commentary. Her work is represented by 511 Gallery in New York.
Curator: Rita Keane
Exhibition: February 6 – March 6, 2015
Reception: February 6, 5:30-7:30pm
The Korn Gallery is pleased to announce the exhibition, gabi ganai, by Martha Clippinger, on view February 6 through March 6, 2015. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment. The artist will deliver a talk on her work in the Korn Gallery at 5pm on February 6.
The term gabi ganai comes from the Zapotec term “around;” this term of motion describes the revolving and repeating visual patterns in Clippinger’s work, her practice of gathering materials, and the way that the viewer is intended to experience the works that echo each other in form. The artist’s recent work has been inspired by her encounters with Zapotec art, language, and culture during a Fulbright fellowship in Oaxaca, Mexico last year.
Clippinger’s work celebrates the expressive possibilities of both painting and sculpture as media; it is sculptural in volume and in the use of materials such as wood and cardboard, but the works equally create meaning and visual interest through painted strokes of bold color and pattern. The works have a remarkable energy and vitality. It is the kind of art that changes as you approach it and as you move around it—as your first impression of bright color and pattern shifts to an appreciation of surfaces on the close-up view. The installation of the works also engages the built environment of the gallery, interacting with windows, wall, and ledges, challenging the viewer to reconsider the traditional relationship between art and its environment.
Clippinger lives and works in Durham, NC. She earned an MFA from the Mason Gross School of Art at Rutgers University, and received her BA in Art History/Visual Arts from Fordham. She has been a fellow at the MacDowell Colony, Edward F. Albee Foundation, and the Marie Walsh Sharpe Art Foundation, and has recently been selected to participate in The Golden Foundation’s Exploratory Residency. She has been the recipient of numerous grants and awards, including the 2014 American Academy of Arts and Letters Purchase Award and a 2013 Fulbright Research Grant. Clippinger’s work has been featured in The Brooklyn Rail, Hyperallergic, and The Huffington Post. She has had numerous solo and group exhibitions in the U.S. and internationally and is represented by Elizabeth Harris Gallery in New York.
January 8 – January 30, 2015
The Korn Gallery is pleased to announce the exhibition “Coming Home” by Andrew W. Mellon Arts and the Common good Artist in Residence Valerie Hegarty, on view January 8-January 30, 2015. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
“Coming Home” comprises two pieces: an installation made primarily from painted paper entitled Parents’ Bedroom (2014) and the acrylic on canvas painting Dripping Watermelon and Peaches (2014). The installation is based on the color scheme of Hegarty’s parents’ bedroom when she was young, which included purple striped wallpaper that was eventually stripped and repainted to be powder blue. Hegarty created the installation by first pasting layers of painted paper to the gallery walls and floor and then peeling back the layers to create an effect of a decaying and/or abandoned space. Parents’ Bedroom is a meditation on memory, space and personal history where the artist’s remembrance of a room from her past becomes materialized in what is in effect a life-size collage or drawing. Hegarty made the piece during the Fall 2014 portion of her residency at Drew University and it was installed first for a group show in Chelsea called “Apocryphal Times” at Friedman Benda Gallery.
Dripping Watermelon and Peaches continues Hegarty’s investigation of the social, cultural, and psychological connotations of still-life painting. Playing on the symbolic use of reminders of mortality common in still-life painting, Hegarty’s fruit drips paint and bleeds color onto the walls of the gallery like bodies in distress being drained of life. Exhibited in conjunction with Parents’ Bedroom, the painting reflects the personal themes of the installation as a physical marker of the parent-child relationship as both parties age, memories fading and bodies failing.
Valerie Hegarty is based in Brooklyn, New York and Drew’s first Andrew W. Mellon Arts and the Common Good Artist-in-Residence. Hegarty creates paintings, sculptures, and installations that comment on American history and society, addressing such themes as colonization, Manifest Destiny, environmental degradation, and repressed histories. She has a B.A. from Middlebury College and an M.F.A from the School of the Art Institute of Chicago. Among Hegarty’s many recent solo exhibitions in New York City are shows at Nicelle Beauchene Gallery, Marlborough Chelsea, the High Line Public Art Program, and the Brooklyn Museum, which also features her work in their permanent collection. Valerie Hegarty is represented by Mike Weiss Gallery in New York City.
October 17 – November 21
Reception: November 7, 5:30–7:30 PM
The Korn Gallery is pleased to announce the exhibition, New Paintings, by Claire Sherman, on view October 17 through November 21, 2014. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
Subjects central to this exhibition are the giant sequoias of the southern Sierra Nevada, as well as the California coastal redwoods. Gestural and heroic, Claire Sherman’s canvases investigate the confusion of scale and space. Purposefully composed in a single day, each composition originates from a specific place and a finite period of time, rendered in sweeping lines and impasto paint. Sherman intentionally retains all of the stumbles, victories, and awkward brushstrokes that lay tangled on the surfaces of each heavily worked canvas.
The physical nature of Sherman’s painting method is heavily influenced by references she draws through her extensive travel and eclectic reading. Joe Fyfe describes in his catalogue essay for her recent exhibition in September at DC Moore Gallery in New York, “Sherman’s landscape pictures demonstrate an awareness of this semiotic distinction in the very tenuousness between the originating site and its depiction. Sherman makes no bones about how a landscape site can be a stand-in for a psychological state, a romantic scene, or a historical convention, but is ultimately an archetype.”
Sherman graduated in 2005 with an MFA from the School of the Art Institute of Chicago, and received her BA from University of Pennsylvania in 2003. She has completed residencies at the Terra Foundation for American Art, The MacDowell Colony, Yaddo, and the Lower Manhattan Cultural Council’s Workspace program. Her work is in numerous public and private collections, and she is represented by DC Moore Gallery in New York, and Kavi Gupta Gallery in Chicago.
Curated by Kimberly Rhodes
Exhibition: September 2 – October 3, 2014
Opening Reception: September 5, 5:30 – 7:30 PM
The Korn Gallery is pleased to announce the exhibition “Waver” by Katie Bell, which will include a large site-specific wall installation, on view September 2nd through October 3rd..The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
As the title of Bell’s exhibition suggests, the psychology and anxiety of choice plays a major role in both the decorating world and in the realm of painting. Within both practices, the idea of remodeling is a way to move forward in the creation process. In the home, remodeling is a way to make new or to cover up the past. In terms of abstract painting, remodeling, for Bell, is an unsettling struggle between hiding and revealing, as demonstrated by many of the pieces in the exhibition.
The works on view in “Waver” also investigate the ways that home surfaces (carpet, wallpaper, linoleum, vinyl, etc.) relate to abstraction and how the building process relates to making a painting. Holding Arms (2013), for example, re-configures familiar building materials such as wood, laminate, and drywall into a dynamic layered arrangement that highlights features of interior architecture that are usually concealed in a home and demonstrates their visual potential as textured, colored, and shaped forms in an exploding abstract composition. The small stone hanging from a string at the bottom of the piece adds an element of surprise and delight that characterizes Bell’s work, from her site-specific wall installations to smaller plaster based pieces such as Finding Yourself (2014), and signifies the physical and kinetic manifestations of “Waver” (to tremble, quiver, shake) present in Bell’s work.
Katie Bell was born in Rockford, Illinois. She received her BA from Knox College in 2008 and graduated in 2011 from the Rhode Island School of Design with an MFA in Painting. Bell has shown her work at a variety of venues, including Storefront Ten Eyck (Brooklyn, NY), Nudashank (Baltimore, MD), PLUG Projects (Kansas City, MO), Okay Mountain Gallery (Austin, TX), Mixed Greens (NYC), and the deCordova Sculpture Park and Museum (Lincoln, MA). In 2011 she was an artist in residence at the prestigious Marie Walsh Sharpe Art Foundation based in Brooklyn, NY. She currently has an installation on view at the Brooklyn Academy of Music and was recently shortlisted for Thames and Hudson’s upcoming book ‘100 Painters of Tomorrow’. She has been named by Brooklyn-based critic Paddy Johnson as one of ‘8 Great Brooklyn Artists Under 30’ and has been featured in BOMB magazine and New American Paintings. Bell lives and works in Brooklyn, NY.
Senior Thesis Exhibition
May 2 – May 9, 2014
Opening Reception May 2, 5:30 – 7:30 PM
Katherine Von Ancken
Palestinian Textiles: In Honor of Dr. Robert J. Bull
Curated by Students of the Art History class Islamic Art, Prof. Rita Keane and Gabriele Hiltl-Cohen
Exhibition: March 25 – April 24, 2014
Opening Reception: April 4, 2014, 5:30-7:30pm
The Korn Gallery is pleased to announce the exhibition, “Palestinian Textiles” from the Collection of Robert J. and Vivian A. Bull,” on view March 25th through April 24th, 2014. The Gallery is located in the Dorothy Young Center for the Arts at Drew University in Madison, New Jersey and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
The exhibition is drawn from the Palestinian textile and metalwork collection of Robert J. and Vivian A. Bull. Dr. Robert J. Bull was a professor of church history at Drew University from 1955 until 1991; he passed away in 2013. Dr. Vivian A. Bull taught economics at Drew for more than thirty years and has served since 2012 as the University’s President for the Interim Term.
The objects in the exhibition, from the early part of the twentieth century, were acquired over decades of the couple’s research and travel in the Middle East. A highlight of the exhibition will be seven women’s dresses with embroidery panels, made by women for their own wear and therefore reflecting their own interests and identities. These dresses and other textiles celebrate the Palestinian embroidery tradition, known for its brilliant color, complexity, and high level of craftsmanship.
The exhibition is curated by the students in the Art History course Islamic Art, under the direction of Gabriele Hiltl-Cohen of the Drew Art Department. It honors the memory of Robert J. Bull and exemplifies the efforts of Dr. Bull and President Bull to educate students and the larger community about the cultures of the Middle East.
Curated by Margaret Kuntz and Gabriele Hiltl-Cohen
Opening Reception February 7, 5:30 – 7:30 PM
The Korn Gallery is pleased to announce the exhibition, “Climate Proxies” by Ryan Burns, on view February 4th through March 5th, 2014. The Gallery is located in the Dorothy Young Center for the Arts at Drew University in Madison, New Jersey and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
Ryan Burns is an artist who has been working for 20 years. He has produced a body of work that includes painting, drawing, sculpture and collage. His “Climate Proxies” exhibition is part of a larger, on-going project entitled Biodiscourse that includes a series of old-growth tree stump rubbings on collage. The project documents the annihilation of ancient forest habitat. Reminiscent of gravestone rubbings, the collages document the growth rings of historic and specimen trees downed in recent super-storms. His work also addresses the role of deforestation and fossil fuel emissions in climate change by the method he uses to access remote wilderness sites. Burns converted a decommissioned ambulance to run on waste vegetable oil salvaged from restaurants along his routes.
Most recently, in 2013 he received the Ford Family Foundation Award and the Puffin Foundation Grant. In 2011 he was awarded the Oregon Arts Commission Grant, the Black Rock Art Foundation Grant and he was Artist in Residence at Sitka Center for Art and Ecology.
Ryan Burns has exhibited across the United States.
Joe’s Junk Yard & Other American Dreams
Curated by Rebecca Soderholm
September 6 – October 11, 2013
Closing Reception October 11, 5:30-7:30p
Lisa Kereszi grew up amidst the iron scraps and car parts of the family business, a junkyard started by her Grandfather, Joe, in 1949, in Trainer Pennsylvania. Over the next fifty-four years the junkyard prospered and declined, like the American automobile industry on which it depended. Kereszi began photographing at the junkyard in 1992 as an undergraduate student at Bard, and continued to photograph there until the junkyard closed in 2003. Along with piles of tires and the rusty carcasses of old cars, the business also contained the family’s pain, pride and hard-as-nails sense of humor. A World War II vet and former competitive boxer, Joe practiced punches on customers who attempted to haggle over a price. An obsessive documentarian, he also made scrapbooks of family pictures, newspaper clippings and memorabilia, creating odd juxtapositions of the American dream in theory and practice. When Joe’s son was killed in what was officially called a “justified police homicide,” the sad facts of history are noted in ballpoint pen on the pictures and pages of his scrapbooks.
In “Joe’s Junk Yard and Other American Dreams,” Kereszi presents her own photographs alongside business and personal documents that tell the story of one family’s struggle to hold on to the past as the world changed around them. In addition, five larger-scale photographs from two of Kereszi’s other bodies, “Fun n’ Games” and “Fantasies,” reveal an aesthetic that has grown out of her experiences. These works turn trash into treasure, as Kereszi reveals the seams in places we construct for pleasure. As Larry Fink writes in the forward to Joe’s Junk Yard, “Lisa Kereszi is like a mushroom born from the spores of steel, soft and tough, ready to deal. Her eye is but a dome for an inner vision ordered by a poetics of the dire.”
Lisa Kereszi grew up in Suburban Philadelphia. She received her BA in 1995 from Bard College. She is currently the Director of Undergraduate Studies in Art at the Yale School of Art, where she received her MFA in 2000. Her work is in the collections of the Whitney Museum of American Art, the New Museum of Contemporary Art, the Brooklyn Museum of Art, and others. Kereszi is represented by Yancey Richardson Gallery in New York. Her most recent solo exhibition, “The Party’s Over,” in 2012, was a thematic follow-up to her 2009 book, Fun And Games,” which explores the ways in which we devise escapist environments and spectacles to remove ourselves from the realities of everyday life. In 2003, she was commissioned to photograph Governors Island by the Public Art Fund, which culminated in a 2004 exhibition catalog. Governors Island explored what was left behind on a former army and coast guard base a stone’s throw from Manhattan. In addition, Kereszi has two other monographs in print: Fantasies, 2008, about the burlesque revivalist movement and Joe’s Junk Yard, released in 2012.
Montage of Attractions
Curated by Claire Sherman
February 1 – March 15, 2013
Opening Reception: February 1, 2013
The Korn Gallery is pleased to announce the exhibition, “Montage of Attractions” by Jenny Snider, on view February 1st through March 15th, 2013. The Gallery is located in the Dorothy Young Center for the Arts at Drew University and is open Tuesday through Friday 12:30-4pm, selected weekends and by appointment.
Jenny Snider is an artist who has been working professionally for forty-six years. She has produced a large body of work, including painting, drawing, and sculpture, animated films, limited edition books, and hand-drawn artists books. Her work draws form and content from a wide variety of sources; from popular culture to history, art and politics; from grid-based abstraction to representations of natural and mechanical forms. In 2006, she retired from a distinguished forty year career as a teacher of studio art, including Queens College, Columbia University, Pratt Institute, and SUNY, Purchase.
Most recently, she won a 2011-12 Rome Prize in Visual Arts, from the American Academy in Rome. Other major awards include membership at the Elizabeth Foundation for the Arts, Studio Program, in New York City, 2011; a Studio Fellowship from the Marie Walsh Sharpe Art Foundation Space Program, 2009-2010; the 2006 President’s Award for Excellence in Teaching, Queens College CUNY, and a 2002 residency at Yaddo, Saratoga Springs, NY. In 1986 and 1991, she received two Painting Fellowships from the New York Foundation for the Arts, two Painting Fellowships from the National Endowment for the Arts (1979 and 1987), and two Faculty Research Awards from the Research Foundation, CUNY, (1989 and 2001).
Jenny Snider has exhibited widely in New York and the United States. Her work is included in the collections of the Guggenheim Museum of Art, the Whitney Museum of American Art, and the Jewish Museum, all in New York City; and numerous private collections. She is represented by the John Davis Gallery in Hudson, NY.