Photo Nominal 1993

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Exhibition Selected by Carlos Gutierrez-Solana Mark Clark Sylvia de Swaan Ken Gray Penny Harris Sarah Hart Kathy Hur Linda Ingraham K. luppa David A. Kwasigroh Laura Letinsky Patrick Miceli John Rand M. K. Rynne Adrienne Salinger Jeffrey Scales Bruce Stiglich Robin Tressler Kelly R. Vancil Pamela A. Vander Zwan January 30 through March 27, 1993 Organized by The FDRUM Gallery at Jamestown Community College This exhibition is funded in part by the Fund for the Arts in Chautauqua County, which is managed by the Arts Council for Chautauqua County.

Director's Notes...........................................

The FORUM Gallery is extremely pleased circumvents these historical catchalls.By are extremely grateful to Carlos for the to present PhotoNominal '93, an exhibi­ doing so, the pieces in this show contrib­ time and e~ort he set aside for this project tion examining a range of attitudes and ute to the recent redefinition that is freeing and for the seriousness with which he approaches to both the content and meth­ photography from the modernist impulse proceeded. ods of contemporary photography. This that almost exclusively sought to catego­ The photographers in this show all deal with a tension that permeates late year's show, the third annual incarnation rize and anatyze photographically gener­ of this exhibition, was selected by Carlos ated imagery in retrofitted painterly terms. twentieth century society. They all push Gutierrez-Solana, director of Artists Space This show has a very democratic (with varying intensity) toward the edge of in New York City and former director of the foundation:we charge no submission fee, societal consciousness where some of the most unsettling questions reside.The Visual Arts Program for the New York and all artists producing photographi­ cally based pieces are invited to apply (we resulting exhibition is honest. It is pro­ State Council on the Arts.

Mr. Gutierrez-Solana brought an ex­ do encourage innovative approaches to vocative. It demands attention. form and content).To further democratize We are grateful to Carlos for his tremely deliberateand highly focused criti­ cal eye to this year's 3,300 plus entries. the process, each year we invite adifferent unflinching curatorial commitment and to person to select the works to be included all nineteen of the participating artists for Instead of simply selecting across sec­ tion of approaches to present in the exhi­ in the show. As we had originally hoped, the resoundi ng power of thei rartistic state­ bition:he zeroed in on specific attitudes this format presents an exhibition with a ments. that seemed to be shared by many of the radically different character each year­ submitting artists. The show that has one that is defined not only by the range of Dan R. Talley emerged presents two distinctapproaches submissions, but equally by the aesthetic Gallery Director to the representations of human existence predilections of the person selecting the in the photographic context. One direc­ work.

Mr. Gutierrez-Solana hasassembled tion is expressed in work that has atheat­ rical, premeditated, calculated mood, while agroup of pieces that speak with aunited the other presents work characterized by a voice. Orchestrating this degree of clarity highly stylized documentary flavor. Both from adiverse group of 300 plus artists approaches cut through the preconceived requires a measure of absorption, bal­ aesthetic categories of ·studies· and "de­ anced with an equal measure of detachc cisive moments" with a directness that ment, driven by dogged perSistence. We

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The Marve ous or Incredib eCharacter of Images

Without Distinctly Im­

plying Impossibi ity or

Actua Non-Existence

ity of messages. Whether 'documented" The realization in the early part of the 20th or 'fictionalized,' the figure and through it century that' .images of man's inner world could possess a truth'and reality humanism seemed to still playa central role in contemporary photography - as as impor~ant as that of the external world "(1) liberated photography from evident in the submissions. Thus the fig­ its roots in strict representations of the ure became the loose thread that linked, for me, the 19 artists in the exhibition. natural world, from its "realist inherit­ ance.'(2) But much more important was The images in the exhibition are all identifiable in their relentless relationship the revolutionary stance (photography to society and their insistence on redefin­ takes giving...) that gave credence and ing companionship or association with equal billing to the inner worlds of our one's fellows. Ihave purposefullyarranged imagination. It was then that the concerns them into two groups: 'fiction" and of photography and art began to merge. "non-fiction,' not to imply an unyielding Today, photographs and the forms they duality, but to underscore the arbitrary assume are almost limitless and more and often unfounded differences between accurately reflect the complex and diverse - and natural - worlds, real or imag­ that which we perceive as real and that ined, which we have come to inhabit. record in time of an 'actual" situation, out as I viewed and reviewed the more which we ascribe to the imagination. My Susan Krane, writing in the catalog for somewhat fictionalized by the biases of than 3,340 images (42 trays!) by over 300 purpose is to continue the dialogue which PhotoNominal '92, states that 'Photogra­ originated with the images and the the photographer? artists. The clean slate with which I ap­ phy can perhaps never really describe proached this task slowly began to be image-makers to pluralize the definition Clearly, selecting work for an exhi­ of society and in the process perhaps our world.' Perhaps not. But what can? bition such as this one cannot be an filled with images, images which repeat­ And who does "our" refer to? Issomething objective proposition, regardless of the edly and insistently spoke of the drama of broaden "our world: invented by the imagination an assump­ juror's efforts at "fairness' and the pro­ life, real and imagined. The more Ilooked, Carlos Gutierrez-Solana tion of apossibility as afact irrespective of spectus' open-ended intent. The volume the more it became apparent that the ma­ October 1992 the question of its truth and recorded of images alone, though atestament to the jority of the work before me, though in­ through photographic means not "real" richness and diversity of contemporary deed liberated from its "realistic inherit­ 1. EOOuId YIf1Icov,~: P11cIogIaphy 1923 -1990. because it is 'fiction?" And is it not a image-making, insisted on afocus, afo­ ance: was heavily reliant on the human 2. SluI KIn, "Selecting Ihe SIlow,· I'IIoIoNotrII!a 92. re-presentative or journalistic image - a cus not of my making, but one that stood figure as aloaded medium lor amultiplic­

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MarkCark

Baltimore,

Ma~land

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Each of us is amystery wrapped in flesh. Reviews, Publications, Catalogs: 'Space Found,' by Belle Gironda, City Paper, Understanding these mysteries is achal­ Charlotte, NC, 1990. lenge for everyone. The human body is my 'Pushing the Boundaries,' by Glenn Harper, Rosetta Stone. My work is an attempt to Aperture, Volume 115, 1989.

'Modem Romance As aLiving Hell,' by Tom decipher life and in this, the body be­ Patterson, Winston Journal, 1989. comes astage where existence is afrozen 'Mark Clark is Watching You,' by Kate Ariail, drama.

Art View Magazine, February 1989.

GarmentofChildhoodis about awe. 'The Flip Side of love,' by Chris Redd, Arts Journal. North Carolina, 1989.

It treads the fine line between suffocation 'Romantic First,' by Paul Govern, Style Maga­ and embrace. So much of childhood is zine, North Carolina, 1989. about looking up in marvel at the tapestry of stars on an icy night and feeling warm; Education: covered by heaven. I've lost that feeling. M.F A., Maryland Institute College of Art, Bal­ timore, MD, 1992.

Adults kill themselves trying to recapture B.F A ,Western Carolina University, Cullowhee, it. It can be ablissful memory, but it can NC, 1983. also be an alcoholic mirage.

ExhiblHon Checklist: Garment of Childhood, 1992, photograph, Selectad ExhlbHlons: acrylic emulsion, and oil on wood, 74 x15 Decoding Gender, School 33 Art Center, Balti­ x61/2 inches. more, MD, 1992.

Autobiography. Florida Center for Contempo­ rary Art, Tampa, FL, 1991.

Horse and carriage, Headlands Center, San Francisco, CA, 1990.

Photomodem: Issues in Photography. Atlanta Arts Festival. Atlanta, GA, 1990.

New Southem Photography, Burden Gallery, New York, NY, 1989.

The Limits ofExpression, John Snow Gallery, Winston-Salem, NC, 1989.

Mark CIa1<. GarmenI 01 Chikllood, 1992.

PIIoIogIaph. acrylic emulsion, and oil on wood. 74.15. 611l inches.

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Utica, New York

Sylvia de Swaan

Mywork of the past several years has dealt with political issues - people in the context of an idea or cause. Iam interested in looking at the chemistry generated by collective action and the sense o(height­ ened individuality that it produces. The selection of work in this exhibition dates from 1991 , the year of the Persian Gulf War. For a short time that year, towns around America forgot harsh social and economic realities as they basked in the glory of being amilitary superpower.

Selected Exhibitions: Miss-ing, 37 Raume, Berlin, Germany, 1992.

Making War,Hera Gallery,Wakefield,RI, 1992.

Between the Personal and the Political, Hera Gallery, Wakefield, RI, 1991.

Invitational exhibition, Cold City Gallery, Toronto, Ontario, 1991.

Flaneur, Barbara Fendrick Gallery, New York, NY, 1990.

Colgate University,Dana Art Center, Hamillon,

NY, 1987

Visual Arts Center of Alaska, Anchorage, AK,

1987

ExhlbHlon Checklist: Commander's Day, 1991, silver gelatin print, 20 x 24 inches.

Commander'sDay, 1991,Rome Air Force Base, silver gelatin print, 20 x 24 inches.

Fourth ofJuly, 1991 , silver gelatin print, 20 x 24 inches.

Welcoming the Troops, 1991, silver gelatin print, 20 x 24 inches.

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Ken Gray

Lafay,II,. Indiana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Ken Grav. Untilled, 1992. pholo emulsion 00 loundceramic plale. 10, 12 inches.

Reviews, Publications, Catalogs: I have been making aphotographic col­ Exhibition catalog, in.fusion, Gal lery Boda, lection of abandoned furniture and appli­ Seoul, Korea, October 1992. ances for several years.My initial interest Portfolio, "Salvaged Memories," Arts tndiana in the subject was purely documentary;an Magazine, Indianapolis, IN, October 1992. intuitive reaction to the furniture's odd Regional Artists' Biennial(exhibition catalog) , The Fort Wayne Museum of Art, Fort Wayne, appearance in outdoor environments. By IN,June 1992. now, the objects themselves are resting in "Off the Beaten Print," by Randy Cragg, The Oregonian, Portland, OR, January 1992. some nearby landfi II, but through these photographs I have managed to salvage Education: their memory. As art objects,their value is MJA, Cranbrook Academy of Art, Bloom1ield reclaimed,and their images provide some Hills, MI, 1986.

BFA., University of Windsor, SchoololVisual of the comfort, convenience and enter­ Arts, Windsor, Ontario, Canada, 1983. tainment that their original owners had intended. I realize their potential as ob­ Exhibition Checklist: jects of personal expression - universal Untitled, 1992, photo emulsion on found ce­ ramic plate, 10 x 12 inches. symbols of a contemporary life that a 1992, photo emulsion on found ce­ discarded sofa on a street corner can Untitled, ramic plate, 11 x11 inches. personify: the vulnerability of the family Untitled, 1992, photo emulsion on found ce­ ramic plate, 11 x 11 inches. unit, consumerist waste, mortality.

Untitled, 1992, photo emulsion on found ce­

ramic plate, 11 x 11 inches.

Selected Exhibitions: in:fusion, Gallery Boda & Gallery Hankook, Seoul, Korea. 1992.

Essential Systems: Cross, Gray, Hayward, In­ dianapolis Art League, Indianapolis, IN, 1992.

In Indiana,Indianapolis Museum of Art, India­ napolis, IN, 1992.

The Printsand the Paper, San Diego Artlnsli­ tute, San Diego, CA. 1992.

A Question of Purity, Oregon Schoot of Arts and Crafts, HoHman Gallery, Portland, OR. 1992.

Ken Gray Printworks, Saint Mary's College LittleTheatre Gallery, Notre Dame,IN, 1992.

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Baltimore, Maryland

Penny Harris

After 10 years of photographing, I feel I Selected Exhibitions: Photography on the Edge, Maryland Art Place, have Ihe perfect media in pinhole photog­ Baltimore, MD, 1992. raphy to express the ambivalence and Dialogue with the Subconscious,Mitchell Baker ambiguities of personal relationships. In Galerie, Baltimore, MD, 1992. family relationships trust is bounded by Beyond Photography, Laguna Gloria Art Mu­ seum, Austin, TX, 1991. fear, satisfaction by disappointment, and International Salon of Creative Photography, comfort by misgiving. To portray these Ashley Center, Epson, UK, 1991 .

Third Salon, International D'Art Photo­ paradoxical feelings of intimacy, I con­ graphique, De Chateauneuf-Du-Pape, centrate on the recurrent visual symbols France, 1989. of contrast found in the home.Archetypes of contrast - youth and age,female and Reviews, Publications, Catalogs: male, affection and violence,chastity and "Inner Sanctum: by Dan Schiavone, Art in Progress, Bonnie North, Baltimore, MD, sexuality - are abundant in the home, Volume 2, November 1992. and in the Domestic Landscape Series. Catalog, Beyond Photography, by Charlotta The act of photographing became para­ Kotik, Texas Fine Arts Association, Austin, TX,1991. doxical as I began to look at death (loss) Critics-In-Residence, by Charles to experience life more fully. Accepting Catalog, Biasiny-Rivera,Critic's Residency Program, these paradoxical feelings, I believe, is a Maryland Art Place, Baltimore, MD, 1991. prerequisite to achieving intimacy, but the Catalog by Helen Rogers, International Salon of Creative Photography, Epson, UK, 1991 . means to this end is complicated. The Domestic Landscape Series visually ex­ Exhibition Checklist: presses these personal and universal Domestic Landscape Series 115, 1991, pin­ hole silver gelatin print, 24 x20 inches. struggles.

Harris' participation in this exhibition is sup­ ported in part by an award from the Maryland State Arts Council.

Domestic Landscape Series 15, 1990, pinhole silver gelatin print, 24 x20 inches.

Domestic Landscape Series 110, 1990, pin­ hole silver gelatin print, 24 x20 inches.

Penny Harris. Domestic Landscape Series 115. 1991. pinhole silvet gelatin print. 24 x 20 inches.

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SarahHart

Amherst, Massachusetts • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Sarah Hart. Valley Girls: The Cons/rue/ion 01 Feminine Identity ina Consumer Cu//ure.I /4. 1991. Type Cprint. 26 x30 inches.

Junior High School was awful. I felt aWk­ ward and miserable. Every day when I looked in the mirror Isaw how pathetically Ifailed at looking good. I didn't know what to do with myself, or how to put myself together. I didn't even want to put myself together. I wanted the whole problem to go away. I remember seeing pictures of Sandra Dee. She knew how to do it, how to make herself look great and have fun. I couldn't even begin to figure it out. As I suffered in Poughkeepsie, New York, I suspected that it helped to live in southern California where it was always summer­ time. People in California had adifferent Iife, and perfection just automatically hap­ pened when you Iived there, but if you grew up in Poughkeepsie, it just didn't happen. After a while I gave up trying, although Istill worry about both thegiving up and the trying.

Now, 30 years later, in southern California Ifind that teens are still trying to figure it out. Today preteens are far more aggressively targeted by advertisers. They are pressured into becoming good little consumers years before they become teen­ agers. I used to think it was me that got everything backwards, but now Isee how painful it is to be 11 and confronted at every turn by representations that can't be lived up to. As we follow the edict of self management there is al ..ays a missing

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ingredient. It's never quite right. By the time we master a look it is already out­ dated.ldealized body images, an unending torrent of unattainable fashion possibili­ ties, the mystique of putting an impos­ sible look together, of shopping smart, of never being enough, permeate the air we breath - internalized with neither our awareness nor our permission. Perfection is both as desired and as elusive as ever.

Selected Exhibitions: Solo exhibition, Henry Art Gallery,Seattle, WA, 1993.

Solo exhibition, Rhode Island School of De­ sign, Providence, RI, 1992.

Solo exhibition, California Institute of the Arts, Valencia, CA, 1991.

Women at Work, Eye Gallery, San Francisco, CA,1990.

100 Years ofPhotographyin Washington State, Tacoma Art Museum, Tacoma, WA, 1989.

Solo exhibition, A.l.R. Gallery, New York, NY 1986.

Education: M.FA., California Institute of the Arts, Valencia, CA,1991.

B.F.A., University of Washington, Seattle, WA, 1987 Exhibition Checklist: Valley Girls: The Construction of Feminine Identity ina Consumer Culture, 114,1991, Type Cprint, 26 x30 inches.

Valley Girls: The Construction of Feminine Identity in aConsumer Culture, 150, 1991, Type Cprint, 26 x30 inches.

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KathyHur

My work is about relationships. As we go about our daily lives often the spaces between us grow wider and more impen­ etrable.Time passes and we wait for each other to make a move. We watch each other out of the corners of our eyes.Many times the routines and rituals we perform distract us from dwelling on our deep need for each other.We refuse to confront our disappointment ineach other;fearing that to do so would be the death knell for the relationship. In these three photo­ graphs, the hint of violence taints the routineness of the activities. There is in them the threat of trauma, physical and psychological, that happens when strong emotions have been repressed for too long.

Selected Exhibitions: Solo exhibition, Texas Tech University Gallery, lubbock, TX, 1992.

Current Works, leedy-Voulkos Art CenterGal­ lery, Kansas City, MO, 1992.

Exhibition Checklist: Untitled, 1992, type Cprint, 24 x28 inches.

Untitled, 1992, type Cprint, 24 x28 inches.

Unlitled, 1992, type Cprint, 28 x24 inches.

Kathy Hur, Untill8d. 1992, type Cprint, 24 x 28 inches.

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Li ndaIngraham

Phoenix.Alizona. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Linda Ingraham. Pandora's 80x. 1992. loned silver gelaijn prints. lead. glass. 10 1/4 x 16 1/2 x 1 3/4inches.

In my work I try to relate to people on an Reviews, Publications, Catalogs: Galleries Breathe Life into Off Sea­ intellectual and emotional level as well as "Scottsdale son Summer Shows," by Richard Nilsen, an aesthetic one striving to create Arizona Republic, Phoenix, AZ, July 19, beauty with an edge. The "figure" embod­ 1992. ies the classical formal qualities to which "Art Detour," by Nora Burba Trulsson, Phoenix HomeandGarden, Phoenix,AZ,April 1992.

I have long been attracted, yet it can also Catalog, Fine Art for Fine Causes, Tucson convey much more. I use it as an emo­ Museum of Art, Tucson, AZ, 1991 . tional metaphor. By encasing the figure in "Mars Jars Helms Again," by Heather Lineberry, New Times,Phoenix,AZ,Volume 21 ,Num­ boxes,houses,and vice-like contraptions, ber 19, May 2-8, 1990.

Itry to symbolize repression and confor­ Catalog, Southwest '90, Museum of Fine Arts, mity, whether it be self-imposed or exter­ Santa Fe, NM, 1990. nal. The "frame" or "container" for the piece is an integral part of the artwork,as Education: University of New Mexico, Albuquerque, NM, important in communicating the message 1983-1985. as the photograph itself. By placing the B.F.A. , New Mexico State University, Las Cruces, NM, May 1983. figure in different containers, I use them to Exchange student, Sorbonne, PariS France, focus upon the human condition.

1981 -1982.

Selected Exhibitions: Exhibition Checklist: New Directions '92, Barrett House Galleries, Uncomfortable Compromise, 1992, toned sil­ Poughkeepsie, NY 1992. ver gelatin print, wood, glass, 11 3/4 x 9 Out of Bounds: The Word Becomes Art, 1/2 inches.

Scottsdale Center for the Arts, Scottsdale, Discord/Accord, 1992, toned silver gelatin AZ, 1992. prints, wood, glass, 9 1/2 x 7 1/2 inches.

Beyond Photography, Laguna Gloria Art Mu­ Pandora'sBox, 1992, toned silvergelatin prints, seum, Austin, TX, 1991. lead, glass, 101/4 x161/2 x13/4 inches.

Fine Art for Fine Causes, Tucson Museum of Triptych, Confined, Restricted, Constrained, Art, Tucson, AZ, 1991 .

1992,toned silver gelatin prints,lead,glass, Southwest '90, Museum of Fine Arts, Santa Fe, 40 x 12 inches.

NM, 1990.

Curator's Choice,Ledel Gallery, New York, NY 1990.

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • San Francisco, California

K. luppa

The photographs displayed are a small Selected Exhibitions: part of awork in progress entitled Women 61th Crocker-Kingsley Annual, Crocker Mu­ seum, Sacramento, CA, 1992.

Waiting .. Men Doing. .(is what women AWomans Vision, The Woman's Gallery, San wait for worth the wait and what is it Francisco, CA, 1992. exactly that men do?). People are often Illuminance '91 & '92, lubbock Fine Arts Cen­ lubbock, TX, 1991 & 1992. startled by this theme, which Ibelieve Iam 3rdter, & 4th Annual McNeese Works on Paper. handling humorously and without con­ McNeese State University, lake Charles, LA, 1991 & 1992. demnation.

Current Works '91, Society for Contemporary

These are images of "women wait­ Photography, Kansas City, MO, 1991 .

ing" for life to begin by preparing for and Solo exhibition, Eleven East Ashland (lAS),

participating in rituals that have always Phoenix, AZ, 1991 . promised the elusive sweetness of life but Collaborative exhibition with poet M. J. luppa, Neutralities, Cell Gallery, Rochester, NY have never quite delivered.

1990.

Ritual, while initiating achosen few, PhotoSpiva '89& '90,Spiva Art Center,Joplin, pretends to initiate all. Women continue MO, 1989 & 1990. to participate in traditional rites of pas­ Checklist: sage hoping to feel connected to asociety exhibition The Fitting 13 (Reflection One), 1989, color K. luppa. Second Time Alound (Final Spritz), 1990,00101 neQ3liw piinl, 20 x25 inches.

Ihat uses them for maintenance and re­ negative print, 20 x 25 inches.

The Filling 14 (I Am Woman Hear Me Roar), production only.

1989, color negative print, 20 x 25 inches.

This project strongly illustrates my Second TimeAround(FinalSpritz), 1990, color deep commitment to feminism and social negative print, 20 x 25 inches. change.

Second Time Around (Almost Ready), 1990, color negative print, 20 x 25 inches.

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Dav idA. Kwas igro hN~rkN'wYork

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suiting images have the texture of char­ coal drawings as opposed to the slick "normal" photo look. I am self-taught in the darkroom and the result is imagery which becomes part printmaking, part drawing, part painting, and part photogra­ phy. I prefer to break the rules.

Since I started taking pictures, I have been drawn to rural, remote land­ scapes, cemeteries, and the male nude.

The male nude has been astrong interest in my work for a long time. My imagery tends to be very classical yet very sketchy and abstract in execution. I started out by photographing the entire body, as in clas­ sical sculpture, but more recently have gone closer and photographed body parts, so close that sometimes they aren't recog­ nizable, except as shapes, or shades.

David A. Kwasigroh.

Draped Nude 18. 1992. liquid pholo emulsion brushedonlo walercolor P<lper. 36 x28 inches.

For years Ihave done my photographs on watercolor paper. I use aliquid emulsion spread onto O'arches 140 lb. rough water­ color paper. When the paper is coated and dry, (done in the dark), the paper is treated just like regular photo paper with the

exception that it is much slower. The average time for my exposures is 30 min­ utes. Once the image is exposed onto the paper, it is developed just like photo pa­ per.I am only limited in size by the size of the photo trays in my darkroom. The re-

Selected Exhibitions: In the Face ofAIDS t&II, Jazzberry's, Roches­ ter, NY, January 1991 &1992.

Four Photographers, Wayne County Council for the Arts Gallery, Lyons, NY October 1991.

Two person exhibition; Adams Art Gallery, Dunkirk, NY Aprit 1990.

Inaugural Show, Jazzberry's, Rochester, NY February 1990.

Solo exhibition, Wild Seed Bookstore & Cafe, Rochester, NY, July 1989.

Ught Renditions, Metropolis Gallery, Dallas, TX, January 1989.

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Reviews, Publications, Catalogs: "Fighting For Respect," by Elizabeth Forbes, Times-Union, Rochester, NY February 6, 1992.

"David and Goliath," by Judith Reynolds, City Newspaper, Rochester, NY, January 23, 1992.

"The Face of AIDS," by Ron Netsky, Democrat and Chronicle, Rochester, NY November 11 , 1991.

"Artists React to AIDS: by Ron Netsky, Demo­ crat and Chronicle,Rochester,NY Decem­ ber 2,1990.

"The Face in the Mirror: by Judith Reynolds, City Newspaper. Rochester, NY November 1990.

"He curates and Iries to create another world,·

by Ron Netsky, Democrat and Chronicle, October 2,1988.

Education: M.F.A., Rochester Institute of Technology, Rochester, NY, 1990.

B.S.,lIlinoisStateUniversity, Normal,IL, 1982.

Exhibition Chec~lIst: Draped Nude 18, 1992, liquid photo emulsion brushed onto watercolor paper, 36 x 28 inches.

Draped NlJde 17, 1992, liquid photo emulsion brushed onto watercolor paper, 36 x 28 inches.

Draped Nude 16, 1992, liquid photo emulSion brushed onto watercolor paper, 36 x 28 inches.

Draped Nude 15, 1992, liquid photo emulsion brushed onto watercolor paper, 36 x 28 inches.

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• • • • • • • • • • • • New Haven, Connecticut

Laura Letinsky

Pictures can tell stories: I am concerned Selected Exhibitions: here not with literal narrative but with the Intimate Stages, PiUsburgh Filmmakers, PiUs­ burgh, PA, 1992. way single moments suggest psychologi­ Intimate Stages, Exit Gallery, Reno, NV, 1992. cal dramas. What does it mean and what The Pleasures and Terrors of Domestic Com­ fort, Museum of Modern Art, New York, NY does it look like, falling in,and out of love, 1991. wanting to be alone when with someone PhotographyNow, Woodstock Centre for Pho­ and wanting to be with someone when tography, Woodstock, NY, 1991. alone? I'm not astoryteller in the sense Recent Works, Floating Gallery, Winnipeg, Manitoba, 1988. that I'm trying to ask questions, not an­ swer them: how we look (appear and re­ Reviews, Publications, Catalogs: gard) our illusions and aspirations, and Exhibition ofPhotography(catalog),Berkshire Museum, PiUsfield, MA. 1992. the work we expend to maintain our faith.

I am motivated by aneed to confront the The Photo Review Magazine, Summer, 1987 "A Multiplicity of Voices," Border Crossing conflict between my ideals of true love, Magazine, Winnipeg, Manitoba, Volume 6, happy families, personal fulfillment and Number 3, June 1987

of Writing and Art by Canadian universal happiness,and my experiences "ACelebration Women," Prairie Fire Magazine, Winnipeg, as an adult which reveal to me fissures in Manitoba, Volume 7 Number 3, 1986. these bel iefs.

Education: M.F.A., Yale University School of Art, New Haven, CT, 1991.

B.F.A., University of Manitoba, Winnipeg, Manitoba, 1986.

Exhibition Checklist: Untitled, 1991 , Chromogenic development print, 20 x24 inches.

Untitled, 1990, Chromogenic development print, 20 x24 inches.

Laura Leti/lSky. Unm/ed, 1900.Chromogenic deYelopmen1 print. 2IJ x24 inches.

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Patrick Mice ICh;~go,

111;00;, •••••••••••••••••••••••••••••••••••••••

Iwas driving west on North Avenue when Selected Exhibitions: The Tyro, Red Horse Gallery, Taft, CA, 1992. awomen frantically waved me over. It was Found Objects, Delaware Center for the Con­ Theresa, aprostitute I had photographed temporary Arts, Wilmington, DE, 1991. the week before with her roommate. She Seventh Annual Competition, California State University Museum of Anthropology, Chico, asked me if there was anything she could CA, 1991 . do for twenty dollars. I said no. She re­ Evanston & Vicinity Exhibition, Evanston Art peated her Question several times before I Center, Evanston, IL, 1988. fi nally asked her to get out of the car. I The Concealed Camera, Eye Gallery, San Fran­ cisco, CA, 1988. continued west, passing a little Spanish One person exhibition, University of Illinois, woman sitting on a stoop. She smiled Chicago Gallery, Chicago, IL, 1983. when I looked at her. I drove around the block and pulled up to the curb in front of Reviews, Publications, Catalogs: her. She got into the car and asked if Iwas "Red Horse Gallery to Present the Tyro: by Barbara Scarfo, Daily Midway Driller, Taft, interested in adate. Her name was Rose.

CA, December 19, 1991 .

She had afriendly, authentic smile. She "Alverno's Chicago Photographs: by James Aver, The Milwaukee Journal, Milwaukee, agreed to my interest, and we drovearound WI, March 1, 1987 the block and parked behind a building.

She led me around the front, up to a Education: second floor and down a long hallway Art Institute of Chicago , Chicago, IL, 1972-1973. past several doors.We entered one into a University of Illinois, Chicago, IL, 1970-1972. small room. There I met a blond-haired woman. She became irritated with Rose Exhibition Checklist: for bringing me to the room. I offered her Colleen, 1991, silver gelatin print, 30 x 26 inches. ten dollars and she became cooperative.

Rose, 1991,silvergelatin print, 30x 26 inches.

Rose and I went into asmaller adjoining Jillian, 1992, silver gelatin print, 30 x26 inches. room. There ababy lie awake on the bed.

Rose moved the baby onto the couch.

Rose died three months later from com­ plications due to AIDS. Patrick Miceli. Rose. 1991. sitver gelatin print. 30 x26 inches.

Text from the work "Rose."

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• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Los Angeles, California

John Rand

In my work I am documenting the 'Bear Reviews, Publications, Catalogs: "Radio Interview on the Arts: by Jay Kugelman, Culture: asubculture of the gay commu­ KPFK, May 11, 1990. nity."Bears" are hairy, heavyset men. This "Buffer Zone Divides Show's Intellectual, Sen­ form of culture tends to clash with the sual Works: by Irene Lagorio, The Sunday Herald, Monterey Bay, June 5,1988. many male stereotypes imposed by mass •Annuale at Los Angeles Contemporary Exhi­ culture and the media. My work seeks to bitions,' by Suzanne Muchnic, LosAngeles examine these previous definitions and Times, Septemtier 26, 1987 'Sketchbook Selections,' by John Rand, 1986 redefine them in personal terms. It ad­ "The Juror Has Spoken,' by Cathy Curtis, dresses the need for greater cultural di­ Orange County Register, August 9, 1985. versity and aredefinition of masculinity.

In plainest terms, my work is the formal Education: study of the male figure.

Why is our society so afraid to look M.F.A., University of California, Irvine, 1987 B.F.A., California State University, Fullerton, at the male form? And when male figures CA,1982. are provided, why should they be so lim­ ited aesthetically, erotically, and socially? Exhibition Checklist: Selected Exhibitions: QueerPropaganda, Works, San Jose, CA, 1993.

Queer Vision, (multimedia projection), Castro Street, San Francisco, CA, 1992.

OutExhibition, 18th Street Gallery Space, Santa Monica, CA, 1991.

Catch aRising Star, Los Angeles Art Council, Marina Del Rey, CA, 1989.

Scapes, Jose Drudis-Bidda Art Gallery, Los Angeles, CA, 1989.

Antonio, 1992, silver gelatin print, 10 x 8 inches.

Jake, 1992, silver gelatin print, 10 x 8 inches.

Slade, 1992, silver gelatin print, 10 x 8 inches.

Oar, 1991, silver gelatin print, 10 x 8 inches.

Oenny, 1991, silver gelatin print, 10 x8 inches.

Chuck, 1990, silver gelatin print, 10 x8 inches.

Francis,1990, silvergelatin print, 1Ox8 inches Griz, 1990, silver gelatin print, 10 x 8 inches.

Pappa Bear, 1990, silver gelatin print, 10 x 8 inches.

John Rand, AntOniO, 1992. silver gelalin print. 10 x 8 inches.

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M. K.Rynne

Noh,nt, Massachusetls • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

M. K. Rynne. Kashaa/ IheRow. 1990. silver gelatin print. 20 x24 inches.

Feminism has changed the manner in Reviews, Publications, Catalogs: Photography to its Essentials," byT. which women represent themselves and 'Stripping Grillo, The Boston Sunday Gtobe, October their sexual identities. In photographing 13,1992. exotic dancers, I discovered anew gen­ "What is Body Politic," by Kevin Lynch, The Capital Times, Madison, WI, September eration of women who seem to be break­ 24, 1992. ing traditional feminist rules and out­ "ANew View of an Old Profession," by Shaun growing a cultural stereotype. Indepen­ McKinnon, Eddie Adams Workshop PUbli­ cations, New York, NY, Summer 1992. dent and assertive, they are taking re­ sponsibility and pride in their sexuality "I, Witness Exotic Nights," as told to Simi Horwitz. American Photo Magazine, May/ and making it an instrument of liberation June 1992. and power.

"6th and Best Show of Women's Art," by Eric Fleischman, New Haven Register. New Ha­ This work attempts to redefine the ven, CT. March 22, 1992. image of women who work as exotic danc­ "Josef Koudelka, Prix HCB '91 ," by Gabriel ers in the '90s. In addition, I hope my Bauret, Photographies Magazine, Numero photographs add to understanding the 34, Ete 1992. human nature of women and men, and the Education: separate perceptions each is operating B.A., Boston College, CheslnutHill, MA, 1977 under within this environment.

Exhibition Checklist: Tashina at Moose Alley, 1991 , silver gelatin Selected Exhibitions: print, 20 x24 inches.

Through the Looking-Glass,Blue Sky Gallery, Joy at Moose Alley, 1990, silver gelatin print, Portland, OR, December 1992.

20 x24 inches.

Through the Looking-Glass,Washington Uni­ versity Gallery 721, University City, MO. KashaattheRow, 1990, silver gelatin print,20 x24 inches.

October 1992.

Untilled, 1990. silver gelatin print, 20 x 24 Current Works Exhibition, Leedy-Voulkos Art inches.

Center, Kansas City. MO, October 1992.

Body Politic,Survival Graphics Gallery. Madi­ son, WI, September 1992.

Through the Looking-Glass, Pittsburgh Film­ makers Gallery. Pittsburgh,PA. June 1992.

Women in the Visual Arts,Erector Square Gal­ lery, New Haven. CT. March 1992.

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•••••••••••••••••••••••••••••••• These photographs are part of Teenagers In Their Bedrooms, a series of photo­ graphs and video of New York state teen­ agers in 1990 and 1991. The project is partly realized through a grant from the New York State Council on the Arts.

The adolescent's bedroom, unlike an adult bedroom, contains all of the teenager's belongings, and resonates with preferences of style and self-image. This series began out of an interest in the way young people use their environments to define themselves. Their rooms are acom­ pilation of all the identities they've as­ sumed since childhood. Often childhood toys are shunted to acorner to make room for the paraphernalia of current passions.

I'm interested in how individual teenagers vary from the standard med ia representa­ tions.ln talking with teenagers and photo­ graphing their bedrooms, the contradic­ tions of a person on the edge of rapid change are revealed.It is atime before one has learned to control publ ic and private moods, a time when people are raw and open and unable to make their masks opaque.

The phenomenon of :decorating' bedrooms is relatively recent, triggered perhaps by the movement toward freedom of expression in the '60s. It has been suggested by many viewers of this work that before the '60s, teenagers' autonomy

Sy,ocu~,N Ad rien ne Sa inger

regarding bedroom decoration was not nearly as pronounced. For adults, the memory of adolescence is usually fraught with painful and embarrassing episodes.

Perhaps this is why adults often reduce adolescence to the stereotype of anti-social behavior,deafening music, and apathetic rebellion. The bedroom was perceived to be chiefly utilitarian and the product of strict parental control- not avehicle for self-expression. Today there is a clear variety between bedrooms ablaze with posters, video games, illicit material, and dirty dishes, and those that are main­ tained in an orderly, more traditional man­ ner.

Selected Exhibitions: Stephen Wirtz Gallery, San Francisco, CA. 1992.

Pleasures and Terrors of Domestic Comfort, Museum of Modern Art, New York, NY 1991.

Reviews, Publications, Catalogs: "Inside the Teenage Bedroom," Glamour,June 1992.

"Teenagers in Their Bedrooms," Harper's, March 1992 "Rooms with a View," The Chicago Tribune, February 5, 1992.

"Lifestyles of the Rich and Adolescent," by David Bonetti , San Francisco Examiner, January 14,1992.

"Wall Art, or Portraits of Teenagers," by Geor­ gia Dullea, International Herald Tribune, January 11-12. 1992.

.. York

Education: M.F.A., School of the Art Institute of Chicago.

Chicago. Il. 1987 B.A.. University of Oregon. OR. 1978.

Exhibition Checklist: David N. , 1990. Chromogenic development print. 30 x40 inches.

Donna D., 1990. Chromogenic development print. 40 x30 inches.

FredH.,1900.Chromogenicdevelopmentprint, 40 x30 inches.

Leslie M., 1990. Chromogenic development print. 30 x40 inches.

Adrienoo Salinger. Leslie M.. from Teenagers in lheir Bedrooms. t990. Chromogenic development print. 30 x40 inches.

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Jeffrey Sea Ies

N.wYorkN'wYork • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • •

Jeffrey Scales. Trans. Union Square. 1991. silver gelalin prinl. 19 x 19 inches.

I am currently working on a series of photographs of young men, and young men in groups. I use gang members, fraternities,gay men, secret societies, and spontaneous assembl ies, and some of the rituals associated with them.

African American men have been my focus for over twenty years. I started documenting the Black Panthers in Oak­ land, California in 1968. In 1981, I did a series on youth gang members in Compton and Watls. I photographed blues musi­

cians and the men (and women) at blues clubs on Chicago's South Side in 1985.

House's Barber Shop is aseries of images I completed in 1989, of aHarlem barber shop, with black men of all ages.

Beginning in 1988, Istarted aseries on college fraternities, which tied in very closely with other work I'd done of young men in groups, particularly the gang mem­ bers. The work was very ritualistic and "Coming of Age," from the symbolic hand signs of the teen gangs in Compton and the elaborate step shows and similar hand signs of the college fraternities, to the tatloos of the gang members and the brands of the frat boys. The notion of Ritualism infuses the barber shop photo­ graphs as well, in the passing of oral and grooming traditions.

I try to exhibit the work with class and sexuality differences often mixed in sequence. Traditionally,black people have minimized the notion of ·class" and maxi­ mized the homophobic notion of male sexuality within the African-American so­ cia~ structure. Racism and sexual repres­ sion embraces us all. Yet class designa­ tions are just as firmly set in there, as they are in the larger American picture. Re­ pression based on sex or sexual prefer­ ence is in many cases greater in Black American cullure. Affer all, what is more manly than men loving men? The benefit

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of seeing commonal ities across these Ii nes would enable people from all sides to see the traditions and rituals we share.

Selected Exhibitions: New York Architects, from the Harlem Series.

Jamaica Arts Center, Jamaica, 1991 .

The Home Show, Deer Meervarrt Arts Center, Amsterdam, Denmark. 1991.

Solo exhibition, MidlandArts Centre. Birming­ ham, England, 1990.

ConstructedImages, Studio Museum in Harlem, Harlem, NY 1989.

Whos Uptown. Schomburg Center for Re­ search in Black Culture. New York, NY 1988.

Harlem, The Eye Gallery, San Francisco, CA. 1988.

Reviews, Publicallons, Catalogs: "Interview with Jeffrey Scales," by Susan Cohen &William Johnson, The Consort. Novem­ ber 1991.

"A Contemporary Portfolio," by Kellie Jones, Exposure, 1991 . ' Observing the Other," by Mark Durant,Artweek, 1987 Exhibition Checklist: Young Man, Mount Nebo, 1991, silver gelatin print, 19 x 19 inches.

Santana Block Crip, 1981. silver gelatin print, 19 x19 inches.

Young Soldier, 111th. 1987,silvergelatin print.

19 x 19 inches.

Trans, Union Square,1991 ,silver gelatin print, 19 x 19 inches.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Philmont, New York These Polaroidsweretakenwhilemy lover, Leon Fried, was dying from AIDS-related diseases. I used them as part of asexual and spiritual release. They are dedicated to his memory.

Bruce Stig ich

Education: M.F.A.,State University of New York at Albany, Atbany, NY, 1987 B.F.A , Philadelphia College of Art, Philadel­ phia, PA, 1973.

Exhibition Checklist: For Fall, 1992, Polaroid, 3 7/8 x 41/4 inches.

Selected Exhibitions: For Tack, 1992, Polaroid with oil and stainless 36fJ', Pino Molica, New York, NY 1992. steet push pin, 3 7/8 x 41/4 inches.

Abstractions, Kathy Sermas Gallery, New York, For Toll, 1992,Polaroid, 3 7/16 x41/4 inches NY, 1992.

For X-Brand, 1991 , Polaroid with staintess The Prix de Home, Home,New York, NY, 1991 . steel "T" pin, 3 7/8 x 4114 inches.

Bruce Stiglich, The Center Galleries, Albany, For Gary, 1990, Polaroid, 3 7/8 x 4114 inches.

NY 1991.

Kitchen Table, 1989, Polaroid with push pin, 3 Mohawk Hudson Valley Regional, Albany In­ 7/8 x 4 1/4 inches. stitute of History and Art, Albany, NY, 1990.

Xmas 90,1990, Polaroid, 3 7/8 x 4114 inches.

Alumni Show, University of the Arts, Philadel­ ForChris, 1988,Polaroid, 37/8 x41/4 inches. phia, PA, 1990.

Reviews, Publications, Catalogs: "KniHing Universe," by Peg Churchill, The Schenectady Daily Gazelle, Schenectady, NY, 1991 .

"Indefinite Objects," by Mark Moffett, Metroland, Albany, NY January 31, 1991.

'Artist's Struggle," by Thomas Lait, The Times Union, Albany, NY, January 24,1991.

"Prix de Home," by Barbara Busachino &Mark Beard, Home, New York, NY, 1991. ' 1990 Exhibition by Artisls 01 the Mohawk Hudson Region," by Ken Johnson, Albany tnstitute of History and Art, Atbany, NY 1990.

Bruce Sliglidl, For X-Brand, 1990, Polaroid with slainless steel., pin, 3 7/8 x41/4 inches.

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Rob inTressIer

Philadelphia,

Penns~vania

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Robin Tressler, Unll!fed from Shadow Sides Series, 1991, silver gelalin prinl, 48 ,60 inches,

Represented here is aselection from the series, Shadow Sides, which were pro­ duced in 1991, There are ten total in that series.Some are 20 x24 inches and some are larger - 48 x 60 inches.

In the series, t sought to visually communicate to my audience in the uni­ versallanguage of emotions. Our psycho­ logical structures are the collective pro­ cess of our Iives to date and they are as individual as afingerprint. It is that collec­ tive process I am communicating to.

The Rorschach Test is designed to stimulate reaction through projective test­ ing - how an individual perceives the blots is based on conscious and uncon­ scious choices each person makes. That process is fascinating to me both as a psychological "test" and also how we individually perceive art. In many ways, I consider the concept of the ink blot pro­ jection test as the original conceptual visual art of this century. It is this projec­ tive process that motivates this series. In

fact, the "angel" images' wings are really huge ink blots - just aplayful piece of satire underneath the seemingly emo­ tional, dramatic content!

It was important to me that Ichose a multicultural group of models to convey my message although only a selection from the series is included here. In many ways Ithink Ifailed to present an objective set of images forthis concept. After all, the models were carefulty selected, posed, and rendered into final print by me. Per­ haps this is more of aself-portrait series about how I perceive the world - as beautiful and contradictory and full of things I do not completely understand.

All my work is from black and white large format (4x5) film, printed on fiber-based paper for its archival quali­ ties. The toning is traditional sepia toning and the applied colors are oil based photo colors.

Selected Exhibitions: Figure/Aids An Acquired Awareness, Pyramid Arts Center, Rochester, NY 1992.

Snap Judgments - Images from the Battle of Buffalo, Olean Public Library Gallery, Olean, NY. 1992.

44th Western New York Exhibit. Albright Knox Gallery, Buffalo. NY, 1992.

Three Photographers, John Sommer Gallery.

University 01 New Mexico, Albuquerque, NM.1992.

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Reviews, Publications, Catalogs: "Theatre 01 Choice," by Elizabeth Licata. High Performance Magazine. Santa Monica, CA. #58/59. Summer/Fall 1992.

"Life During Wartime (Operation Rescue Comes to Buffalo): by Rick Szykowny, Humanisf Magazine, Buffalo. NY Volume 52. Number 4, July/August 1992, Education: M.F.A.. State University of New York at Buffalo, Buffalo, NY. 1991.

B.A., Eckerd College. St. Petersburg, FL. 1978.

Exhibition Checklist: Unfitted from Shadow Sides Series. 1991, sil­ ver gelatin print. 48 x60 inches.

• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • Seattle, Washington

Kelly R. Vancil

Throughout history artists have always Selected EIIIlblUons: 2nd Story Gallery,Seattle, WA, 1992. been interested in the male nude. Today NUDES, Images of the City. Definitive Image, Seattle, the male figure has come to represent WA, 1992. more than just beauty and strength. Today Queer M Show, Beret International Gallery, Chicago, Il, 1992. the male figure is often used as asymbol NUDES, Photographic Center NW,Seattle,WA, for aggressien and violence.

1991 .

As amale artist, Iam in the process Se/f-Pottnli/S, AFLN Gallery, Seattle, WA, 1990. of re-discovering and honoring the male Rnlews, Publications, catalop: form.

'Diverse Views,' by J. Demian, SeaUle Arts, To do this I use adeveloping pro­ Seattle Arts Commission, Seattle, WA, Vol­ cess that softens the edges and creates a ume 14, Number 7,1991. rosy to chocolate tone, giving the figure a Education: classical or nostalgic feel. Hopefully this B.A., University ollllinoisat Chicago, Chicago, will allow the viewer to admire the figure Il,l986. without any preconceived ideas, to see the beauty and strength inherent in the human EIIIlbHlon Checklist: III, 1992, silver gelatin print, 24 x 23 form, and to see the strength and line Torso inches. without seeing aggression or violence.

Torso VI, 1992, silver gelatin print, 24 x 23 inches.

Torso VIII, 1992, silver gelatin print, 24 x 23 inches.

Ketty Vml. TOfSO VIII. 1992. slMif gelatin print. 24 x 23 inches.

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Pamela A. Vander Zwan

Pamela A.Vander Zwan. GI Joe Icon. 1990. mixed media. 40 x 6() inches.

Brooklyn,Ndrk . . . . . . . . . . . . . . . . . . . . . . . .

Selected Exhibitions: In her works, Pamela Vander Zwan ad­ American Talent, Laguna Gloria Art Mu­ dresses archetypal myths of the American Newseum, Austin, TX, 1992. culture, man's domination of man, his Beyond Photography, Laguna Gloria Art Mu­ struggle with the lorce olthe natural world seum, Austin, TX, 1991.

Force ofRepetition, New Jersey State Museum, and his ongoing domination of the fe­ Trenton, NJ, 1990. male. Appropriating imagery from arange Camera as Conscience, Hunterdon Art Center, of sources-television and comic books, Clinton, NJ, 1989. documentary footage and newspapers­ Vander Zwan makes statements about her Reviews, Publications, Catalogs: "Defying Definition," by Saundra Goldman, own manipulation by the media. She has The Austin Chronicle, Austin, TX, August selected her imagery from the global pool 30,1991.

01 electronic and photographic media.Yet "New Jerseyans Examine Road to Uniqueness,"

by Andy Grundberg, The New York Times, the Icon Series weds the religious form of New York, NY August 24, 1990. the altar piece with this electronic data to produce intimate objects. The intensity of Educallon: MFA., Tyler School of Art, Philadelphia, PA, these comically dressed tragedies magni­ 1986. fies the ambiguities of Vander Zwan's position - we have to question her re­ Exhibition Checklist: sponse - cynical regard or acceptance? GI Joe Icon, 1990, mixed media, 40 x 60 Alison Weld Assistant Curator, Fine Art Bureau New Jersey State Museum

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inches.

Icon, 1990, mixed media, 40 x60 inches.

......................................Acknow edgements

PhotoNominal '93 was organized by The Gallery staff: The FORUM Gallery presents significant Catalog design: NeoText FORUM Gallery at Jamestown Commu­ Dan R. Talley, Director and professionally executed solo and Editorial/production assistants: group exhibitions of contemporary art and Catherine T. Christian and Michelle nity College, Jamestown, New York.

Michelle Henry, Assistant related programs, events, and services to Henry both the artist and non-artist residents of Catalog printing: Studio Printing, January 30 through March 27, 1993.

Student assistants: Chautauqua County, NY and the sur­ Jamestown, New York Catherine T. Christian This exhibition is funded in part by Ihe Nelida Ruiz rounding area. Our programs focus pri­ Fund for the Arts in Chautauqua County, D. Clark Smith marity on the leading edge of today's art. Unless otherwise noted, all photographs were provided by the artists. which is managed by the Arts Council for Through our programs,we strive to stimu­ Chautauqua County. late discussion, to 'challenge assump­ Gallery development comminee: tions, and to present artwork relevant to All dimensions are listed in inches with Nancy Bargar the social and cultural life of the general height preceding width, then depth.

The FORUM Gallery at Renate Bob and special populations within our ser­ Jamestown Community College William Disbro The FORU MGallery is an Associate Mem­ P O. Box 20 Mike Fitzpatrick vice area. ber of the National Association of Artists Jamestown, New York 14702-0020 Robert Hagstrom (716) 665-9107 Programs of The FORUM Gallery are Organizations.

John Hiester funded in part by the Jamestown Commu­ Gloria Lasser © 1993,The FORUM Gallery nity College Foundation;the Faculty Stu­ The FORUM Gallery is located on the Julia Militello dent Association at JCC;The Chautauqua campus of Jamestown Community Col­ Don Mudge Region Community Foundation;The Ralph lege at 525 Falconer Street.

Alberto Rey C. Sheldon Foundation; and our corpo­ Lois Strickler rate and individual members.

Gallery hours: Gary Winger Tuesday - Saturday 11 a.m. - 5 p.m.

(Thursday 11 a.m. - 8 p.m.)

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