‘E’
The Etchings of
Edward Gorey
is for Elephants
September 23– November 02, 2014
‘E’ is for Elephants The Etchings of Edward Gorey
September 23– November 02, 2014
University Art Gallery College of Visual and Performing Arts University of Massachusetts Dartmouth 715 Purchase Street, New Bedford, MA 02740
Curator’s Statement This exhibition catalog presents Edward Gorey’s latter works of the image of the elephant and other beasts, with occasional references to the human figure. Beyond literary and picture-making pursuits Edward Gorey was deeply invested in the protection of animals, large and small, and acted upon this passion with the full-force of his creative and personal resources. The work in this exhibition has extended this legacy while providing access to the private world of one of the most important figures in American literature and of the art of illustration.
Printing Press of the late Emily Trevor. This custom-made machine, along with Printmaker Trevor's services, were employed exclusively by Edward Gorey for the production of the entirety of his body of etchings and collagraphic works. Photograph by James Edwards
For his volumes of illustrated books, Edward Gorey famously chose pen and ink on paper as his medium. On the contrary, this exhibition and its catalog present his art of the print. Explored late in life, printmaking seemed to force Gorey to pare down his characteristically dense content; eliminating complex scenery, stripping his environments to bare locations and omitting the sitting rooms, staircases, salons bedrooms, ballrooms and balconies for which he was so well-known. Instead, as a printmaker, he favored individual forms presented as vignettes, entities and, more often than not, pachyderms in flux in nebulous spaces. It is this Zen-like visual nature that defines the images chosen for this show.
In the spirit of surrealism to which he was affiliated, a selection of Edward Gorey's spoken and written quotations have been extracted from published interviews and letters along with prose taken from his various manuscripts, juxtaposed with the images in this exhibition. These associations and a reassignment of words may be thought of as a posthumous collaboration of sorts. With the texts that we have included here, we hope that the reader will come away with a keener sense of Edward Gorey’s philosophy, personality, and purpose. For the exhibition, original etching and collographic plates were displayed for a rare look behind the curtain to bring us closer to the artist’s hand. The real elephant in the room, however, is the printing press that Gorey relied on for the fabrication of his etchings. This machine was operated by the late Emily Trevor of Brewster, MA and has since been generously gifted to CVPA as facilitated by the Gorey Estate. It is with pride that UMass Dartmouth College of Visual and Performing Arts presents this rare and initial exhibition dedicated exclusively to the personal works of Edward Gorey, works not intended primarily for book publication. Many thanks to Rick Jones, Director of The Edward Gorey House (Yarmouth Port, MA) and his staff; Gregory Hischak
Curator’s Statement This exhibition catalog presents Edward Gorey’s latter works of the image of the elephant and other beasts, with occasional references to the human figure. Beyond literary and picture-making pursuits Edward Gorey was deeply invested in the protection of animals, large and small, and acted upon this passion with the full-force of his creative and personal resources. The work in this exhibition has extended this legacy while providing access to the private world of one of the most important figures in American literature and of the art of illustration.
Printing Press of the late Emily Trevor. This custom-made machine, along with Printmaker Trevor's services, were employed exclusively by Edward Gorey for the production of the entirety of his body of etchings and collagraphic works. Photograph by James Edwards
For his volumes of illustrated books, Edward Gorey famously chose pen and ink on paper as his medium. On the contrary, this exhibition and its catalog present his art of the print. Explored late in life, printmaking seemed to force Gorey to pare down his characteristically dense content; eliminating complex scenery, stripping his environments to bare locations and omitting the sitting rooms, staircases, salons bedrooms, ballrooms and balconies for which he was so well-known. Instead, as a printmaker, he favored individual forms presented as vignettes, entities and, more often than not, pachyderms in flux in nebulous spaces. It is this Zen-like visual nature that defines the images chosen for this show.
In the spirit of surrealism to which he was affiliated, a selection of Edward Gorey's spoken and written quotations have been extracted from published interviews and letters along with prose taken from his various manuscripts, juxtaposed with the images in this exhibition. These associations and a reassignment of words may be thought of as a posthumous collaboration of sorts. With the texts that we have included here, we hope that the reader will come away with a keener sense of Edward Gorey’s philosophy, personality, and purpose. For the exhibition, original etching and collographic plates were displayed for a rare look behind the curtain to bring us closer to the artist’s hand. The real elephant in the room, however, is the printing press that Gorey relied on for the fabrication of his etchings. This machine was operated by the late Emily Trevor of Brewster, MA and has since been generously gifted to CVPA as facilitated by the Gorey Estate. It is with pride that UMass Dartmouth College of Visual and Performing Arts presents this rare and initial exhibition dedicated exclusively to the personal works of Edward Gorey, works not intended primarily for book publication. Many thanks to Rick Jones, Director of The Edward Gorey House (Yarmouth Port, MA) and his staff; Gregory Hischak
and Will Nunes and their parent organization, The Edward Gorey Charitable Trust. We also thank Jordan Berson of the New Bedford Whaling Museum (New Bedford, MA) as well as New Bedford resident and friend of Edward Gorey, Judith Downey for her guidance and generous loan of several Edward Gorey original works. James Edwards, September 2014
Just after you fall asleep, yours toes cross, and just before you wake up they return to there normal arrangement. Even your family doctor cannot say. 1
Rose Elephant on 3 Legs 10"x11" (5.75"x4.75")
and Will Nunes and their parent organization, The Edward Gorey Charitable Trust. We also thank Jordan Berson of the New Bedford Whaling Museum (New Bedford, MA) as well as New Bedford resident and friend of Edward Gorey, Judith Downey for her guidance and generous loan of several Edward Gorey original works. James Edwards, September 2014
Just after you fall asleep, yours toes cross, and just before you wake up they return to there normal arrangement. Even your family doctor cannot say. 1
Rose Elephant on 3 Legs 10"x11" (5.75"x4.75")
The Strange World of Edward Gorey Edward Gorey (1925–2000) is known for his pen and ink illustrations and an ironic, offbeat humor that surfaces in all of his work. He wrote over 100 books that he illustrated with uninvited guests, carnivorous plants and vaguely Victorian figures that inhabit well-tended gardens and heavily wallpapered interiors. The artist himself often appears among them, heavily bearded in a long fur coat and tennis shoes in scenes where surprising and sinister events destroy an apparent calm.
Elephantômas 6/9 9.5"x11.5" (6"x8")
Gorey’s preference was to work in black and white, and in his heavily crosshatched illustrations, nothing appears quite as it should. His working method was simple. He began with rough thumbnails and drew exactly to the size of reproduction, correcting with white tempera and occasionally redrawing a segment that he pasted over the drawings. He worked on a drafting table in the attic bedroom of his house on Cape Cod in the company of his six cats who draped themselves around the room and kept him company. While he rarely used a model, he ‘filched’ as he called it, from the many sources that interested him, creating an imaginary world of aesthetes and miscreants rendered in what he called an elegant and cool manner.
He briefly trained at the Art Institute of Chicago, and later at Harvard his circle of friends included John Ashbery, Frank O’Hara and Alison Lurie. With his companions he explored Japanese Kabuki, Hollywood films and English novels as part of an alternative culture that later surfaced in his work. In the 1950s and 1960s he was hired by publishers in New York where he produced cover illustrations and interior artwork. He was greatly influenced by surrealist absurdity and early silent films, and included among his favorites, the early 20th century Vampire series of Louis Feuillade. He was a devoted fan of ballet and film, and an inveterate book collector who enthusiastically accumulated all kinds of objects: toys and antiques, videos and CDs, finials, thrift store chairs and cat-clawed sofas. He once calculated that he had seen over a thousand films, and he thrilled to television re-runs of sit-coms as well as the films of Japanese directors Ozu and Naruse. He was as comfortable with high art as well as popular culture, and his appetite extended to Krazy Kat as well as to The Tales of the Genji.
The Strange World of Edward Gorey Edward Gorey (1925–2000) is known for his pen and ink illustrations and an ironic, offbeat humor that surfaces in all of his work. He wrote over 100 books that he illustrated with uninvited guests, carnivorous plants and vaguely Victorian figures that inhabit well-tended gardens and heavily wallpapered interiors. The artist himself often appears among them, heavily bearded in a long fur coat and tennis shoes in scenes where surprising and sinister events destroy an apparent calm.
Elephantômas 6/9 9.5"x11.5" (6"x8")
Gorey’s preference was to work in black and white, and in his heavily crosshatched illustrations, nothing appears quite as it should. His working method was simple. He began with rough thumbnails and drew exactly to the size of reproduction, correcting with white tempera and occasionally redrawing a segment that he pasted over the drawings. He worked on a drafting table in the attic bedroom of his house on Cape Cod in the company of his six cats who draped themselves around the room and kept him company. While he rarely used a model, he ‘filched’ as he called it, from the many sources that interested him, creating an imaginary world of aesthetes and miscreants rendered in what he called an elegant and cool manner.
He briefly trained at the Art Institute of Chicago, and later at Harvard his circle of friends included John Ashbery, Frank O’Hara and Alison Lurie. With his companions he explored Japanese Kabuki, Hollywood films and English novels as part of an alternative culture that later surfaced in his work. In the 1950s and 1960s he was hired by publishers in New York where he produced cover illustrations and interior artwork. He was greatly influenced by surrealist absurdity and early silent films, and included among his favorites, the early 20th century Vampire series of Louis Feuillade. He was a devoted fan of ballet and film, and an inveterate book collector who enthusiastically accumulated all kinds of objects: toys and antiques, videos and CDs, finials, thrift store chairs and cat-clawed sofas. He once calculated that he had seen over a thousand films, and he thrilled to television re-runs of sit-coms as well as the films of Japanese directors Ozu and Naruse. He was as comfortable with high art as well as popular culture, and his appetite extended to Krazy Kat as well as to The Tales of the Genji.
His animation for the PBS Mystery! series, first introduced in 1980, continues to amuse television viewers, along with the literary nonsense for which he is known. He designed the scenes and costumes for the Broadway production of Dracula, and in the late 1980s wrote plays and puppet theater performed on Cape Cod. His mostly widely acclaimed books include The Doubtful Guest (1957), the controversial The Curious Sofa: A Pornographic Tale published under the anagram of Gorey’s name as Ogdred Weary which contains the chilling line, Still later Gerald did a terrible thing to Elsie with a saucepan. In The Hapless Child (1961), he follows young Charlotte Sophia through her short catastrophic life to a gruesome end. He more cheerfully illustrated the works of others, including T.S. Eliot’s Old Possum’s Book of Practical Cats. (1982)
Groomed Elephant Turning Right 10"x9.5" (5"x4")
Of these, the one he believed to be the most horrific was The Loathsome Couple (1977) that he based on the Moors Murders carried out around Manchester, England in the 1960s, where five children were buried in makeshift peat graves. (The book’s frontispiece declared that This book may prove to be its author’s most unpleasant ever.) Was it funny? His editor didn’t think so, nor did Gorey. Yet its macabre story and dark satiric vein expose a mind brilliantly attuned to the contemporary horrors of child abuse and psychopathic behavior. He read widely about other famous
cases and worked on a puppet play on Lizzie Borden, but it was the Moors Murders that really affected him. The plot, he explained, was everything, including the silent narratives present in those pictures without captions or titles. His play and fascination with language and the shape and form of letters appear in his writing, where limericks and brief captions convey a sense of menace and absurdity. Children are often his victims, as in the rhymes in The Gashlycrumb Tinies (1963) that register their misfortunes: A is for Amy who fell down the stairs; B is for Basil assaulted by bears and so on through the alphabet. He liked the sound and re-arrangement of words, and signed his work with anagrams of his name: Mrs. Regera Dowdy, Raddory Gew, Dogear Wride and E.G. Deadworry. If these names resemble figures from the English countryside, it is due to Gorey’s admiration for everything English. Although his drawings so frequently suggest other lands in prior times, Gorey only left the United States once to travel to Scottish Isles, to the Orkneys, the Shetlands and the Outer Hebrides. By birth, he was a Midwesterner who grew up in Chicago to parents who divorced and remarried sixteen years later. In dress and demeanor he was regarded throughout his lifetime as an eccentric, a designation that he cultivated by his behavior and appearance. In high school he painted his toenails green and walked barefoot
His animation for the PBS Mystery! series, first introduced in 1980, continues to amuse television viewers, along with the literary nonsense for which he is known. He designed the scenes and costumes for the Broadway production of Dracula, and in the late 1980s wrote plays and puppet theater performed on Cape Cod. His mostly widely acclaimed books include The Doubtful Guest (1957), the controversial The Curious Sofa: A Pornographic Tale published under the anagram of Gorey’s name as Ogdred Weary which contains the chilling line, Still later Gerald did a terrible thing to Elsie with a saucepan. In The Hapless Child (1961), he follows young Charlotte Sophia through her short catastrophic life to a gruesome end. He more cheerfully illustrated the works of others, including T.S. Eliot’s Old Possum’s Book of Practical Cats. (1982)
Groomed Elephant Turning Right 10"x9.5" (5"x4")
Of these, the one he believed to be the most horrific was The Loathsome Couple (1977) that he based on the Moors Murders carried out around Manchester, England in the 1960s, where five children were buried in makeshift peat graves. (The book’s frontispiece declared that This book may prove to be its author’s most unpleasant ever.) Was it funny? His editor didn’t think so, nor did Gorey. Yet its macabre story and dark satiric vein expose a mind brilliantly attuned to the contemporary horrors of child abuse and psychopathic behavior. He read widely about other famous
cases and worked on a puppet play on Lizzie Borden, but it was the Moors Murders that really affected him. The plot, he explained, was everything, including the silent narratives present in those pictures without captions or titles. His play and fascination with language and the shape and form of letters appear in his writing, where limericks and brief captions convey a sense of menace and absurdity. Children are often his victims, as in the rhymes in The Gashlycrumb Tinies (1963) that register their misfortunes: A is for Amy who fell down the stairs; B is for Basil assaulted by bears and so on through the alphabet. He liked the sound and re-arrangement of words, and signed his work with anagrams of his name: Mrs. Regera Dowdy, Raddory Gew, Dogear Wride and E.G. Deadworry. If these names resemble figures from the English countryside, it is due to Gorey’s admiration for everything English. Although his drawings so frequently suggest other lands in prior times, Gorey only left the United States once to travel to Scottish Isles, to the Orkneys, the Shetlands and the Outer Hebrides. By birth, he was a Midwesterner who grew up in Chicago to parents who divorced and remarried sixteen years later. In dress and demeanor he was regarded throughout his lifetime as an eccentric, a designation that he cultivated by his behavior and appearance. In high school he painted his toenails green and walked barefoot
down Michigan Avenue, according to his friend Consuelo Jourgensen, rather shocking in those days. For all the pleasure and stimulation that he found later in New York, Gorey left the city permanently in 1983 when he moved to Cape Cod where he had spent his holidays as a child in Barnstable. He made his home in Yarmouth Port at The Elephant House, now the Edward Gorey House that currently holds his collections and the work shown in this exhibition. His etchings of elephants shown here bow and dance as if in performance, and move slowly through a fog that engulfs them. What interests him is their weight, their heavy legs firmly planted on the ground, and the long pliable trunk, that only once is broken as the elephant stands at the edge of a precipice. Like Gorey himself, the animal finds itself surrounded by a mysterious world of light and dark, to be confronted with whimsy and courage. Memory Holloway Photograph courtesy of Kevin McDermott from his book Elephant House: or, The Home of Edward Gorey published by Pomegranate Communications Inc.
In Violet Springs they learned that Mrs. Regera Dowdy was not receiving visitors, but through a window they were able to see the desk on which she wrote her poems. 3
The Baron told her that only art meant anything. 7
down Michigan Avenue, according to his friend Consuelo Jourgensen, rather shocking in those days. For all the pleasure and stimulation that he found later in New York, Gorey left the city permanently in 1983 when he moved to Cape Cod where he had spent his holidays as a child in Barnstable. He made his home in Yarmouth Port at The Elephant House, now the Edward Gorey House that currently holds his collections and the work shown in this exhibition. His etchings of elephants shown here bow and dance as if in performance, and move slowly through a fog that engulfs them. What interests him is their weight, their heavy legs firmly planted on the ground, and the long pliable trunk, that only once is broken as the elephant stands at the edge of a precipice. Like Gorey himself, the animal finds itself surrounded by a mysterious world of light and dark, to be confronted with whimsy and courage. Memory Holloway Photograph courtesy of Kevin McDermott from his book Elephant House: or, The Home of Edward Gorey published by Pomegranate Communications Inc.
In Violet Springs they learned that Mrs. Regera Dowdy was not receiving visitors, but through a window they were able to see the desk on which she wrote her poems. 3
The Baron told her that only art meant anything. 7
The Dawbis is remote and shy; It shuns the gaze of passers-by. 5
Elephant and Prostrate Passenger 10"x11" (5.25"x4")
Free Fall Elephant 10"x9.5" (5"x4")
The Dawbis is remote and shy; It shuns the gaze of passers-by. 5
Elephant and Prostrate Passenger 10"x11" (5.25"x4")
Free Fall Elephant 10"x9.5" (5"x4")
Though he is a person to whom things do not happen, perhaps they may when he is on the other side. 2
Curved Trunk Elephant Moving Right in Heavy Fog 10"x9.5" (5"x4")
Elephant on Precipice Facing Left with Broken Trunk 10"x9.5" (5"x4")
Though he is a person to whom things do not happen, perhaps they may when he is on the other side. 2
Curved Trunk Elephant Moving Right in Heavy Fog 10"x9.5" (5"x4")
Elephant on Precipice Facing Left with Broken Trunk 10"x9.5" (5"x4")
I am always prey to the direst of apprehensions whenever I go from one place to another. 1
Elephant on Three Legs, Trunk Aloft 10"x9.5" (5"x4")
In the blue horror of dawn the vines in the carpet appear likely to begin twining up his ankles. 2
I am always prey to the direst of apprehensions whenever I go from one place to another. 1
Elephant on Three Legs, Trunk Aloft 10"x9.5" (5"x4")
In the blue horror of dawn the vines in the carpet appear likely to begin twining up his ankles. 2
Seated Green Elephant 10"x11"(4.25"x5.75")
Of all the people on the scene—some are betwixt and some between. 9
Seated Green Elephant 10"x11"(4.25"x5.75")
Of all the people on the scene—some are betwixt and some between. 9
They dazzle us, but can we trust these pictures drawn upon the dust? 9
Elephant in Sea Foam 13"x17" (8"x11.5")
They dazzle us, but can we trust these pictures drawn upon the dust? 9
Elephant in Sea Foam 13"x17" (8"x11.5")
The family was baffled: though their oldest heirloom, it was only made of wax and of no value to anyone else. 6 Still Life with Skull Vase & Elephants 14"x17.5" (9"x11.5")
Mirella all at once became chic and mysterious. 7
The family was baffled: though their oldest heirloom, it was only made of wax and of no value to anyone else. 6 Still Life with Skull Vase & Elephants 14"x17.5" (9"x11.5")
Mirella all at once became chic and mysterious. 7
He changed her name to something more exotic. 7 “E” Elephant 10"x11"(5.75"x3.75")
Elephantômas 2/9 9.5"x11.5" (6"x8")
He changed her name to something more exotic. 7 “E” Elephant 10"x11"(5.75"x3.75")
Elephantômas 2/9 9.5"x11.5" (6"x8")
One morning her parents, for some reason or other, went on an excursion without her. 8
Elephant么mas 3/9 9.5"x11.5" (6"x8")
Elephant Ignoring the Giant Skull 12" x 15" (7" x 9")
Her parents only once came to visit her backstage. 7
One morning her parents, for some reason or other, went on an excursion without her. 8
Elephant么mas 3/9 9.5"x11.5" (6"x8")
Elephant Ignoring the Giant Skull 12" x 15" (7" x 9")
Her parents only once came to visit her backstage. 7
It would have been too much, but, too much is not enough and so it wasn’t that but splendidly just enough. 1
Photo plate detail (Elephant and Prostrate Passenger)
Some tiny creature, mad with wrath, is coming nearer on the path. 4
It would have been too much, but, too much is not enough and so it wasn’t that but splendidly just enough. 1
Photo plate detail (Elephant and Prostrate Passenger)
Some tiny creature, mad with wrath, is coming nearer on the path. 4
Sources of Edward Gorey’s Quotations 1 Neumeyer, Peter F.. Floating Worlds, The Letters of Edward Gorey & Peter F. Neumeyer. Petaluma: Pomegranate Communications, Inc., 2011 2 Gorey, Edward. The Unstrung Harp, Boston: Houghton Mifflin Harcourt, 1999 (originally published 1953). 3 Gorey, Edward. The Willowdale Handcar or The Return of the Black Doll. Boston: Houghton Mifflin Harcourt, 2003 (originally published, 1962). 4 Gorey, Edward. The Evil Garden, Petaluma: Pomegranate Communications, Inc., 2001 (originally published 1965). 5 Gorey, Edward. The Utter Zoo Alphabet, Petaluma: Pomegranate Communications, Inc., 2010 (originally published 1967). 6 Gorey, Edward. The Other Statue. Boston: Houghton Mifflin Harcourt, 2001 (originally published 1968). Photo plate detail (Elephant and Prostrate Passenger)
7 Gorey, Edward. The Gilded Bat, Petaluma: Pomegranate Communications, Inc., 2010 (originally published 1966). 8 Gorey, Edward. The Remembered Visit: A Story Taken from Life. Petaluma: Pomegranate Communications, Inc., 2009 (originally published 1965).
During a thunderstorm that ensued, a flash of lightning revealed a figure creeping up the embankment. 3
9 Gorey, Edward. The Awdrey Gore Legacy. Petaluma: Pomegranate Communications, Inc., 2010 (originally published 1972).
Sources of Edward Gorey’s Quotations 1 Neumeyer, Peter F.. Floating Worlds, The Letters of Edward Gorey & Peter F. Neumeyer. Petaluma: Pomegranate Communications, Inc., 2011 2 Gorey, Edward. The Unstrung Harp, Boston: Houghton Mifflin Harcourt, 1999 (originally published 1953). 3 Gorey, Edward. The Willowdale Handcar or The Return of the Black Doll. Boston: Houghton Mifflin Harcourt, 2003 (originally published, 1962). 4 Gorey, Edward. The Evil Garden, Petaluma: Pomegranate Communications, Inc., 2001 (originally published 1965). 5 Gorey, Edward. The Utter Zoo Alphabet, Petaluma: Pomegranate Communications, Inc., 2010 (originally published 1967). 6 Gorey, Edward. The Other Statue. Boston: Houghton Mifflin Harcourt, 2001 (originally published 1968). Photo plate detail (Elephant and Prostrate Passenger)
7 Gorey, Edward. The Gilded Bat, Petaluma: Pomegranate Communications, Inc., 2010 (originally published 1966). 8 Gorey, Edward. The Remembered Visit: A Story Taken from Life. Petaluma: Pomegranate Communications, Inc., 2009 (originally published 1965).
During a thunderstorm that ensued, a flash of lightning revealed a figure creeping up the embankment. 3
9 Gorey, Edward. The Awdrey Gore Legacy. Petaluma: Pomegranate Communications, Inc., 2010 (originally published 1972).
The University Art Gallery expresses a very special thanks to: The Edward Gorey House, Yarmouth Port, MA Rick Jones, Director Gregory Hischak, Assistant Director Will Nunes, Assistant The Edward Gorey Charitable Trust R. Andrew Boose, Trustee Andreas Brown, Trustee Jean François-Allaux Brooke Armstrong Barnstable County Sheriff's Department Judith Downey Luke Wunsch-Edwards Shingo Furukawa Sharon Fusco The Gallery and Lecture Committee; CVPA Jessica Fernandes Gomes Memory Holloway Bruce Maddocks Steve Marsel Kevin McDermott
Paula Erenberg Medeiros Joy Miller Monika Montrymowicz Pomegranate Communications, Inc. Donna Costa-Pryor Evelyn Ramalhere Michael Regan Christopher Seufert Marc St Pierre Ryan Tamulevicz Adrian TiÒ, Dean, CVPA The Estate of Emily Trevor Jiabei Wang Erica Weiss The Whaling Museum, New Bedford, MA The Curator and Gallery Director would like to thank all of our colleagues; faculty, administration and staff of CVPA, for without whom this exhibition, or catalog, would not have materialized.
Contacts:
Exhibition Credits:
James Edwards: Design Department CVPA jedwards@umassd.edu or Viera Levitt Gallery Director vlevitt@umassd.edu
James Edwards, Curator Viera Levitt, Gallery Director
University Art Gallery College of Visual and Performing Arts (CVPA) University of Massachusetts Dartmouth 715 Purchase Street, New Bedford, MA 02740 gallery@umassd.edu www.umassd.edu/cvpa/galleries www.facebook.com/UMassDartmouthGalleries The gallery is open daily from 9 am– 6 pm Closed on major holidays. All events are free and open to the public
Design: Jan Fairbairn, Graphic Design catalog Spencer Ladd, Graphic Design poster and postcard Text: James Edwards and Memory Holloway
All Edward Gorey images printed by permission of ©The Edward Gorey Charitable Trust Photographs by Kevin McDermott printed by permission of the photographer and courtesy of Pomegranate Communications, Inc. Photographic Portrait printed by permission of The Edward Gorey House
The University Art Gallery expresses a very special thanks to: The Edward Gorey House, Yarmouth Port, MA Rick Jones, Director Gregory Hischak, Assistant Director Will Nunes, Assistant The Edward Gorey Charitable Trust R. Andrew Boose, Trustee Andreas Brown, Trustee Jean François-Allaux Brooke Armstrong Barnstable County Sheriff's Department Judith Downey Luke Wunsch-Edwards Shingo Furukawa Sharon Fusco The Gallery and Lecture Committee; CVPA Jessica Fernandes Gomes Memory Holloway Bruce Maddocks Steve Marsel Kevin McDermott
Paula Erenberg Medeiros Joy Miller Monika Montrymowicz Pomegranate Communications, Inc. Donna Costa-Pryor Evelyn Ramalhere Michael Regan Christopher Seufert Marc St Pierre Ryan Tamulevicz Adrian TiÒ, Dean, CVPA The Estate of Emily Trevor Jiabei Wang Erica Weiss The Whaling Museum, New Bedford, MA The Curator and Gallery Director would like to thank all of our colleagues; faculty, administration and staff of CVPA, for without whom this exhibition, or catalog, would not have materialized.
Contacts:
Exhibition Credits:
James Edwards: Design Department CVPA jedwards@umassd.edu or Viera Levitt Gallery Director vlevitt@umassd.edu
James Edwards, Curator Viera Levitt, Gallery Director
University Art Gallery College of Visual and Performing Arts (CVPA) University of Massachusetts Dartmouth 715 Purchase Street, New Bedford, MA 02740 gallery@umassd.edu www.umassd.edu/cvpa/galleries www.facebook.com/UMassDartmouthGalleries The gallery is open daily from 9 am– 6 pm Closed on major holidays. All events are free and open to the public
Design: Jan Fairbairn, Graphic Design catalog Spencer Ladd, Graphic Design poster and postcard Text: James Edwards and Memory Holloway
All Edward Gorey images printed by permission of ©The Edward Gorey Charitable Trust Photographs by Kevin McDermott printed by permission of the photographer and courtesy of Pomegranate Communications, Inc. Photographic Portrait printed by permission of The Edward Gorey House
This catalog is dedicated to the memory of the master Edward St. John Gorey February 22, 1925 –April 15, 2000
Photographic Portrait printed by permission of The Edward Gorey House
This catalog is dedicated to the memory of the master Edward St. John Gorey February 22, 1925 –April 15, 2000
Photographic Portrait printed by permission of The Edward Gorey House
‘E’
The Etchings of
Edward Gorey
is for Elephants
September 23– November 02, 2014