Art & Artifacts from the
Artist unknown (Spanish), St.
1450-1480, oil with gilt on panel,
63 1/2 x 26 in., SLU 07.1
In conjunction with St. Lawrence University’s
Sesquicentennial in 2006, the Richard F. Brush Art Gallery presents
an exhibition of paintings, drawings, and other art objects and
artifacts from the Permanent Collection. Three projects are featured
in the exhibition. The first is a 15th-century Gothic panel painting
of the figure of St. Lawrence with the gridiron. Recently conserved
by Montserrat Le Mense at the Williamstown Art Conservation Center,
the painting was presented to the University in 1907 by Frederic
Everest Gunnison, son of Almon Gunnison, University president
at that time. Le Mense’s research on the provenance of
the painting indicates that it originally hung in a Franciscan
monastery, La Rabida, in Palos de la Frontera, a southern Spanish
port town from which Christopher Columbus sailed in 1492. Her
lecture will describe the history of the painting and her extensive
work to conserve it.
John Button (American, born 1929), Soho
1975, gouache on paper,
Gif tof Dr. Richard T. and Odile (Leterrier) '51 Stern, SLU 2005.2
A significant component of the exhibition includes
ethnographic objects and artifacts such as Yoruba and Baule carvings
Africa, a visionary painting by Amazonian shaman Pablo Amaringo,
and Tibetan Buddhist thangka paintings. Students in Professor
Dorothy Limouze’s fine arts course The Museum as Cultural
Crossroads share their research on these pieces in a public presentation,
exhibition text panels, and a longer printed brochure. According
to the syllabus for the course, students explored the museum “as
a largely western creation and as a lens through which the western
world views other cultures.” Course topics included “the
growth of museums in the eras of colonial empires and superpowers;
the politics of collecting and public display; the role of museums
in constructing and communicating cultural difference; and the
new museum, as redefined by post-colonial and postmodern thought.” Students
were also asked to problematize the notion of the exhibition
title, “one-of-a-kind,” in light of art objects and
artifacts created for western and/or tourist markets.
Artist unknown (Jain), Jambu Dwipa, 18th century,
pigment on mounted cloth,
Gift of Michael E. Hoffman '64 and Melissa Harris, SLU 2005.17
In addition, the exhibition includes recent gifts
from St. Lawrence alumni and their families. In 2005, Melissa
Harris donated a
rare 18th-century painting that depicts Jain cosmology, in memory
of Michael E. Hoffman ’64, a major benefactor of the Brush
Gallery in the years after his graduation. Dr. Richard and Odile
Stern donated several drawings and paintings in the last five
years by Christo, Larry Rivers, John Button, and John Kacere,
among other New York artists of the late 20th century. With great
sadness, the St. Lawrence community learned of Dick’s death
on December 19, 2005. His warmth and generosity reflect the efforts
of many individuals over the years who have made St. Lawrence
The lecture and exhibition are
funded in party by the Barnes Endowment Fund, with thanks also
to Professor Emeritus Hugh '52 and Patricia Gunnison for their
initial support of the conservation of St. Lawrence.
Artist unknown (Tibetan Buddhist), untitled thankga
pigment on cloth,
In May 2005, Brush Art Gallery Director Cathy Tedford
and I began to talk about an exhibition that could be organized
by a class I would be teaching in the fall. The course, The Museum
as Cultural Crossroads, was created by me in 1993, in connection
with the faculty curricular seminar, Cultural Encounters. In
addition to being an upper level art history course, FA 325A
satisfies one of two requirements in comparative global or transnational
analysis within the Global Studies minor. The course is a critique
of the museum in the post-colonial era, focussing on the politics
of the collecting and public display of art from indigenous cultures
of western Africa and Canada. For much of the term, the students
read museological and anthropological writings by Douglas Cole,
Annie E. Coombes, Carol Duncan, Donna Haraway, Ruth B. Phillips,
Sally Price, and Christopher Steiner. Journal entries on the
readings and essays written about trips to the National Gallery,
Ottawa, and the Museum of Civilization, Hull, rounded out the
semester. However, this was the first time that an exhibition
could be included within the parameters of the course.
In September, the students chose works from a large group of
African, Asian, and Amazonian material in the Brush Art Gallery
Permanent Collection. They began their research in stages, completing
the bulk of the work on wall labels and longer brochure entries
in November and December, and on Monday evening, January 30,
2006, at 7 p.m., students from the class presented their research
to the public in gallery talks.
The students’ research has unearthed information which
will be valuable additions to what we know about these objects.
Longer texts written by each of the students can be found in
the exhibition brochures. African objects come first in the brochures,
with essays written by Margaret Yoh ‘06, Allie Reece ’06,
and Emily Broeman ’06. Their texts problematize the notion
of authenticity in traditional African art, as well as preconceptions
that the western public often has regarding the way African art
should look. Andrew Feathers ‘07, Meghan Getsinger ’06,
and Alexis Harrison ’06 have written about Tibetan thangkas
(paintings on cloth) that have recently entered the University
art collection. Their essays deal with the issues of interpreting
complex subject matter in objects that have been removed from
their original contexts, and with the problems of collecting
Tibetan Art at a time when much material from that region is
being exported through illicit channels. The final essay, by
Danielle Devereaux ’06, concerns a painting by the artist
Pablo Amaringo. This beautiful work syncretizes indigenous shamanic
practice and shamanic visions in a landscape composition which
is “western” in conception.
I congratulate all of the students on their hard
work and their many interesting discoveries. And most of all,
I thank Brush
Art Gallery Director Cathy Tedford and Assistant Director Carole
Mathey for their help with this project, from beginning to end.
Lynn and Terry Birdsong Associate Professor, Department of Fine
Mark Klett, Thanksgiving moonrise,
10' intervals, 11/25/04, 7.5 x 9 inches
The work in this exhibition comes from two projects. The
panoramas were made for Yosemite in Time, a collaboration
among writer Rebecca Solnit, photographer Byron Wolfe, and
myself. The project revisited and re-photographed sites of
historic photographs made in Yosemite National Park.
Our purpose was to understand how famous
photographs had guided our interpretations of the land and
of wilderness, and how we might visualize the relationship
between change and time. In the process, we discovered that
photographs turn the natural world into a kind of nature/culture/time
coordinate system for tracking different eras. Landscape
photographs become maps in four dimensions, capable of folding
and unfolding an experience of time. The process of making
each photograph provided a means to rediscover the place
in spite of its iconographic history.
Mark Klett and Byron Wolfe, Four views
from four times and one shoreline, Lake Tenaya,
Left to Right: Eadweard Muybridge, 1872 (Courtesy of The Bancroft
Library, University of California, Berkeley); Ansel Adams,
c. 1942 and Edward Weston, 1937 (Courtesy of the Center for
Photography, University of Arizona)
Back panels: Swatting high-country mosquitoes, 2002
24 x 66 inches (paper); 21 x 61 inches (image)
The second project, entitled Time Studies, was begun last
year in response to a question, “If photographs depict
a moment in time, how long is a moment?” A photograph
is usually metered in fractions of a second, but many of
these images were exposed over periods ranging from ten minutes
to two days, recording phenomena difficult to experience
as a single or discrete event. The result is another perspective
regarding duration or rates of change.
Mark Klett, 2 hours, 11/13/04,
7.5 x 9 inches
Together, the two projects explore several interesting
questions. How do we visualize the relationship between time,
and change? Is the measure of time a constant, or does
change itself become the true measure of time? Can we count
space or time to be immutable? What if time is not a simple
flow from past to present; can it be experienced as flowing
backwards? Can this perception alter the past as well as
Mark Klett graduated from St. Lawrence University
in 1974. The exhibition and lecture are funded in part by the
Barnes Endowment Fund.
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Lisa Anne Auerbach (StealThisSweater.com),
is Messy/Shoot to Kill, 2005, wool sash
The exhibition at St. Lawrence University takes
its title from critic Polly Ullrich’s 1998 New Art
Examiner essay entitled “The Workmanship
of Risk: The Re-emergence of Handcraft in Postmodern Art,” which
describes how handcrafts in contemporary art can be radical.
The Workmanship of Risk presents works that are handmade
for conceptual, not utilitarian, purposes. Juxtaposing knitting
mechanically reproduced media, needlepoint with politics, and
sewing with social critique, the exhibition includes:
Lisa Anne Auerbach’s knitted text pieces and self-published ’zines—American
Homebody, a contemporary counterpart to the 1970s publication
Women’s Household; Last Week in the
her account as an artist-in-residence at the Headlands
the Arts in San Francisco; and Everyday Hiking, part of
a performance presented at the Frieze Art Fair in 2005.
- Needlepoint portraits by Jim Finn of six Latin American
Cat Mazza’s video Talking Stitch, which examines
the relationships among capitalism, handcrafts, and sweatshop
microRevolt’s knitPro Needlecraft Art Show,
an exhibition of internationally made hobbyist artworks that
were created using
knitPro software, a free Web application
that translates digital images into needlecraft patterns. Images
of submissions to the knitPro Needlecraft Art Show can
be found at http://www.microrevolt.org/KNAS.
Elaine Reichek’s found ethnographic photographs of tepees
paired with the artist’s knitted versions.
Sherri Wood’s Prayer Banner: REPENT, an ongoing, communal
mourning banner made by members of various faith
and social justice communities at churches and sites of protest.
represent U.S. soldiers killed in Iraq, and white
running stitches indicate the thousands of nameless dead Iraqi
visitors are invited to contribute to the project.
Jim Finn, Communist Heroes of South
The exhibition curator, Sabrina Gschwandtner, is
a New York City-based artist who works with film, video and textiles.
Graduating with honors from Brown University with a degree in
art/semiotics, she also studied with Harvard Film Archive founder
Vlada Petric at Harvard University and with artist VALIE EXPORT
at the Sommerakademie fur Bildende Kunst in Salzburg, Austria.
Gschwandtner is currently pursuing an MFA at Bard College. Her
artwork has been exhibited at the 2001 Venice Biennale, SculptureCenter,
Socrates Sculpture Park, Anthology Film Archives, Artists Space,
and the Austrian Film Museum, among other venues. In 2004, she
was awarded a residency at the MacDowell Colony and is writing
a book that profiles people doing interesting things in knitting,
to be published in the fall of 2007 by Stewart, Tabori & Chang.
microRevolt, Barbie legwarmers,
Gschwandtner is the founder of KnitKnit,
an artist’s publication
that focuses on the intersections between fine art and handcraft
in all media. Published twice per year, KnitKnit includes interviews,
profiles, articles, reviews, and drawings. Through collaboration,
she and other artists organize receptions, film and video screenings,
art exhibitions, and other events.
Cat Mazza is a New York-based artist
microRevolt, which creates art projects that combine knitting,
machines, and digital
social networks to initiate discussion
about the international sweatshop crisis. Her recent exhibitions
include Prix Ars Electronica, Linz, Austria; SESI Gallery, São
Paulo, Brazil; Fuzzy Logic at the Futuresonic Festival
in Manchester, UK; and The Upgrade! International at
Eyebeam, New York.
Images of the exhibition
Special thanks to Carole Mathey, assistant gallery
director and knit-o-latrix.
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The Gallery Has A Posse: Contemporary
I’ve been debating whether or not STICKERS
are the new Currier & Ives. Art for everybody: democratic,
cheap, ephemeral, transient. Run them through a Xerox machine at
Kinko’s, or send a 300 dpi jpeg to The Sticker Guy. Paper
or vinyl. B/W or color.
One-of-a-kind stickers—hand painted with a brush or Sharpie,
D-I-Y, poems by JJ, “I can’t do crossword puzzles because
the open L e t t e r s p a c i n g bothers me.”
U.S. Postal Service Priority Mail or Deutsch
Post signature stickers—PG
III: The Legend—or other messages: “Figura B: todo
es justo en amor y guer” and “Rap Music Gods ate thier
oats! TWERPS AREA RIOT!”
HELLO, my name is Goner, RAMBO, Mickey Flight! ...
Stickers that sell music: DJ Jester/The Filipino
Fist, Cancer Bats, Struck by Truth, Astroboy, Deathless…
Stickers that sell products/services/attitude: YJ
STINGER Extreme Energy Drink, 42 Below/New Zealand Vodka, LOLA
CREW 4 LIFE skateboards,
Missbehave clothing, Sherbert Magazine, GoGorilla Media, Saved
Social/political stickers about GWB and the
war (REGIME CHANGE, IRAK, Drop BUSH, Not BOMBS),
SARS, animal rights and the environment
(I shot Bambi’s mom ©Plasma Slugs and mission
1: piss on a SUV), globalization
(Corporate Vandals Not Welcome), terrorism (Jihad for President
2004), and the nature of reality (OCTAGOD).
Abstract stickers of eyes, hands, faces, four-leaf
clovers, ants, flies, mandala-like circles and squares, plant forms,
and tender bunnies. Tattoo from Fantasy Island.
Anonymous guy taped color copies of what-looked-to-be
his passport photo on light posts and other surfaces all over Chelsea
Sticker artists + Art stickers: PlAsmA SluGs, Kaiju
Big Battel, RobotsWillKill, Uneek, Wreckles, Asop, CATV, Skypager,
Visual Narcotics, El Toro, orkid man, 5003, Chair Dog, Certified
Fluxus Free Zone, The Poo Syndicate, Hek Tad, Matt: Siren, Dalek…
OBEY GIANT and the bootlegs: Andre the Giant, Vinny
Raffa, Nicotina, Bea Arthur, [the] Dali Lama (sic), Flat Eric,
Mini Me, and Optimus
Prime each has a posse.
Members of the SLU sticker acquisition committee
scour the streets of New York City, Berlin, Toronto, San Francisco,
and Moscow to
find exquisite gems of creativity. The most coveted stickers are
high out of reach, and our aluminum stepladder gets too heavy to
lug around, so we stand on trash cans instead. Brittle fingers
in November, we take a break to warm up at the Half King.
“Optimistic acts of faith,” Carole observes. It’s true.
There’s something intimate and heartwarming in these stickers,
each one put up by hand. Personal responses to oftentimes harsh,
chaotic environments and times.
On PEEL’s SLAPS Stickerhead Forum, delOR razzes me, “keep
it gangsta, and on the streets.” Zen sez, “the whole
idea is not to ask... its to do... teacher man... thats what makes
the difference... your asking about it. Just do it. Like Mikey.” And
wharfrat responds, “Fat Mikey has a posse!”
The landscape is illegal.
People need & see things, incessantly.
Walk these city streets: two straight lines cannot
enclose or animé a
space: as origami has insides and inside its folds, also: it has
wings made from the making of its wings: it flies only if on fire
and flies best in a frigid fall day: that’s the thermal physics
of this city: rambling text of tags, men in drag: Nike Nike Prada
bag: the streets run straight to make paid-for space: upwards at
their edges are walls a crime to art on: unless for selling something
else: pomegranate juice, community, fruit-infused vodka from the
former eastern regime: slap-stick this spectacle with your own
situationism: be enthusiastic: preexisting aesthetic elements in
the winedark boulevards, the sunrise [something/obeys] among them:
your First Amendment must be adhesive against search & seizure
from these streets: this gallery: it is forbidden to be forbid:
your Fourth Amendment only [something/obeys] its own profligeration
without profit: you’re owning your own looking: move ahead:
see what you can make of it.
-Robert Strong, author of Puritan
Spectacle (Elixir Press, 2006)
Special TX to Carole Mathey,
Spencer Homick ’06, and Suzi Matthews '92.
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Barnes Endowment Annual Juried
Student Art Exhibition
All St. Lawrence students are eligible to enter up to four
works of art in any media on Thursday, April 13 from
10:00 a.m. to 5:00 p.m.
and on Friday, April 14 from 10:00 a.m. to 5:00 p.m.
Please join us for the opening reception on Thursday,
April 20, at 7:00 p.m.
The exhibition is juried by Greg Stahly, Department
of Fine Arts, SUNY Potsdam, who will give a lecture in Griffiths
123 on Wednesday, April 10,
at 6:00 p.m. The exhibition is supported by the Carlyle and
Betty Barnes Endowment and the
Loan agreement forms, 2006 Annual
Student Art Exhibition
Spencer Homick '06
I love art, and I love science. The two subjects
are opposites of each other, and I am not at all interested in
working in one without the other. I lean a little more towards
art, however, because for me, it is easier to create in art than
in science. The institution of sequential, logical subjects requires
certain abilities my displaced attention span lacks, but I understand
science, and I’m absolutely excited to have found a way to
approach science through art. I honestly never thought I’d
be interested in learning calculus or C++ after my undergraduate
education. Because I found the right medium, I can justify learning
My work in this exhibition falls into two distinct categories:
art stemming from an aesthetic process and art stemming from
a scientific process. The visualized music and computer pieces
the result of long and complex processes. The other pieces were
made out of the sheer enjoyment of approaching an open canvas
and leaving it resolved.
Robert Metcalfe, inventor of Ethernet, once said, “Invention
is a flower, innovation is a weed.” From that quote, I realized
that no matter the medium, creativity means always growing. Since
growth seems to be a recurring subject in some of my work, I feel
that it is an appropriate theme for this exhibition.
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Trini to de Bone!
Photographs by Melina Cruz '06
In the spring of 2005, I participated in the Trinidad
study abroad program along with six other students from St. Lawrence,
nine students from Pacific Lutheran University, and three students
from Trinidad and Tobago (T&T). I attended the University of
the West Indies where I was enrolled in two classes, Pan Theory & Practice
and Introduction to the Study of Religion. For four days during
the beginning of the semester, I stayed with a Trinidadian family
who showed me their neighborhood and gave me my first taste of
life on the island.
As part of the program, I learned about T&T culture and society
through outings to various diverse cultural events, one of which
was the annual Carnival celebration, a national holiday that takes
place the Tuesday before Ash Wednesday. For Carnival, everyone
gets up and dressed in costumes to have fun in the streets of Port-of-Spain,
Trinidad’s capital, from 6 a.m. to about 6 p.m. or even later.
This was the biggest celebration I had ever participated in, and
it was by far the best!
I roomed with Kareen, a student from Tobago, who taught me so much
about the culture and people of Trinidad and Tobago. She always
mentioned the song “Trini to de Bone” by David Rudder,
a famous singer. The song’s title stuck with me, and after
listening to the song and spending four months in Trinidad the
song made sense. One section of the song speaks directly about
the diversity on the island, which was my inspiration when choosing
images for this exhibition. Rudder sings,
As crazy as we might seem to be
We still fight to be a family
Indian, African, or a Chini
Syrian, French, Creole or Portuguese
We blessed with a spirit so fiery
Some people say God is a Trini
Sweet woman parade abundantly
Not a problem it’s plain to see
Sweet, sweet T&T
Oh, how I love this country
Sweet, sweet T&T
No place in this world I’d rather be
Sweet, sweet T&T
Oh, how I love this country
Sweet, sweet T&T
All this sugar can’t be good for me
I was very encouraged by the diversity I saw on the island and
how, regardless of descent, each person was first Trinidadian.
Being a true Trini is not about outside appearance; it’s
about the love Trinidadians have for the country.
These photographs reflect the diversity in the culture, ranging
from traditional Carnival mas (i.e., the blue devil and limbo dancer
from the Malick Folk Performing Company) to modern Carnival, where
participants wear huge, colorful costumes – to Indian Trinidad,
celebrating Indian Hindu and Muslim traditions – to making
new Trini friends – to making the most of a four-and-half-month
experience. The view from Maracas Bay, where one can look from
a high cliff to see the ocean’s expanse, exemplifies the
beauty of this country full of culture and tradition.
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A Photo-installation by Jenna Stearns '06
When I step off the metro in Lavapiés, I am
immediately struck by its polyphony. With people from more than
fifty nations residing in this small, old-quarter in the heart
of Madrid, the rhythms - of its music, its language, of life -
commingle intimately. The motley assortment of colors and styles
of dress are interwoven to produce a social fabric all its own.
Small children kick a partially deflated soccer ball in the plaza
or the small corner where the sidewalk widens briefly. Old women
sit on park benches, it seems for days at a time. Arab tea shops
are situated next to Indian restaurants, next to shops selling
African crafts, next to phone houses advertising discounted rates
to call Latin America, next to jazz bars. South Asian men play
Cricket in one plaza; Sub-Saharan African men play soccer in another.
Women pull little shopping carts or push strollers up and down
the steep, cobblestone streets. Someone has a boom box in the plaza
playing cumbias, or sambas, or punk music. A group of middle-aged
men sit around, drinking liters of beer until the cops show up.
The police are there a lot.
Lavapiés is a concrete local space where the interplay of
many global processes can be discussed. These photographs speak
to the gendering of space in the neighborhood, urban resistance,
and Spain's immigration policies in the context of the capitalist
world economy. Lavapiés is a pocket of the Global South
tucked in the middle of a major metropolis of the Global North.
From this focal point, there are thousands of threads stretching
outwards, connecting Madrid to other neighborhoods, other cities,
and other countries throughout the world and to the particular
conditions that provoked their peoples to seek a different life
in Spain. Lavapiés- like the global political system in
which it is situated and reflects- resists simple, regular, and
static explanations both for the way things are and the way they
should be. As such it is a prime location for understanding the
way that gender interacts with race, class, and nationalism in
the capitalist world economy. There is an intense beauty in the
way that the neighborhood so strongly asserts its heterogeneity
in the face of strong currents of homogenization. It is a place
where imagination, creativity, and a deep, forceful impetus for
justice continue to thrive. While McDonalds and Starbucks continue
to open up shop all over Madrid so everyone can get the burger
and latté they know so well, Lavapiés maintains much
of its spunk and spontaneity.
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Monday-Thursday 12-8 p.m.
Friday-Saturday 12-5 p.m.
All exhibitions and related educational programs
are free and open to the public. The
Gallery welcomes individuals and groups for guided tours; please
call (315) 229-5174 for information.