Outside the Centers/On the Edge

Lisa Austin

Christina L. Bothwell

Daniel Burke

David T. Collins

Suzanne Faris

Shauna Frischkorn

Amara Geffen

Carl Gustafson

Kristofer Harzinski

Robert Raczka

N. Sarangoulis

Rebecca Strzelec

Georgette L. Veeder

Cllristine \Alelch

Mark \Alonsidler

Exhibition Itinerary

Sharadin Gallery, Kutztown University, Kutztown, PA January 26 - February 26, 2006 Pennsylvania College of Art &: Design, Lancaster, PA March 6 - April 15, 2006 Erie Art Museum, Erie, PA October 6 - November 26 2006 Samek Art Gallery, Bucknell University, Lewisburg, PA January 26 - April 1, 2007 Southern Alleghenies Museum of Art, Loretto, PA June 29 - September 30, 2007

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Contents

5

Outside the Centers/On the Edge

Kristy Krivitsky 9

Artists 40

Project Background and Timeline 41

Artist Biographies 47

Exhibition Checklist 48

Acknowledgments and Credits

4

Outside the Centers/ On the Edge In the fall of 2002, I approached Dan Talley, director of the Sharadin Art Gallery at Kutztown University of Pennsylvania, with a germ of an idea for a collaborative exhibition. As both an artist and a curator who lives just a little too far outside of a major urban center to be considered for artist grants in that city, I began

tJconsider

the idea of how one's location, particularly when one is positioned outside of a center, can bear on the opportunities one has as an artist. Does existing on the hysical periphery ultimately help or hinder in the building of one's reputation within those

/

centers? Does that location effect one's approach toward artmaking and if so, how?

Talley developed the title of the exhibition and together we deci>ied to organize a show which would identify and encourage Pennsylvania artists who both live and work outside of the major metropolitan centers of Philadelp ia and Pittsburgh.

/

Our vision of the show, however, did not simply end with the notion of focusing on regional artists. As alluded to in the title, we also were thinking about how the title could describe an attitude or mental state tha( an artist may hold while working in these

,.

so-called "remote" places. It seems that innovation and experimentation are qualities

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recognized more in art made in urban centers, while more traditional conventions seem te dominate the artistic landscape in outlying areas. Despite this tendency, we suspected that there are artists who work on the attitudinal edge of these places and thus, we sought to find them. This did not mean that we were searching for artists who seemed to be emulating trends seen within the centers, either. Instead, we wanted to locate those individuals who work from the edge, their own edge, independent state or personal vision, in order to produce strong and engaging art.

Another consideration was to highlight art institutions postioned outside the centers that serve their communities with new and innovative programming, and invite their participation. Dan Mills from the Samek Art Gallery at Bucknell University, Michael Tomor from the Southern Alleghenies Art Museums and John Vanco from the Erie Art Museum agreed to collaborate in the organization and curation of the project. Each participating institution will present the exhibition over the course of the next two years.

While the general motivation for the exhibition grew out of personal experience, our focus on regional artists and institutions is tied to a growing trend seen within the art world. Over the course of the last decade, large-scale reoccurring art exhibitions have been held in places as economically, politically and culturally diverse as Havana, Johannesburg, Istanbul and Shanghai. These exhibitions afford artists from those regions and abroad not only visibility in the international art world, they also shine a light on the city itself as a cultural destination. They promote diversity and business while drawing attention to the distinctiveness of local and regional culture. While

Outside the Centers/On the Edge does not cast as wide a net as these international exhibitions, it does seek to emphasize regional cultural strengths and artistic resources.

So what does "outside the centers, on the edge" look like? We selected fifteen artists who work in a variety of media and with a host of different subject matter as being representative of the exhibition's theme. The three photographers we selected create work within art historical genres - landscape, portraiture and still life - but do so by representing places, people and things seen throughout the state. Christine Welch photographs the crossroads that exist between the natural and the manufactured environments of the region. Her images not only depict the physical terrain, they also reveal the tension and irony that exists at the intersection of these two worlds.

Shauna Frischkorn makes images of teenage boys playing video games. She photographs them illuminated by the glow of the television screen as they stare at the often-violent games they play. Although they are engaged in a task that requires great focus and attention, the boys wear blank and ironically passive expressions.

Robert Raczka's interests are in the material culture of the everyday world. He photographs found arrangements of things that we produce, acquire, and display as a way of revealing something about himself and the creators of these groupings.

Other artists working two-dimensionally employ a variety of media and strategies.

Carl Gustafson's large oil paintings explore the notion of time and transition within a bounded space. His part beast/part ghost figures appear to struggle to move within the seemingly calm painted interiors that surround them. N. Sarangoulis's mixed media drawings and book objects use found paper and book pages as a starting point for her work. She combines discarded materials with drawn and painted elements, 6

creating work that seems both old and new, and reveals and conceals intensely personal narratives. Kristofer Harzinski's "Departure" series is made up of hand cut plans of some of the nation's largest airports. The project turns the confusing interplay of those spaces, buildings, planes and people into clean, beautiful and fragile objects. In an era when public spaces such as these have become politically charged arenas, Harzinski's work raises timely questions about personal freedom and collective responsibility.

A wide array of media, methods and strategies are applied by the artists working three-dimensionally as well. David Collins transforms the traditional and familiar vessel form of the ceramic teapot into a sculptural object by playing with scale and combining multiple materials with clay. By doing so, he explores material relationships and also raises questions regarding function and utility. Christina Bothwell uses cast glass as her primary medium. Each of her translucent figurative forms features an inner cavity that she fills with other mysterious forms and objects. The inherent nature of the material allows her to experiment with not only the optical effects of glass, but its metaphorical properties as well. As a result, her sculptures are psychologically charged, and speak to issues of containment and vulnerability. Rebecca Strzelec creates objects employing current industrial technology. Designing on the computer and using rapid prototyping to shape her work, she creates wearable pieces of jewelry out of plastiC resin that physically attach to and interact with the surface of the body.

The overall shapes and forms are derived by echoing the part of the body part on which the sculptural form sits. Bone, muscle and ligament are suggested through these delicate-looking but physically strong objects.

Artists also use installation-based practices to build work. Mark Wondsidler combines found objects of various shapes, sizes and functions to create mysterious and intriguing forms. Using an additive process, he explores relationships between individual objects and their overall arrangement, while also drawing attention to the personal history of each component. Georgette Veeder examines the relationships which exist between two- and three-dimensional space through the creation of large, cast paper installations that reference the natural environment. Real and illustionistic space is explored though the juxtaposition of floor-bound objects that are placed in front of relief elements that

hang from the wall. Suzanne Farris focuses on tangible and intangible aspects of environment. Memory, space, privacy and aspects of comfort are some of the issues her sensory-loaded installations address. Daniel Burke's large mixed-media wall installation also activates the senses through intense repetition of bird forms and the human-made environments they often inhabit.

Public art projects are also represented in Outside the Centers/On the Edge. Amara Geffen provides photo documentation of an ongoing collaborative project made with the Pennsylvania Department of Transportation and regional students. "Read Between the Signs" uses recycled road signs to form a large-scale sculptural relief that mimics the surrounding landscape of the Allegheny Mountains. The project is not only tied to the natural environment in which it sits, but also to the hearts and minds of its community members. Lisa Austin's public art project is more intimate in approach than Geffen's, but is no less powerful. Documentation of "Child Garden for the ICU" shows her design of an environment which can be placed around a child's bed to soften the clinical setting of the intensive care unit. She has created a full scale model of the deSign, a table top version, and is currently working on having this piece mass-produced for use in hospitals.

Travel to the periphery involves a commitment of time and energy, which means that these regiOns may often be overlooked due to the relative inconvenience of simply getting there. We also live in an age in which we can know about a place or feel connected to a person through the push of a button or the click of a mouse. In spite of these factors, this exhibition suggests that the journey outside of the centers is worth the experience, and the artists who choose these locations and the work they produce are full of possibilites, not limitations.

KRISTY KRIVITSKY

Lancaster November 15, 2005

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Lisa Austin

For months, my daughter was a patient in an intensive care unit.

At first, my consciousness was limited to my child. What began as an emergency, evolved into a bizarre normalcy. Despite balloons and stuffed animals, the environment was starkly clinical. Without darkness or quiet, there was no night. Because of the danger of infection, plants were absent. Televisions were plentiful; windows were scarce. Suffering was expected. In this semi-public arena, children recovered or died. I witnessed a medical culture that effectively focused on the child's body and rendered parents irrelevant.

The Child Garden for the fCU brings a fictional nature into the intensive care unit. The original 6' tall, wood, steel, and Formica sculpture proved too large for hospital use. Redesigned at quarter-scale for rotational足 molding manufacture, the Child Garden for the fCU will attach to existing hospital tray-tables. With seven slightly varied, stylized plant forms, the artwork will offer a quiet visual oasis to patients and their families.

While researching grants and searching for a suitable non-profit partner to accept profits from this project, I've collaborated with Alisa Dix and Jeffrey Brunner to publish a booklet version of the Child Garden for the fCU.

Child Garden for the ICU 2002 (photo of original project) Formica on wood, steel legs, casters, light 6 x 10 x 10 feet PLATE I

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In my work, I am drawn to the processes of birth, death, and renewal.

What lies below the surface fascinates me and I try to capture the qualities of the "unseen" that express the sense of wonder that I feel in my daily existence.

I am attracted to glass because it can do everything that other sculptural mediums can; in addition, it offers an inner space and transmits light.

My subject matter includes babies, animals, and children as they embody the essence of vulnerability that is the underlying theme in my work.

Christina L. Bothwell Currently I am exploring metamorphosis as a topic, and have been incorporating figures within figures in my pieces. Within each glass figure there is a smaller figure seen through the surface of the glass.

I think of these pieces as souls, each being pregnant with their own potential, giving birth to new, improved versions of themselves.

Mennaids

2005 installation, mold formed cast glass, pit-fired raku clay, taxidermi ed fish varying sizes from 5 x 3 x 2 inches to 36 x 7 x 8 inches PLATE 2

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Daniel Burke

••• Of a feather is a display. It is an arrangement of parts and sections about a topic that I began exploring about four or five years ago. At the time, I was often visited by birds as I ate lunch on my studio rooftop.

Initially, I shared scraps of bread with the birds and this feeding gradually gave way to intense observation and eventually to photographs, drawings, and painted studies of them. The observation inspired library work on birds - research on their types, flight patterns, habitat, etc. I eventually began making and playing with parts - lots of parts: paintings of trees, foliage, ground covers, and bird forms - both resting and flying. The parts were cut out and painted then placed on domino shapes or backed with clothes-pins so that they could be placed anywhere. The parts grew into bird facades and cutouts of fences, poles, bushes and gates (places for them to perch). I eventually had enough material so that I could begin to organize the elements. While arranging the individual parts, the overall artwork demonstrated its needs: some of the original parts and sections were taken away while other new pieces were made and added to the final assemblage. While I continue to explore other bird displays, I am currently working on parts that will go into pieces about vessel forms, musical instruments, funerary flowers, and gated gardens.

ora Feather 200S acrylic, oil, and mixed media on wood and other surfaces 120 x 168 x 36 inches PLATE 3

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From utilitarian object to fine art, the role of the ceramic vessel has undergone many changes throughout history. Many things, ranging from the Industrial Revolution to the theories found in Modernist and Post-Modernist thinking, have prompted these changes. In a fine art context, the vessel has become an arena of exploration similar to that of other art media. My interests lie in what constitutes the function of "the vessel" both socially and in terms of utility.

David T. Collins Regarding the Functility series, the artist/ potter imposed function of each piece is that of "vehicle." A vehicle that sheds its utilitarian premise to self referentially ponder its own utilitarian role by manifesting itself and therefore examining itself through the eyes of "other than ceramics" structures, materials, and systems. This "vessel role playing" proposes what I see as the inherent properties of the ceramic vessel: space, function, and utility. This "role playing" or hybridization also examines the constructs of language and identity with regard to art, objecthood, and craft by attempting to de-center or test the constructs of our own expectations of what a teapot "should be." My intention is for these pieces to serve as an exercise or examples of what "can be."

Line, Function, Vessel足 Teapot #4 2003 stoneware, low fire engobe, mixed media 18 x 12 x 13 inches PLATE 4

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When I wake up in the middle of a dream, I remember almost every足 thing; the color of the room, the person walking by, the smell of the air, the direction of the light, and the way I am moving within it. I believe our memories are similarly constructed. It is the blending of time, event, objects, and environment that constructs a permanent impression on our conscious and subconscious mind.

To me, this combination of events and impressions that happen in our dreams and waking lives is recorded within our memories and combined to create a notion of place. I define place as where we live, how we feel, what we believe is important and insignificant, it is the core of who we are, and the locations we inhabit.

Suzanne Faris I am interested in exploring this multiplicity that exists within the depths of the places within myself, and my perception of who and what surrounds me. The work I am currently doing is intended to engage the viewer through the construction of the essence of a place, event, or circumstance influenced more heavily, through concept and construction, by memory and impression than rational organization.

I could not see or hear any足 one else, but I was gradually aware of an unpleasant breathing noise, which ...

2005 fabric, wood, graphite, lighting, text, recorded sound 25 x 3 x 8 feet PLATE 5

Interior 2001 (view of exterior/entrance), wood, ventilation duct, ladder, video projection, sound, bed 12 x 10 x 8 feet PLATES 6 and 7

18

G ame Boys is an ongoing portrait series of young men engaged in a familiar pastime - they are playing video games. For the past two years, I have been photographing video game players who come to my studio, sit in the dark, and play for hours while I quietly watch and shoot. The studio setting lends a theatrical quality to this commonplace activity.

Sometimes, I watch the game to see a particularly interesting sequence, but mostly I just watch the game players. I seek to explore the popular culture phenomenon of video games by examining the "garners" who play them. Because my work is rooted in the tradition of portrait photography, I look beyond the hype surrounding video games and focus on the players themselves. Traditionally, the belief has been that a portrait could tell us a great deal about a subject: a window into a person's inner character could be found through facial expressions. Although the expressions on my subjects may appear to be passive, the garners in these photographs are actually performing fast-paced maneuvers and executing split-second decisions, making these portraits of intense concentration.

Shauna Frischkorn

Todd (playing Test Drive)

2002 C-print 24 x 20 x 2 inches PLATE 8

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F abricated from recycled road signs, Read Between the Signs (RBTS) screens the Pennsylvania Department of Transportation's (PennDOT's) storage lot in Meadville, PA. RBTS depicts the landscape of the French Creek watershed and local features such as Allegheny College's Bentley Hall, Conneaut Lake Park, and the Thurston Classic Balloon Race.

Celebrating the landscape, environment, and community of Crawford County, this sculptural relief represents a collective, cognitive map of our community, while demonstrating creative reuse.

Amara Geffen The project, a partnership between Amara Geffen, PennDOT and Allegheny College, is a community based, collaborative, environmental art installation. Since 2002, when the project began, annual charettes involving over 100 collaborators have been held to gather community input. Allegheny College and community interns, hired with support from Allegheny College's Center for Economic and Environmental Development (CEED), then set up shop at the local PennDOT facility spending eleven weeks in residence each summer. Under the direction of artist, this team then works to refine and implement community designs, fabricating between 100-250 feet of the project each summer.

To date 730 feet have been produced; when completed Read Between the

Signs will reach its full scale of 1,200 x 10 feet. For additional information visit: http://ceed.allegheny.edu/CEED/ A&E/home.html

Read Between the Signs 2002- present photodocumentation of recycled road signs and reconstituted solar signboards 10 x 715 x 2 feet collaboration with Pennsylvania Department of Transportation, Routes 322/6/19, Meadville, PA. PLATES 9 and 10

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Carl Gustafson Inthese paintings it is my intention to create a new experience in the way of looking at life. I am searching for ways to visually represent the extremes humanity is emotionally and physically capable of. It is my hope that the viewer will relate to these images in a similar way, while also drawing their own conclusions and applying them to their own life.

Tile Hallway #4, 2004 oil o n canvas 50 x 65 x 3 inches PLATE 11

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T he Departure Series presents the 17 largest airports in the United States.

Each object is an accurate map of the airport's runways, taxiways, hangars, and terminals hand-cut from paper.

Kristofer Harzinski

Airports are spaces we all have in common. They hold onto us for a temporary pit stop on a long journey. They are curious, intermediate zones only slightly different from one another. Each airport vaporously reflects its location. There is slight diversity, a distance between here and home, but immediately we recognize most of the elements. We know this place. We understand what to do here, even though we have never been here before. While there for a few hours or just a few minutes, we momentarily come into contact with thousands of people. People who normally have nothing in common, today, are briefly joined in a single location. People who we will never see again in our lives are seated next to us, waiting, just as we are, for the end of the journey.

The paper airport is intricate and fragile. Please realize, your paper airport will not last forever. Yet, it may outlast its more permanent relatives.

#10 Detroit Metropolitan Wayne County Airport 200S hand-cut paper 27 x 20 inches PLATE 12

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These digital photographs reflect my long-standing interest in material culture - the things that we produce, acquire, and arrange for their usefulness and aesthetic qualities. Variously, the photographs in this series depict objects arranged carefully or haphazardly for art students to draw, merchandise offered in stores or store window displays, and miscellaneous collections of items in homes and offices. None of these things were arranged by me or for me, but even the more "transparent" of these photographs include my subjective response that significantly alters the apparent intentions of the people who arranged them.

Robert Raczka The photographs are meant to have a playfully surreal quality. As the largely - but not entirely - practical intentions of the people who arranged them intersect with my aesthetic and conceptual intentions, these photographs say something about me as well as something about the individuals who arranged them and the culture that produced them, though it would be impossible for viewers to accurately disentangle those forces. This does not, in my thinking, constitute a problem.

Painting still life with mannequin 2004 dye sublimation print 9 x 6-X inches PLATE 13

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T he artwork that I am making at this time involves finding discarded and unwanted papers, books, and paintings. I then turn them into new works of art. I draw and paint on top of them, add things to them, resurrect them, and give them a new life. Like a physician, I try to help and heal them, and give them new meanings and purposes. Pages is part of a larger body of work called The Clarence Series. I purchased Clarence's school work at an auction. I don't know him, but I know that he saved all of his homework from grade school through accounting school. I am a collaborator on a grand scale, working with many individuals like Clarence and other unknown artists. I experience a great sense of artistic freedom in making these pieces. I do not judge them; I try to preserve the beauty of unintentional marks and everyday jottings. I try to enhance them and contribute to them and make them into artworks that are not the product of an individual ego, including my own.

N. Sarangoulis

Steal Not This Book 2001 watercolor, gouache, pencil on found object 10 x 12 inches I'L\TE 14

30

Inmy latest series, I have taken inspiration from early botanical illustrations creating abstracted orchid corsages. These pieces provide a lasting, current day alternative to commercial floral accessories while also commenting on the idea of preciousness and rarity. Other recent works in this exhibition represent a continuing investigation of how wearable objects interact with the surface of the body. Using a variety of medical adhesives and wound-treatment devices, the brooches are worn directly on the skin.

Rebecca Strzelec All of my work is created in the digital environment using computer-aided design. When using the computer as a medium, one is not just given a new set of materials or tools but an entirely new method of construction.

When the creative process is complete within the CAD environment, the objects are realized tangibly through the use of rapid prototyping. Rapid prototyping involves various computer-controlled machines that translate CAD data into tangible objects. The objects are built, layer upon layer, in various plastics and photosensitive resins.

Split Brooch 2003 FDM ABS plastic, medical adhesive 5.2 x 5.1 x 4.7 inches PLATE 15

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M y source of inspiration is the topography and colors in the landscape.

I find the forms, shapes, textures and colors around me fascinating. And,

I am intrigued that I can transform natural fibers into positive shapes and

sculptural forms.

I created Langue du Viable to evoke a strong feeling of self in space.

I incorporated floor and wall pieces to create an environment. The three足

dimensional elements encourage you to relate to the size and scale of the

sculptural forms. The wall relief invites you to come in and participate

in defining my fantasy.

Georgette L. Veeder I make paper from shredded cotton rags that I soak and beat in water with a Hollander-type beater to hydrate the cellulose and separate the individual fibers. The basic color of my paper is due to the original color of the cotton rags themselves but I also sometimes add additional pigment to the pulp. For this installation, I made the original pieces in clay and then produced rubber molds from the clay originals. I then pressed my wet pulp into the rubber molds. Once dried, I airbrushed some areas with acrylic.

My use of recycled cotton rags to make my paper is consistent with my commitment to the environment. I use handmade rag paper because it is ecologically friendly and historically genuine. I am always discovering new potentials in handmade paper and at the same time I am developing sensitivity to its limitations. It is this balance that defines my creative expression.

Langue du Diable 1999

cast paper 96 x 60 x 48 inches PLATE 16

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W hen I took my first art history course, I was fascinated by artists who represented the sublime, the awe-inspiring, by reducing it to wall-sized two dimensionality and hanging it in a museum. The fact that I was seeing the work of Friedrich, Church, Cole, and others as photographic reproductions in a warm darkened room increased the irony. During a visit to Olana, Church's home on the Hudson, I learned that the land足 scape, which he saw from each room in his house, was carefully planted to create the most perfectly framed view possible.

C=llristille

~elcll

There is an amusing human impulse, to reduce everything we encounter to a more manageable scale and behavior. Consider the development of the frontier. First, over the horizon we saw a virgin wilderness. In order to get there more easily (always a human concern), we dig up stuff from one place and put it in another and make a road. Then we moved some more stuff; trees, rocks, more dirt; and reassembled it into shelters, from which we can see what is left of the wilderness. After we have removed as much of the uncomfortable and dangerous as we can, we replant the whole place with manageable vegetation, give it a name like Stonehenge or Deer Run, and stick some cement animals on the lawn to make it look more like what? The wilderness. Over all this activity is that last vestige of the sublime, the sky that threatens storm, drought, flood, blistering heat or razor sharp cold.

Route 262, near Goldsboro, PA 2003 chro m ogen ic print 21J4 x 14J4 inches PLATE 17

Route 322, near Lewistown, PA 2002 ch rom ogen ic p rint 21X x 14J4 inches PLATE 18

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Mark Wonsidler

Recently, the poet Ann Lauterbach described poiesis as the making of examples. The poem, she said, is on the table between us. It's invisible.

Like faith or love, I only know what it is by what you show me, by what you do. In my practice, the details of material form are always in relation to a broader context. This model is inescapably metonymic: a string of visible parts or actions point toward an unseen idea. In Variant I, these actions include choosing, painting or not painting, and arranging. The form is a field of permutations: old, new, circular, oval, square, touched, untouched, large, small. Each object is a version of the next, asserting and questioning the criteria which draw it into this constellation. The second Variant is a smaller sequence chosen by size and color. Limited rather than

permutational, its truncated order demands that each object surrender its identity to pattern. In the third piece, Puzzle Box for Emily Dickinson, form is an open-ended sequence. The components of the piece remain un-fixed, re-arrangeable. Each new composition of the parts changes the last, and suggests a future of unnumbered variations. The form is composed between examples.

Variant I (buckets)

2004 found objects, paint, wax, stain 16 x 72 x 108 inches PLATE 19

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Outside the Centers/

Seeking

artists living outside

the state's major metropolitan

areas (Pittsburgh, Philadelphia)

who are involved in the production

of artwork incorporating innovative,

experimental, or non-traditional

approaches to materials and

content. - FROM THE EXHIBITION

PROSPECTUS

Timeline 2002

Outside the Centers/On the Edge was conceived

2003

Exhibition planning, creation of prospectus

2003-4 Prospectus disseminated 2004

Applications received, artists selected

2005

Final artworks selected

2005-6 Catalogue edited and printed 2006--7 Exhibition tour to five Pennsylvania institutions

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Artist Biographies

LISA AUSTIN Erie, PA

Education 1986 MFA, Yale University, New Haven, CT 1984 BFA, Virginia Commonwealth University, Richmond, VA Selected Solo Exhibitions ZOO4 epiphany, Walsh Gallery, Georgetown University, Washington DC ZOOZ all the time in the world, Erie Art Museum Frame Shop, Erie, PA 1999 Grace, Gallery Intime, Chautauqua Center

for the Visual Arts, Chautauqua, NY

1998 every day gets to be a long time ago, juried by

Neal Benezra, Arts Club of Washington, DC 1997 LORAN, Brew House Space 101, Pittsburgh, PA 1997 Palimpsest, Montpelier Cultural Arts Center, Laurel, MD 1993 Terra Finn, School 33, Baltimore, MD 1993 My Maryland, Charles County Community College, La Plata, MD Selected Public Art ZOOS Words!Persephone Project, Carnegie Library, Homestead, Pittsburgh, PA ZOOS SAM & ED Project, CIVITAS collaboration, Erie, PA ZOOS Lower Parade Project (Mad Anthony Wayne Blockhouse!Purple Martin Birdhouses; Third Street Center; Neighbor/wad Identifier/Clocktower), Bayfront East-Side

Taskforce, CIVITAS collaboration, Erie, PA ZOOS Sacrifice, with Madis Pihlak, ASLA, proposal for the Flight 93 Memorial, Somerset, PA ZOO4 Sidewalk Intervention, ClVITAS collaboration, Erie, PA 1999 Compassion, with Madis Pihlak, ASLA, Physician'S Memorial for Civista Hospital, La Plata, MD Selected Printed Works ZOOS Child Garden for the ICV, with jeffrey Brunner, lit Alisa Dix of Third Termite Press, Pittsburgh, PA 1999 Forget-Me-Not, with Renee Zettle-Sterling, Steve Lewis, lit graphiC designer Matt Tauch, Edinboro, PA 1999 Grace with graphic designer Brad Ireland, Edinboro, PA 1998 every day gets to be a long time ago, with graphic designer Brad Ireland, Edinboro, PA 1997 LORAN with graphic designer Brad Ireland, Edinboro, PA Selected Group Exhibitions ZOOS Wilderness: the Second Annual Environmental Art Fair, Erie Art Museum, Erie, PA ZOO4 Public Art: Artists' Proposals, studies and models throughout the VS, Bowman lit Penelec Galleries, Allegheny College, Meadville, PA ZOO3 Edinboro Vniversity FaCility, Maria Curie足 Sklodowska University, Lublin, Poland

ZOOZ Memories, Visions, and Dreams, Pavilion Gallery, Memorial Hospital, Mt. Holly, Nj ZOO I Factory Direct, The Arts Center of the Capitol Region, Troy, NY ZOOI Photographs by artists, made for a variety of purposes, curated by Robert Raczka, Foreland Street Studio, Pittsburgh, PA ZOOI Sculptors of the New Millennium 112001 ,

curated by Laura DeFazio, Simon Art

Studios, Pittsburgh, PA

ZOOO 8 hOllr Drawings, curated by Robert Raczka, Allegheny College, Meadville, PA ZOOO Reading: Visual Text: Regional Volumes, curated by Michael Loderstedt, Brew House Space 101, Pittsburgh, PA 1999 Forget-Me-Not, collaborative installation

with Renee Zettle-Sterling and Steve

Lewis, Chautauqua Center for the Visual

Arts, Chautauqua, NY

1994 Artist's Select, selected by judy Pfaff,

Artist's Space, New York, NY

Selected Bibliography Birdsong, Mary, "Ah, 'Wilderness'," Showcase, Erie Times-News, Erie, PA, August 4, ZOOS Massing, Dana, "Preserving industrial past vital to future, speakers say," City lit Region, Erie Times-News, May Z4, ZOOS Gebhardt, Sara, "Exhibition Invites Viewers to Hang Around," Prince George's Entertainment, The Washington Post, Washington, DC, December Z, 2004 Thomas, Mary, "Pediatrics ICU," Arts lit Entertainment, Pittsburgh Post-Gazette, Pittsburgh, PA, March IS, 2003 Wood, Robin, "Exhibit Showcases Local Industry," The Business Review, Albany, NY, May 31, ZOOZ Edwards, john, "In Search of Lost Time,' Showcase, Erie Times-News, February ZI , ZOOZ Liquori, Donna, "Exhibition: A Blind Date Between Artist and Industry," Associated Press, Albany, NY, February Z, ZOOZ Mansmith, JeSSica, "Industry Standards," Metroland, Albany, NY, january Z4-30, ZOOZ jaeger, William, "Factory Freshness - Artists imagery filters its way through industrial fabrica足 tions," Arts lit Entertainment, Times Vnion, Albany, NY, january 13, ZOOZ Bjornland, Karen, "Industry, Art, join Forces for Exhibit, Arts lit Entertainment," The SlInday Gazette, Albany, NY, December 9, ZOOI Cahill, Timothy, "Creative Workshop - 'Factory Direct' shows what happens when artists draw ideas from the workplace," Arts, Times Vnion, Albany, NY, December Z, ZOOI Miyamoto, Paul, Michael Oatman, and Rebecca Shepard, "Factory Direct," The Arts Center of the CapitJlI Region, Troy, NY, ZOOI Frederick, Paul, "Artists Paint Art Gallery Walls," The News-Herald, january 28, 2000 johnson, Gary, "The Wall," The Meadville Tribune, Meadville, PA, january Z3, ZOOO Feeser, Shantell, "Grace Exhibit Heralds Local Public Prayer," The Chautal/quan Daily, Chautauqua, NY, August 6, 1999

Bruce, David, "Erie artist creates grace at Chatauqua," Times-News, Erie, PA, july 31, 1999 Schawarzman, Carol, "Lisa Austin: every day gets to be a long time ago," Art Papers, Atlanta, GA, MarchI April 1999 Schawarzman, Carol, "LORAN," New Art Examiner, Chicago, IL, june 1998 Thomas, Mary, "Multimedia work navigates Space 101," Pittsburgh Post-Gazette, Pittsburgh, PA, October ZS, 1997 CHRISTINA L. BOTHWELL Stillwater, PA b. New York, NY, 1960

Education 1983, Pennsylvania Academy of Fine Arts, Philadelphia, PA Selected Solo Exhibitions ZOOS Fascination & Fear, Heller Gallery, New York, NY ZOOS Lucid Dreaming, Habatat Gallery, Chicago, It ZOO4 Mad Dog, R. Duane Reed Gallery, Saint Louis, MO ZOO4 Spirit Vessels, E'clat du Verre Gallery, Paris, France ZOO3 Below the Surface, Habatat Gallery, Chicago, IL ZOOZ john Elder Gallery, New York, NY ZOO I Robert Kidd Gallery, Birmingham, MI 1999 I Remember Your Voice, Elliot Smith Gallery, Saint Louis, MO 1999 Hidden in Full View, Susan Cummins Gallery, Mill Valley, CA 1999 Screen Memories, Clay Studio, Philadelphia, PA 1997 Living with Ghosts, Radix Gallery, New York, NY 1996 When Dolls Grow Old, Klit EGallery, New York, NY Selected Group Exhibitions ZOOS Figurative Art Exhibition, Arnot Art Museum, Elmira, NY ZOOS The Figure in Contemporary CeramiCS, Creative Alliance, Baltimore, MD ZOO4 Embracing the Arts, Delaware Center for Contemporary Art, Wilmington, DE ZOO4 1st Biennale Internationale, La Puissance Du Verre Contemporain, Paris, France ZOOZ Our Own Backyard, Lancaster Museum, Lancaster, PA ZOO I International Glass Exhibition, Hsinchu City Municipal Glass Museum, Hsinchu, Taiwan ZOO I Once Vpon a Time, Charles A. Wustum Museum, Racine, WI Awards and Honors ZOO3 Grant, Pennsylvania Council for the Arts, PA ZOOZ Grant, Greenshields Foundation, Quebec, Canada 1997 Grant, Ruth Chenven Foundation, New York, NY 1996 Grant, Elizabeth Foundation, New York, NY

1994 Grant, Pollock/Krasner Foundation, New York, NY 1985 Grant, Greenshields Foundation, Quebec, Canada Bibliography Ming, Bai, Ceramic Artists' Studios, Volume 1,

Hebei Arts Publishing House, june 17, 2005

Ernoud-Gandouet, Marielle, "La Revieu de la

Ceramique," VeTTe Magazine, September 2004

Lawrence, Lee, "Taking Chances - Christina

Bothwell Explores the Thin Line between

Fascination and Fear," American Style Magazine,

March 2004

Yood, james, "Review: Christina Bothwell,"

American Craf! Magazine, October/November 2003

Lombardi, D. Dominick, "Over the Top," New

Yolk Times, March 9, 2003

DANIEL BURKE Erie, PA b. Erie, PA, 1942

Education 1972 MEd, Edinboro University of Pennsylvania, Edinboro, PA 1969 BA, Mercyhurst College, Erie, PA 1960 1962, Columbus College of Art & DeSign, Columbus, OH Selected Solo Exhibitions 2003 Urraro Gallery, Erie, PA 2001 Cummings Gallery, Mercyhurst College, Erie, PA 1996 Gallery 937, Associated Artists of Pit1sburgh, PA 1993 Rosewood Arts Centre Gallery, Ket1ering, OH 1992 Second Street Gallery, Charlottesville, VA 1992 Erie Art Museum, Erie, PA 1992 Quincy College Art Gallery, Quincy, IL 1984 Megahan and Penelec Galleries, Allegheny College, Meadville, PA 1983 Rike Center Gallery, University of Dayton, Dayton,OH 1981 Williams College Museum of Art, Williamstown, MA Selected Group Exhibitions 2000 8-Hour Drawings, Part II, Bowman and

Penelec Galleries, Allegheny College, Meadville, PA 1994 Hard Choices

1994 1994 1994 1994 1990 1985 1983

mTouring Exhibition,

Southern Alleghenies Museum of Art at johnstown, johnstown, PA Wood Street Galleries, Pittsburgh, PA Nexus Gallery, Philadelphia, PA Sordoni Art Gallery, Wilkes University, Wilkes-Barre, PA Pennsylvania State Museum, Harrisburg, PA Disconsolate RevelatiollS, Hallwalls Contemporary Art Center, Buffalo, NY Return to the Figure, Southern Alleghenies Museum of Art, Loretto, PA (catalog) Art As The Image of America, Indiana University of Pennsylvania Museum, Indiana, PA (citation)

1972 William Penn Museum, Harrisburg, PA 1969 National Design Center, New York, NY Awards and Honors 2003 Visual Arts Fellowship, Installation/Sculpture, Pennsylvania Council on the Arts 2002 Best of Show Award, 79U, Annual Spring

Show, Erie Art Museum, Erie, PA

1995 Reed, Smith, Shaw and McClay Award,

Associated Artists ofPittsburgh 85th Annual Exhibition, Carnegie Museum of Art,

Pittsburgh, PA 1995 Best of Show, Images 95, Central Pennsylvania Festival of the Arts 1994 joseph M. Katz Memorial Award, Associated Artists of Pittsburgh 84th Annual Exhibition, Carnegie Museum of Art,

Pittsburgh, PA 1993 Abraham C. Frank Memorial Award, Associated Artists ofPittsburgh 83rd Annual Exhibition, Carnegie Museum of Art,

Pittsburgh, PA 1992 Directors Award, 35th National Chautauqua Art Association luried Show, Chautauqua, NY 1992 Visual Arts Fellowship, Painting, Pennsylvania Council on the Arts 1988 NEA Regional Visual Arts Fellowship, Works on Paper, Mid Atlantic Arts Foundation 1986 Visual Arts Fellowship, Painting, Pennsylvania Council on the Arts 1975 Chautauqua Art Association Award, 18th National Chauwuqua Art Association luried Show, Chautauqua, NY

1973 Artist Fellowship/Residency, MacDowell Colony, Peterborough, NH 1970 Artist Fellowship/Residency, MacDowell Colony, Peterborough, NH

2004 Functility Six, The Little Gallery, Firelands

College, Bowling Green State University, Huron,OH 2003 Flmctility Four, Gallery 2, Ventura College, Ventura, CA 2003 Flmctility Three, Oesterle Gallery, North Central College, Naperville, IL 2002 Flmctility Two, Schuster Gallery, Gannon University, Erie, PA Selected Group Exhibitions 2005 Teaching Artists, Manchester Craftsman's Guild, Pittsburgh, PA 2005 Tea and Fanwsy, Alianza, Inc., Boston, MA 2005 Art of Ceramic, Gallery International, Baltimore, MD 2005 ASSEMBLED, Lincoln Center Art Gallery,

Fort Collins, CO 2005 FIIIICtility, Visual Art StudiO, Richmond, VA 2004 on the wall/on the floor, Absolute Art

Gallery, San Marino, CA (two person) Awards and Honors 2005 Award of Excellence, '05 bltemational Ceramic Competition, Gallery International, Baltimore, MD 2002 First Place, Ceramics, 74th Annual luried Exhibition, Art Association of Harrisburg, Harrisburg, PA 2001 Best of Show, 2001 Westmoreland Art Nationals, Greensburg, PA 2000 Anita Chadwick Award for a Work in Clay, 43rd Chautauqua National Exhibition of American Art, Chautauqua, NY

Bibliography Buzzacco, jenna, "Ceramic artist to show wares at BGSU Firelands," Sandusky Register, August 23, 2004 Reynolds, Brandon, "On the Post modern Rationalization of the Socialized Self (with Pimped-Out Teapot)," Style Weekly, April 6, 2005 "The two Ventura Art Galleries will present two very unique artists," Fillmore Herald, December 26, 2002 "Up Front," Ceramics Monthly, November 2004

Selected Permanent Collections Laguna Gloria Art Museum, Austin, TX IBM Corporation, Austin, TX Blue Cross, PittSburgh, PA North Carolina National Bank, Boone, NC Del Mar College, Corpus Christi, TX Southern Utah State College, Cedar City, UT Clarion University of Pennsylvania, Clarion, PA Erie Art Museum, Erie, PA

SUZANNE FARIS Fort Collins, CO (previously a resident of Erie, PAl b. Indianapolis, Indiana, 1973

DAVID T. COLLINS Meadville, PA b. Natrona Heights, PA, 1971

Education 2001 MFA, University of Colorado, Boulder, CO 1995 BA, Purdue University, West Lafayette, IN

Education 1998 MFA, University of Notre Dame, Notre Dame, IN 1994 BFA, Clarion University of PA, Clarion, PA Selected Solo Exhibitions 2005 FlIIlCtility Eight, Northcutt Steele Gallery, Montana State University, Billings, MT 2005 Fllflctility Ten, NCECA 2005, Zoe's Garden, Baltimore, MD 2004 Flmctility Five, Memorial Hall Art Gallery, Chadron State College, Chadron, NE

Selected Solo Exhibitions 2006 Suzanne Faris, Synapse Gallery, Benton Harbor, MI 2004 Family Unit Modemization Series, Daywood Gallery at Alderson-Broaddus College, Phillipi, WV 2003 Simulated Natural Environment No.1: The History of My Immediate Family Tree and the Potential for Change, Pyro Gallery,

Louisville, KY Selected Group Exhibitions 2005 Environmenwl Art Fair EX/libition, Erie Art

Museum, Erie, PA

42

ZOO4 The Other Place, Peter Froggatt Centre at Queens University, Belfast, Ireland ZOO4 Erie Art Museum Spring Show, Erie Art Museum, Erie, PA ZOO4 Green Grass/Blue Grass!Nr:w Grass Project, Ardigillian Castle, Dublin, Ireland ZOO3 Death and Other Exits: Images from the US, the Governors Palace, Tlaxcala, MexiCO ZOO3 After the Fall, Casa de la Cultura, Oaxaca, Mexico ZOO3 Contact, Maria Curie-Sklodowska University, Lublin, Poland ZOOZ Stitching: Installations by Faris and Frankenheimer, Edge Gallery, Denver, CO ZOOI Comfort Station, Boulder Museum of Contemporary Art, Boulder, CO Bibliography Krumweide, Sarah, "The Fab Four," Boulder Weekly, Boulder, CO, November IS, ZOOI Nixon, Bruce, "Suzanne Faris at Erin Devine Gallery, Michael Ratterman at Zephyr Gallery," Louisville Eccentric Observer (the LEO), Louisville, KY, june Z, ZOOI SHAUNA FRlSCHKORN Willow Street, PA b. Uniontown, PA, 196Z Education 1996 MFA, State University of New York at Buffalo, Buffalo, NY 1983 BA, Millersville University, Millersville, PA Selected Solo Exhibitions ZOO4 Game Boys, Lancaster Museum of Art, Lancaster, PA ZOOZ The Great Olltdoors, Philadelphia Art Alliance, Philadelphia, PA, Selected Group Exhibitions ZOO4 AIM V: SYZYGY, The Fifth Annual International Festival of Time-Based Media, University of Southern California School of Fine Arts, Pasadena, CA, ZOO4 ZOO3 Rethinking Landscape, Pennsylvania College of Art and DeSign, Lancaster, PA ZOOZ Evidencing, College of New jersey Art Gallery, Ewing, Nj ZOOZ Invisible Cities, Center for Photography at Woodstock, Woodstock, NY Awards and Honors ZOO4 Special Opportunity Stipend, Pennsylvania Council on the Arts ZOO3 Selected Award, PHOTOlMAGE 03, Nexus Center for Today's Art, Philadelphia, PA ZOOZ Selected Award, Philadelphia City Paper 4th Annual Photography Competition, Gallery Siano, Philadelphia, PA ZOOZ Selected Award, Photo National, Lancaster Museum of Art, Lancaster, PA Bibliography Navas, Eduardo, "Art in Motion's fifth annual international festival of time based media," Net Art Revir:w, March 30, ZOO4

Lindt, Susan, '''Game Boys:' Young faces in other worlds," Intelligencer /oumal, Lancaster, PA, March 5, ZOO4 Holahan, jane, "Faces of Fascination," This Weekend, Lancaster Nr:w Era, Lancaster, PA, February Z6, ZOO4 Ausbitz, Debra, "Arts Beat," Philadelphia City Paper, Philadelphia, PA, October 16, ZOOZ Brokaw, Nancy, "Evidencing: Drawing with Light and Pixel," The Photo Review, Langhorne, PA, Volume 28, #6, ZOO3 AMARA GEFFEN Meadville, PA b. Utica, NY, 1957 Education 198Z MFA, Indiana University, Bloomington, IN 1979 BFA, University of Cincinnati, College of DAA, Cincinnati, OH Public Art Projects ZOOS - ZOO6, Market Alley, Historic Downtown District, Meadville, PA ZOOZ - present, Read Between the Signs, collabora足 tion with Pennsylvania Department of Transportation, Meadville, PA ZOO 1 Signs & Flowers, collaboration with Pennsylvania Department of Transportation, Meadville, PA ZOOO Greenroom, Crawford County Industrial Park, Meadville, PA Selected Group Exhibitions ZOOS Artist's Who Teach, Manchester Craftsman Guild, Pittsburgh, PA ZOO4 Outdoor Sculpture Show, Red Brick Gallery, Foxburg, PA ZOO3 Environmental Art Exhibit, Erie Art Museum, Erie, PA ZOOZ Faculty Exhibit, Bowman, Penelec and Megahan Galleries, Allegheny College, Meadville, PA ZOOZ Outdoor Installations, Slippery Rock University, Slippery Rock, PA ZOO 1 Archie Bray Foundation 50th Anniversary Exllibition, Helena MT ZOOI Community Prayer Project, Bowman, Penelec and Megahan Galleries, Meadville, PA ZOOI Glassgrowers Gallery, Erie, PA 1999 Lowfire: Limitless Possibilities, Brookfield Craft Center, Brookfield, CT 1999 Rendezvous '991, Museum of Nebraska Art, Kearney, NB 1999 Annual Spring Show, Erie Art Museum, Erie, PA 1999 Invitational Ceramics Exhibit, Viterbo College, La Crosse, WI 1998 Firelands Association for the Visual Arts, Oberlin,OH 1996 Nr:w Ceramics, works by Amara Geffen, Avra Leodas, Marc Leuthold, and Tony Marsh, joanne Rapp Gallery, The Hand and the Spirit, Scottsdale, Arizona, 1996 Nature - Artifice, Martha Gault Gallery, Slippery Rock, PA

1996 Clarion Regional Art Exhibition, Sanford

Gallery, Clarion University, Clarion, PA

Awards and Honors ZOOS Western PA Environmental Award, Penn DOT projects, Pittsburgh, PA 2005 French Creek Project Environmental Award, PennDOT projects, Meadville, PA ZOO4 Mid-Atlantic Arts Foundatton, Artists & Communities Grant ZOO3 Mid-Atlantic Arts Foundation, Artists & Communities Grant ZOO3 Women in the Arts Award, Meadville Business Association and YWCA, Meadville, PA ZOOZ - ZOO4, NEH Humanities Teacher/Scholar Endowed Chair, Allegheny College 1992 Pennsylvania Council on the Arts, Visual Artists Fellowship 1986 Pennsylvania Council on the Arts, Visual Artists Fellowship 1984 Faculty Development Research Grants, Allegheny College (also 1985, 1989, 1995 and ZOOS) Bibliography

johnson, Gary, "Art Initiative Shows More Signs

of Success," Meadville Tribune, Meadville, PA,

june Z, ZOOS

Carroll, jim, "Roadway scrap-metal art grows,"

Erie Times News, Erie, PA, May 30, ZOO4 Stright, Caleb, "Sign Art Ahead," Meadville Tribune, Meadville, PA, August 8, 2004 Garlish, Tom, "Discovering Route 6," Philadelphia Inquirer, Philadelphia, PA, September 9, ZOO4 Bartlett, john, "Artistic Environment," Erie Times足 News, Erie, PA, December 14, ZOO3 Spicer, Mary, "PennDOT Beautification Continues," Meadville Tribune, Meadville, PA, May Z4, ZOO3 Riley, Dee Davis, "Meadville Motorists Enjoy these Flowers Year-Round: Pennsylvania Magazine, ZOO3 Spicer, Mary, "Eye-popping Fence Set to Greet Motorists," Meadville Tribune, Meadville, PA, july Z4, Z003 "From Storage Lot to Tourist Attraction," Faml & Dairy, Salem, Ohio, September 18, ZOO3 Simpson, Ernest, "Metal Flowers a Collaborative Effort," Erie Times Nr:ws, Erie, PA, October Z5, ZOO3 Finley, Melissa, "Road-sign Flowers in Full Bloom," Sharon Hearld, Sharon, PA, june 9, ZOO3 Nagy, john, "Pennsylvania College Redefines 'Brownfield's Reclamation," lvww.stateJine.OIg, March Z, ZOOI Wellman, c., "A New Body Language: The Primacy of Touch In Amara Geffen's Clay Sculptures," American Ceramics, Winter 1992 CARL GUSTAFSON Lancaster, PA b. Lancaster, PA, 1976 Education ZOO 1 BFA, Pennsylvania School of Art & DeSign, Lancaster, PA

Selected Solo Exhibitions ZOOS Paintings, Wish You Were Here, Lancaster, PA 2004 Paintings, Wish You Were Here, Lancaster, PA 2001 Drawings, Zoetropolis, Lancaster, PA

Awards and Honors ZOOS Artist-In-Residence Grant, Coleman Center for Arts and Culture, York, AL

Selected Group Exhibitions 2002 40th Annual Open Art Award Exhibit, Lancaster Museum of Art, Lancaster, PA

ROBERT RACZKA Meadville, PA b. Pottsville, PA, 1955

KRISTOFER HARZINSKI Lancaster, PA b. Bismarck, ND, 1976

Education 2002 MFA, Pennsylvania State University, University Park, PA 1999 BFA, University of Nebraska Omaha, Omaha, NE Selected Solo Exhibitions 2005 SIGNAL, installation at the abandoned York Municipal Airport presented by municipal WORKSHOp, York, AL 2005 Looking out the window I saw the planes had escaped, public installation presented by

Wish You Were Here, Lancaster, PA 2004 People Need Pens, project for public tele足

2002 2001 2001

2000

phones, Lancaster, Manheim, Lebanon, and York, PA (Jifecards) showroom, Zoller Gallery, State College, PA Free Phone Project, a project to save a public telephone from vandalism, State College, PA Recycle Enjoyment, public installation, Pennsylvania State University, State College, PA Free Bus Ride, performance at bus stops, Omaha, NE

Selected Group Exhibitions 2005 Gaze, Freeform Gallery, Philadelphia, PA 2005 Space Windows, various locations, Lancaster, PA 2004 Identity and Vision in North Dakota and Minnesota, Plains Art Museum, Fargo, ND 2004 Sense ofPlace, Boulder Museum of

Contemporary Art, Boulder, CO 2004 project MOBILIVRE - BOOKMOBILE project,

various US and Canadian locations 2003 Open Forum: Encampment, The Soap 2003 2003

2002 2002 2001 2001 2000

44

Factory, Minneapolis, MN La Superette, Dietch Projects and Participant, Inc., New York, NY Technology and Art, Olin Fine Arts Center at Washington and Jefferson College, Washington, PA Bakers Dozen, Adam and Art Gallery, Bellefonte, PA Vehicles, SoFA Gallery at Indiana University, Bloomington, PA Southpaw, University of Wisconsin, Madison, W1 Intersections, Adam and Art Gallery, Bellefonte, PA Books: Beyond Definition, Bemis Center for Contemporary Arts, Omaha, NE

Education 1980 MFA, University of Florida, Gainesville, FL 1978 BFA and BS, Northern Arizona University, Flagstaff, AZ Selected Solo Exhibitions 2004 Found objects & found arrangements, Three Rivers Arts Festival Gallery, Pittsburgh, PA 2004 reverie and disorder, Pittsburgh Filmmakers Gallery, Pittsburgh, PA 2003 less than one gravity, superior (an exhibi足 tion space), Cleveland, OH 2002 Around Architecture, Chatham College Art Gallery, Pittsburgh, PA 2001 Embellishments, PROJECT, Wichita, KS 1999 All Ornamental Grammar, Tyler Gallery, Tyler School of Art of Temple University, Elkins Park, PA 1996 Hartnett Gallery, University of Rochester, Rochester, NY Selected Group Exhibitions 2005 Art of the Parks, Concept Art Gallery, Pittsburgh, PA 2005 New Names/New Work, Gallery 339, Philadelphia, PA 2005 Visual Matter, East Ohio Street window projects, organized by Artists Image Resource, Pittsburgh, PA 2005 inkjet, Artists Image Resource, Pittsburgh, PA 2005 Acceleratillg Sequence, (curated by Dan Talley), Museum of Contemporary Art of Georgia, Atlanta, GA 2005 TOrrid, Sharadin Art Gallery, Kutztown University, Kutztown, PA 2004 casa, Fe Gallery, Pittsburgh, PA z004 Sawtelle, the sequel, (curated by Bill Radawec), The Beaker Gallery, Tampa, FL 2004 Objects in/and Visual Culture, Zoller Gallery, Pennsylvania State University, University Park, PA 2003 VIlth International Biennial ofDrawing and Graphic Arts, American section curated by

Elaine A. King, Municipal Museum of Art, Gyor, Hungary 2003 Frozen Architecture, Laura Mesaros Gallery, West Virginia University, Morgantown, WV z003 Sequel, domestic setting, Los Angeles, CA 2002 Things About Things: Kaersten Colvill足 Woodruff, Robert Raczka, alld Owen Smith,

Zoller Gallery, Pennsylvania State University, University Park, PA 2002 Collage/Assemblage/Montage, Pennsylvania School of Art & Design, Lancaster, PA 2000 Then and Now: A 30-Year Retrospective,

Painted Bride Art Center, Philadelphia, PA 1998 TIle Pittsburgh Biennial, Pittsburgh Center for the Arts, Pittsburgh, PA

1996 Subversive Domesticity, (curated by Dana

Self), Edwin A. Ulrich Museum of Art,

Wichita State University, KS

1995 Fugitive Traces, billboard and poster project, Three Rivers Arts Festival, Pittsburgh, PA 1995 Rezone, DiverseWorks, Houston, TX Awards and Honors 2005 - 2008, Teacher Scholar Chair in the Humanities, Allegheny College 1999, 2002, Special Project Grants, Pennsylvania Council on the Arts Bibliography Self, Dana, Subversive Domesticity, Edwin A. Ulrich Museum of Art, Wichita, KS, 1996 Thomas, Mary, "Biennial buzz," Pittsburgh Post足 Gazette, Pittsburgh, PA, April 3, 1998 Shearing, Graham, "A Banner Biennial," Pittsburgh Tribune-Review, Pittsburgh, PA, April 9, 1998 Potter, Chris, "What's It All About?" Pittsburgh City Paper, Pittsburgh, PA, April 8-15, 1998 Miller, Donald, "Searching for the edge in art shows," Pittsburgh Post-Gazette, Pittsburgh, PA, April 25, 1998 Donohoe, Victoria, "The Arts," The PIli/adelphia Inquirer, Philadelphia, PA, September 12, 1999 Rice, Robin, "Gerry's Kids," Phi/adelphia City Paper, Philadelphia, PA, March 16-23, 2000 Utter, Douglas Max, "Light Touch," Angle Magazille, Cleveland, OH, Vol. 1, No.3, May 2003 King, Elaine, Art in an After Post World, Municipal Museum of Art, Gyor, Hungary, 2003 Shaw, Kurt, "The order of 'Disorder' " Pittsburgh Tribune-Review, Pittsburgh, PA, January IS, 2004 Schneider, Carrie, "Robert Raczka at Pittsburgh Filmmakers Gallery," Pittsburgh City Paper, Pittsburgh, PA, January 15-21, 2004 Thomas, Mary, "Beneath the surface," Pittsburgh Post-Gazette, Pittsburgh, PA, October 14, 2004 Schneider, Carrie, "Reverie and Disorder: Robert Raczka," The Photo Review, Langhorne, PA, Vol. 26, No. 4Nol. 27, No.1, 2004 Slaven, Michael, "Robert Raczka at Three Rivers Arts Festival Gallery, PittSburgh," Art Papers, Atlanta, GA, Vol. 29, No.1, January/February 2005

Shaw, Kurt, "Mixing ink with creativity:

Pittsburgh Tribune-Review, Pittsburgh, PA,

March 17, 2005

N. SARANGOULIS Reading, PA b. Reading, PA 1948 Education 1971 Ecoles D'Art Americanes, Fontainebleau, France 1970 BFA, Kutztown State College, Kutztown, PA Selected Solo Exhibitions 2005 Affinities, Freedman Gallery, Reading, PA (curated and exhibited) 2002 Challenge Exhibition, Samuel S. Fleisher Art Memorial, Philadelphia, PA 1999 Jewish Community Center of Reading, PA 1990 Reading Area Community College, Reading, PA

1988 1987 1985 1983

Muse Gallery, Philadelphia, PA Millersville University, Millersville, PA Muse Gallery, Philadelphia, PA Muse Gallery, Philadelphia, PA

Selected Group Exhibitions ZOO3 Expanding Boundaries, Muse at ZS, Moore College of Art and Design and Muse Gallery, Philadelphia, PA ZOO3 Shape Gallery, Shippensburg, PA ZOOZ Invitiltional Salon ofSmal/ Works, New Arts Program, Kutztown, PA ZOOZ & ZOOI, Regional Center for Woman in the Arts, West Chester, PA ZOO lOut of the Box, Target Gallery, Alexandria, VA ZOOO Kutztown Alumni Invitiltional Exhibition, Open Space Gallery, Allentown, PA 2000 Uncovering the Unconscious, Hicks Art Center, Bucks County Community College, Newtown, PA ZOOO State of the Arts: 33rd Annualluried Exhibition, The State Museum of Pennsylvania, Harrisburg, PA ZOOO 27th luried Show, Allentown Art Museum, Allentown, PA 1999 Hunger Artist Gal/ery's Award Winners' Show, Albuquerque, NM 1998 By Mutllal Consent, Widener University Art

Gallery, Chester, PA 1998 Cart Art in Motion, Choreographed shop足

ping cart art sculptures at the Philadelphia Fringe Festival, Philadelphia, PA 1997 Muse Gal/ery 20th Anniversary Exhibition,

1997

1996 1991 1991 1990

The Pain ted Bride Art Center, Philadelphia, PA Winter's Tango, The Hill School Center For the Arts, Pottstown, PA 20 X 20 Invitiltional, The Painted Bride Art Center, Philadelphia, PA

Secret Views, The Philadelphia Art Alliance, Philadelphia, PA The Enchanted Image, The Laurie W. and Irvin Borows~TGallery, Philadelphia, PA On the Move, 4Znd Street and Sixth Street Subway Station, New York, NY

1990 Contemporary Women Artists ofPhiladelphia Intemational, The American Cultural

Center, Brussels, Belgium 1989 48th and 49th Annual Awards Painting Exhibitions, Cheltenham Art Center,

Cheltenham, PA 1989 Muse at ARC, ARC Gallery, Chicago, IL 1987 Made in Philadelphia, SOHO 20, New York, NY 1986 New Visions ofFamily, Muhlenberg

College, Allentown, PA 1986 Making Spaces, Reading Museum, Reading, PA 1985 LAndEscapes, Galeria Mesa, AZ

1984 Washington Woman's Art Center, Washington, DC 1983 Her Own Space, Kling Partnership Gallery, Philadelphia, PA

Awards and Honors 2004 Selected as a roster artist for the Pennsylvania Partners in the Arts ReSidency Program ZOOZ Chosen as a challenge artist for the Samuel S. Fleisher Art Memorial, Philadelphia, PA 1971 Walter Damrosch Scholarship Prize, Ecoles D'Art Americaines, Fontainebleau, France 1970 Fine Arts Award, Kutztown State College, Kutztown, PA Bibliography Schira, Ron and Christopher Youngs, Affinities: The Separate and Group Efforts of Six Artists,

Freedman Gallery, Albright College, Reading, PA, ZOOS REBECCA STRZELEC Hollidaysburg, PA b. Champaign, Illinois, 1977

Education 2002 MFA, Tyler School of Art, Temple University, Philadelphia, PA ZOOO BFA, Tyler School of Art, Temple University, Philadelphia, PA Selected Solo Exhibitions ZOO3 Tangibles, The Sheetz and Mclanahan Gallery at Penn State Altoona, Altoona, PA Selected Group Exhibitions ZOOS Virtllal(Tangible, Reinberger Galleries, The Cleveland Institute of Art, Cleveland, OH ZOOS Dialoglle and Diversity: Faculty Exhibition, Palmer Museum, State College, PA ZOOS Altemative: Means/Materials, Bannister Gallery, Rhode Island College, Providence, RI ZOOS Refined IV: Innovation, Stephen F. Austin State University Art Gallery, Nacogdoches, TX ZOO4 As I Am, Jaffe Arts Center, Norfolk, VA ZOO4 SynaestheSia, SIGGRAPH Art Gallery, Los Angeles, CA ZOO4 The Third Annual CyberFashion Show, SIG足 GRAPH, Los Angeles, CA ZOO3 Technology in Art Exhibition, Olin Fine Art Center, Washington and Jefferson College, Washington, PA 2003 Women in Art, Harlan Gallery, Seton Hill University, GreenSburg, PA ZOO3 The Art Gal/ery at SIGGRAPH, San Diego, CA ZOO3 The Second Annllal CyberFashion Show, SIGGRAPH, Los Angeles, CA ZOO3 46th Chautiluqua National Exhibition of American Art, Center for the Visual Arts, Chautauqua, NY ZOOZ Digital/y Propel/ed Ideas, California State Polytechnic University, Pomona, CA ZOOZ Recent MFA Exhibition, Antioch College, Yellow Springs, OH ZOOZ Spring Col/ection, Third Street Gallery, Philadelphia, PA ZOOZ Five Degrees in Cold Storage, 315 Arch Street Gallery, Philadelphia, PA

ZOOZ Hopscotch: Associative Leaps in the Constmction of Narrative, Painted Bride Art Center, Philadelphia, PA ZOOZ MFA Thesis Exhibition, Exhibited online via www.temple.edu/craft Awards and Honors ZOOS ReSidency, Millay Colony for the Arts, Austerlitz, NY 200Z Honorable Mention, Digitill/y Propel/ed Ideas, California State Polytechnic University, Pomona, CA Bibliography Le Van, Marthe, 500 Brooches Inspiring Adornments for the Body, LArk Books, A Division of Sterling Publishing, 2005, p. 46

Rodriguez, Bill, "Dazzling DeSigns, Small-scale wonders at RIC," The Providence Phoenix, ApriIZZ, ZOOS University Relations, "Art Imitates Life," Ivyleaf Magazine, Penn State Altoona, Spring ZOO4, pp. 14-16 GEORGETTE L_ VEEDER Adamstown, PA

b. Columbia, SC, 1950 Education 1978 Pennsylvania Academy of the Fine Arts, Philadelphia, PA 1971 BFA, Montclair University, Upper Montclair, NJ Selected Solo Exhibitions 1981 Westby Gallery, Glassboro, NJ 1981 Philadelphia Art Alliance, Philadelphia, PA 1980 Samuel S. Fleisher, Art Memorial Philadelphia, PA 1980 Freedman Art Gallery, Albright College, Reading, PA 1979 Gallery Doshi, Harrisburg, PA

1979 Terrill Gallery, Nutley, NJ Selected Group Exhibitions ZOO4 Unbroken Line, Pennsylvania Academy of the Fine Arts Fellowship, Plastic Club, Philadelphia, PA ZOO4 Guild of Papermakers, Gloucester County College, Sewell, NJ ZOO4 Dear Fleisher, Samuel S. Fleisher Art Memorial, Philadelphia, PA ZOO3 Art of/he Stilte, The State Museum, Harrisburg, PA ZOO3 Paper Awareness VIII, The Community Arts Center, Wallingford, PA ZOOZ Crafts National, Wayne Art Center, Wayne, PA ZOO 1 Art of the Stille, The State Museum, Harrisburg, PA 1999 Pleiades Gallery, New York, NY 1999 Rodger LaPelle Galleries, Philadelphia, PA 1998 20 x 12, Samuel S. Fleisher Art Memorial, Philadelphia, PA 1998 Pennsylvania Academy of the Fine Arts Fellowship, Yellow Springs, PA

1998 Berks Art Alliance, Reading Public Museum, Reading, PA 1997 AHA Exhibition, 1914 Rittenhouse Square, Philadelphia, PA Awards and Honors Cresson Memorial Traveling Scholarship Pennsylvania Governor's Award Bibliography Kieffer, Susan, Fiberarts Design Book 7, Ashville, NC CHRISTINE WELCH Lancaster, PA b. Williamsport, PA, 1947

Education 1982 MFA, University of Delaware, Newark, DE 1971 BA, Franklin and Marshall College, Lancaster, PA Selected Solo Exhibitions 2005 Sol Mednick Gallery, Philadelphia, PA 2004 Museum im Westrich, Kaiserslautern, Germany 2003 Phillips Museum of Art, Lancaster, PA 2001 Tyler School of Art, Elkins Park, PA 1999 P.A.B.A., New Haven, CT 1996 O.K. Harris Fine Art, New York, NY 1993 Lancaster Museum of Art, Lancaster, PA 1991 Level 3, Philadelphia, PA 1982 Fourth Street Gallery, New York, NY Selected Group Exhibitions 2005 Paradise Paved, Painted Bride Art Center, Philadelphia, PA 2002 &; 1996, The Perkins Center, Moorestown, Nj 2001 Rail in Context, Southern Alleghenies Museum of Art, Altoona, PA 1999 The Emerging Image: Selected Contemporary Photography, Susquehanna Art Museum, Harrisburg, PA 1996 1996 Biennial, A.I.R. Gallery, New York, NY 1992 Lois Greenfield and Christine Welch, Blatant Image/Silver Eye, Pittsburgh, PA 1988 Social Life, Center for Creative Photography, Woodstock, NY 1983 Art Institute of Boston, Boston, MA 1983 The Foundry Gallery, WaShington, DC 1983 Pennsylvania Photographers lII, Allentown Art Museum, Allentown, PA 1982 The Photography Place, Philadelphia, PA 1982 The Print Club, Philadelphia, PA Awards and Honors 2002 juror's Award: Barbara Millstein, curator, Brooklyn Museum of Art, New York, NY 1996 Purchase Award: johnson and johnson Corporate Collection 1996 juror's Award: Patrick Murphy, curator, ICA, Philadelphia, PA 1996 juror's Award: Merry Foresta, curator, Museum of American Art, Washington, DC

46

Bibliography Sozanski, Edward, "Rooms With No View," The Philadelphia Inquirer, Philadelphia, PA, February 25, 2005 Cavouras, Krissa Corbett, "Interior Life: American Photo on Campus, january 2005 Perloff, Stephen, "Paradise Paved," exhibit catalogue, The Photo Review, Vol. 27, November 3,2005 Mitarbeiter, Von Unserem and Andreas Fillibeck, "Menschenleer und Ausdrucksvoll," Rheinpfars, May 26, 2004 Haen, Von Martin, "Christine Welch­ Commonplace," Einfuhrung zur Ausstellung Commonplace, Oktober 2004 Welch, Christine, conclusion by john R. Stilgoe, Commonplace, Center for American Places, Harrisonburg, VA, 2002 Grant, john, "What Does it Mean to Live in the Sprawl Zone? " The Photo Review, Langhorne, PA, Vol. 23, No. 2, Spring 2000 Arnott, Christopher, "Commonplace," The New Haven Advocate, New Haven, CT, june 10, 1999 Dykstra, jean, "Empty Rooms, Christine Welch, " The Phow Review, Langhorne, PA, Vol. 20, No.1 , Winter 1997 Chambless, john, "A Show of Photo Art," Daily Local News, West Chester, PA, November 11, 1994 Pursifull, Deborah, "Christine Welch," PHOTOpaper, Pittsburgh, PA, Summer 1992 Perioff, Stephen, "Some Recent Nudes," The Photo Review, Langhorne, PA, Vol. 14, No.3, Summer 1991 Lewis, jo Ann, "Foundry Gimmickry," The Washington Post, Washington, DC, August 11, 1983 AddamS-Allen, jane, "Foundry Show Leaves Politics Out of the Picture," The Washington Times, Washington, DC, August 4, 1983 McAuley, Kathy, "A Photographic Adventure: The Morning Call, Allentown, PA, May 5, 1983 Calhoun, Charles, "The Commonplace Comes Alive in Photo Display," The Palm Beach Post­ Times, West Palm Beach, FL, July 15, 1979 MARK WONSIDLER Bethlehem, PA b. Bethlehem, PA, 1971

Education 2000 MFA, The Milton Avery Graduate School of the Arts, Bard College, Annandale·on­ Hudson, NY 1993 BFA, School of Visual Arts, New York, NY Selected Solo Exhibitions 2000 Objects by Mark Wonsidler, 15 W. Mechanic St., New Hope, PA 1999 Mark Wonsidler: Blindman's Blllff, Freyberger Gallery, Penn State Berks­

Lehigh Valley College, Reading, PA

1997 Mark Wonsidler: Natural Affinities, Martin Art Gallery, Muhlenberg College, Allentown, PA Selected Group Exhibitions 2005 The Peekskill Project, Hudson Valley Center for Contemporary Art, Peekskill, NY

2002 Suspend and Levitate, The Suzanne H. Arnold Gallery, Lebanon Valley College, Annville, PA 2001 Area Artists: Bill Kreider, Norman Sarachek, David Serra, Mark Wonsidler, Siegel Gallery, Lehigh University, Bethlehem, PA 2000 - 2001, From Realism to Non-Objectivity: Cal'temporary Art from New York to Philadelphia, University of Wisconsin­ Stout, Stout, WI 1995 Three Artists: Mark Mahosky, Peter Metzler, Mark Wonsidler, Allentown Art Museum, Allentown, PA 1995 Visions ofDeath and TransfomJation, Delaware Center for Contemporary Art, Wilmington, DE Awards and Honors 1997 1999, Graduate Fellowship, Bard College, Annandale-on-Hudson, NY 1993 Rhodes Family Award, School of Visual Arts, New York, NY 1989 1993, Full Academic Scholarship, School of Visual Arts, New York, NY 1988 Pennsylvania Governor's School for the Arts, Bucknell University, Lewisburg, PA Bibliography

Gehman, Geoff, "Allentown art exhibitions have

only a few saving graces, " The Morning Call,

Allentown, PA, October 21, 1995

Lanier, Steve, Visions ofDeath and Transformation,

Delaware Center for Contemporary Art,

Wilmington, DE, 1995

Schira, Ron, "East and west merge in Freyberger

exhibit," Reading Eagle-Reading Times, Reading,

PA, january 31, 1999

Tice, Lisa Neal, SlIspend and Levitate, Suzanne H.

Arnold Gallery, Lebanon Valley College,

Annville, PA, 2002

Verderame, Dr. Lori, Mark Wonsidler: Natural

Affinitites, Martin Art Gallery, Muhlenberg

College, Allentown, PA, 1996

Viera, Ricardo, Area Artists: 2001, Lehigh University Art Galleries, Bethlehem, PA, 2001 Walsh, Philip, "In the Form of A Question: Blindman's Bluff by Mark Wonsidler," introduc­ tion by Marilynj. Fox, What is Predolls?

Freyberger Gallery, Penn State Berks-Lehigh Valley College, Reading, PA, 1999

Exhibition Checklist

LISA AUSTIN Child Garden (or the ICU, 2002, (photo of original project), Formica on wood, steel legs, casters, light, 6 x 10 x 10 feet PLATE 1

Child Garden (or the ICU, 2004, (sketch for manufactured version), watercolor on paper, 8 x 10 inches Child Garden (or the ICU, 2004, (framed digital renderings of proposed redesign to be manufactured in plastic), 24 x 36 x 1 inches Child Garden (or the ICU, 2005, (printed book足 let), with Jeffery Brunner, Alisa Dix of Third Termite Press, Pittsburgh, PA, 3 x 3 x Xinches Child Garden (or the ICU, 2005, (model for manufactured version), balsa wood, approximately 12 feet x 5 x 1Minches CHRISTINA L. BOTHWELL Mermaids, 2005, installation, mold formed cast glass, pit-fired raku clay, taxidermied fish, varying sizes from 5 x 3 x 2 inches to 36 x 7 x 8 inches PLATE 2 DANIEL BURKE o( a Feather, 2005, acrylic, oil, and mixed media on wood and other surfaces, 120 x 168 x 36 inches PLATE 3 DAVID T. COLLINS Line, Function, Vessel - Teapot #3, 2003, stoneware, aluminum, acrylic, 18 x 12 x 13 inches

Line, Function, Vessel - Teapot #4, 2003, stoneware, low fire engobe, mixed media, 18 x 12 x 13 inches PLATE 4 Line, Function, Vessel- Teapot #6, 2003, stoneware, low fire engobe, mixed media, 18 x 12 x 13 inches Untitled, 2005, ceramic and mixed media, 18 x 12 x 13 inches SUZANNE FARIS Rotation, mixed media, 2005, 60 x 60 x 96 inches (approximate) SHAUNA FRISCHKORN Todd (playing Test Drive), 2002, C-print, 24 x 20 x 2 inches PLATE 8

lack (playing Crash Bandicoot), 2002, C-print, 24 x 20 x 2 inches Robert (playing Smuggler's Run 2: Hostile Territory), 2002, C-print, 24 x 20 x 2 inches Andy (playing Simpson's Road Rage), C-print, 24 x 20 x 2 inches, 2002 C./. (playing Enter the Matrix), 2003, C-print, 24 x 20 x 2 inches

Matt (playing Grand Theft Auto: Vice City), 2003, C-print, 24 x 20 x 2 inches

Brandon (playing Tokyo Xtreme Racer), 2003, C-print, 24 x 20 x 2 inches Michael (playing The Italian Job), 2003, C-print, 24 x 20 x 2 inches Wade (playing Medal o( Honor: Frontline), 2003, C-print, 24 x 20 x 2 inches Jason (playing Tony Hawk Pro-Skater 4), 2003, C-print, 24 x 20 x 2 inches AMARA GEFFEN Read Between the Signs, 2002 - present, photodocumentation of recycled road signs and reconstituted solar signboards, 10 x 715 x 2 feet, collaboration with Pennsylvania Department of Transportation, Routes 322/6/19, Meadville, PA. Photography by Bill Owen. PLATES 9 ond 10 CARL GUSTAFSON The Hallway #3, 2004, oil on canvas, SO x 65 x 3 inches

The Hallway #4, 2004, oil on canvas, SO x 65 x 3 inches PLATE 11

N. SARANGOULIS He Giveth Snow Like Wool, 2001 , watercolor, gouache, pencil on found object, 5Mx 7 inches

Steal Not This Book, 2001, watercolor, gouache, pencil on found object, 10 x 12 inches PLATE 14 Pages From The Clarence Series, 2002, mixed media on found objects, 42 x 34 inches, viewed on both sides REBECCA STRZELEC Army Green Orchid #1,2005, FDM ABS plastic and corsage pin, 3.4 x 3.3 x .65 inches

Army Green Orchid #2, 2005, FDM ABS plastic and corsage pin, 4.1 x 3.8 x .75 inches Army Green Orchid #3, 2005, FDM ABS plastic and corsage pin,S x 3.2 x 1.8 inches Army Green Orchid #4, 2005, FDM ABS plastic and corsage pin, 4 x 2.8 x 1.4 inches Written Brooch, 2003, FDM ABS plastic, medical adhesive, 5.2 x 4.5 x 4.7 inches Split Brooch, 2003, FDM ABS plastic, medical adhesive, 5.2 x 5.1 x 4.7 inches PLATE 15 Still Brooch, 2002, FDM ABS plastic, medical adhesive, 6 x 6.5 x 2 inches

KRISTOFER HARZINSKI #10 Detroit Metropolitan Wayne County Airport, 2005, hand-cut paper, 27 x 20 inches

Both Arms Brooch, 2002, FDM ABS plastiC, medical adhesive, 3.5 x 2.6 x 1.5 inches

PLATE 12

GEORGETTE L. VEEDER Langue du Diabie, 1999, cast paper, 96 x 60 x 48 inches PLATE 16

#13 Newark Liberty International Airport, 2005 hand-cut paper, 39 x 19 inches

#11 John F. Kennedy International Airport, 2005 hand-cut paper, 22 x 16 inches

#3 Los Angeles International Airport, 2005, hand-cut paper, 26 x 17 inches #6 Phoenix Sky Harbor International Airport, 2005, hand-cut paper, 28 x 16 inches

#14 San Francisco International Airport, 2005, 25 x 17 inches

ROBERT RACZKA Drawing stillli(e with bucket and rotting pumpkin, 2002, dye sublimation print, 6)( x 9 inches

CHRISTINE WELCH Route 202, near Great Valley, PA, 1998, 1998, chromogenic print, 21 )( x 14)( inches

Route 262, near Goldsboro, PA, 2003, 2003, chromogenic print, 21 )( x 14)( inches PLATE

17

Route 741, near Strasburg, PA, 1997, 1997 chromogenic print, 21 )( x 14)( inches ROllte 113, near Phoenixville, PA, 1997, 1997 chromogenic print, 21 )( x 14)( inches ROllte 322, near Lewistown, PA 2002, 2002, chromogenic print, 21 )( x 14)( inches PLATE 18

Painting stillli(e with plastic oranges and umbrella skeleton, 2003, dye sublimation print, 6)( x 9 inches

ROllte 32, Canaan Valley, WVA, 1999, 1999, chromogenic print, 21 )( x 14)( inches

Painting stillli(e with bowl o( orange yarn, 2004, dye sublimation print, 6)( x 9 inches

MARK WONSIDLER Variant I (bllckets), 2004, found objects, paint, wax, stain 16 x 72 x 108 inches PLATE 19

Painting stillli(e with mannequin, 2004, dye sublimation print, 6)( x 9 inches PLATE 13 Toy soldiers and cobwebs, 2004, dye sublimation print, 6)( x 9 inches Aluminum (oil and red (ootball, 2003, dye sublimation print, 6)( x 9 inches

Variant II (books), 2004, found objects, 8 x 12 x 6 inches Puzzle Box (or Emily Dickinson, 2003, pine, glue, paint, photograph, lOx 10 x 24 inches

Acknowledgments and Credits Special thanks to the following individuals for their contributions to this project: Suzanne Proulx-Bavaro, Assistant Curator, Heather Dana, Education Coordinator, Vance Lupher, Registrar, Dan Stasiewski, Publicist, Sam Ansbro, Volunteer Coordinator, Jenae L. Strickenberger, O{flce Manager, Kelly Armor, Director ofEducation & Folk Arts, Joseph Allen Popp, Frame Shop Manager, Angela Canovali, Communications Assistant, Jamie Proper, Work Study, Wesley Moore, Maintenance, J.R. Snyder, Weekend Receptionist, George Wands, O{flce Assistant, Erie Art Museum; Francine Fox, Meagan Garlitz, Kate Jordan, Ashley Purcell, and Danielle Schaefer, Gallery Assistants, Kutztown University; Shira Billig, Graduate Assistant, Jeffery Brunner, Assistant Registrar, Nancy Cleaver, Preparator, Cynthia Peltier, Operations Manager, Samek Art Gallery; Graziella Marchicelli, Fine Arts Curator, Bobby Moore, Registrar, Southern Alleghenies Museum of Art. Essay: Kristy Krivitsky Editors: Dan Mills and Dan R. Talley Editorial Assistant: Ashley Purcell Photographs: Amanda Geffen photographs

by Bill Owen. All other photographs courtesy of the artists Catalogue Design: Adrienne Beaver Printing: Reed Hann, Inc.

Funded by the participating institutions; the Pennsylvania Council on the Arts a state agency, which is supported by the National Endowment for the Arts, a National Agency; the Association for the Arts of Bucknell University.

Copyright II:> Bucknell University ISBN 0-916-279-23-5

48

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Organized by: Erie Art Museum 411 State Street Erie, PA 16501 814.459.5477 www.erieartmuseum.org Pennsylvania College of Art and Design 204 N . Prince Street Pennsylvania College ~ P.O. Box 59 of Art & Design ~ Lancaster, PA 17608 717.396.7833 www.pcad.edu Samek Art Gallery Bucknell University Lewisburg, PA 17837 570.577.3792 www.bucknell.edu/SamekArtGallery

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Sharadin Art Gallery Kutztown University of Pennsylvania P.O. Box 730 Kutztown, PA 19530 610.683.4546 www.kutztown.edu/acad/artgallery Southern Alleghenies Museum of Art Saint Francis University P.O. Box 9 Loretto, PA 15940 814.472.3920 www.sama-art.org