1998 1998 , , 1 • • June June 3 3 1 ~ ~

WETIER WETIER f.EL}CITAS f.EL}CITAS

WELDEN.: WELDEN.: DAN DAN

JULIE JULIE SMALL--CAMBY SMALL--CAMBY

SHA SHA KAREN KAREN

SCHATZ SCHATZ ARLEEN ARLEEN

RE'UTER RE'UTER RICHARD RICHARD

PAC:MIERJ PAC:MIERJ MAUREEN MAUREEN

MERCER MERCER NORMAN NORMAN

MANN MANN (\ATINKA (\ATINKA

LIEBERMAN LIEBERMAN BRUCE BRUCE

LEE LEE SEUNG SEUNG

KUCKA KUCKA KATHLEEN KATHLEEN

HUGHES HUGHES WOODY WOODY

BARNICK BARNICK SYLVIA SYLVIA

GEZARL GEZARL TEMIMA TEMIMA

FIGEL FIGEL F.LIAS F.LIAS BEVERLY BEVERLY

DODSON DODSON LILLIAN LILLIAN

ALESSANDRO ALESSANDRO ' » SARA SARA

STAN.BRODSKY STAN.BRODSKY

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1997 1997 3, 3, 1 # # Naucclle Naucclle

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KY KY S D O BR AN AN T S

44" 44" x x 30 30 , , paper on on encaustic encaustic 8lld 8lld

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metals. metals. and and , , wax carborundum, carborundum, fiber, fiber,

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28x40x32" 28x40x32"

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some­ have have artists artists All All doing. doing. by by crossed crossed

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and and intuition, intuition, trusting trusting self, self, with with touch touch in in

being being by by path path a a carving carving continually continually I'm I'm

DODSON DODSON LILLIAN LILLIAN TEMIMA GEZARI

I am not an artist who says "let people get what they can out of my art." I want the world to see my work, to understand and love it. When I put something down in stone or clay, I am sharing my insights into nature, my feelings about humanity. I love the human figure, its organic design and engineering perfection. The part reflects the whole; in a leaf we see the tree, in the cell the future is born. I believe that human beings are essen­ tially creators. There is no limit to their potential, or to the heights they can reach, if they align themselves with the Red Onion, 1984 creative energy in the universe. From: ''The Circle and the Egg" series Brown clay. 12" high

SYLVIA BARNICK

In my work I deal with time, place, and memory. In this series Re/Found Detritus, I have used my photographs offound and saved objects (buttons, watch faces, eye­ glass lenses, pins, nails, etc.), objects that are by their very nature detritus, but also metaphors for memory. I combine these "detritus" photos with old portrait photos, plus photos ofobjects or events that I chanced upon. My process of Xerox photo-transfer, plus the materials that I use, enables me to create the mystery that I search for in my work.

Re/Found Detritus 1197, 1997 Mixed media: wood fran1e, canvas, acrylic, marble dusl. Xerox pho10- 1ransfers. clear 1ar gel, high solid gel. and glass. 25 x 19" overall WOODY HUGHES

I work in terra cotta for the freedom it allows when the pieces are being created as well as for the diversity of color sur­ face that lower firing temperatures per­ mit. Most of the elements of the form are wheel thrown, then assembled when leather-hard. This enables me to work with fluid thrown forms, altering and assembling them while instilling a quiet geometric structure in the final piece.

Steam Iron Teapot, 1996 Earthenware, 14" Jong

KATHLEEN KUCKA The bum has become a focal point in my work. The process of burning a repeated mark or image has brought the work into a dialogue with medita­ tion on one hand, and on the other it has opened a dialogue which speaks of violence, destruction, and scarring. The bum/cut process creates a mark­ ing system that interacts with the canvas and transforms its two-dimen­ sional surface into a sculptural field.

I use the black velvet behind the burnt holes as an element of surprise. My intentions are to challenge the viewers' sense of perception, ideas about vul­ nerability, and beauty.

Iron Bum, 1994 Iron bums on canvas, 85 x 75"

" " 49-112 12 12 1 x x 71- canvas. canvas. on on Acrylic Acrylic

1996 1996 Doorway, Doorway, Yellow Yellow Tiited Tiited

g. g. ntin i Pa about about mostly mostly is is

t t ec ubj e s e th but but observation, observation, and and e e natur

on on rely rely I I nt. nt. ai p nd nd a surface surface the the with with fan fan

having having and and alive alive being being about about is is It It imagery. imagery.

personal personal with with filled filled and and autobiographical autobiographical

is is work work y y M planes. planes. and and color, color, space, space, the the

weave weave and and play play to to excuse excuse an an becomes becomes

outside outside view view e e th and and doorway doorway e e th of of

reflection reflection or or shape shape The The space. space. about about

had had I I idea idea an an from from me me ca ies ies r se Door Door The The

LIEBERMAN LIEBERMAN UCE UCE BR

c. c. In Council. Council. Ans Ans

Huntington Huntington the the by by administered administered s s i Program Program

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I I drawings, drawings, r r o es, es, ur sculpt , paintings,

installations, installations, be be it it r r e h et Wh materials. materials.

recycled recycled or or objects objects nd nd fou of of ed ed pris com

been been has has work work my my years, years, several several For For

EE EE L SEUNG SEUNG KATINKA MANN

For many years, I was a landscape painter concentrating on light. I left landscape painting because of an accidental insight. This happening made me aware of how powerful form is. and photography opened up new ways of seeing light and form. One day while looking at photographs, the forms felt like they were springing up off the paper. I cut into the images just like I had done years before for a series of Red YeUow Stripe, 1996 Photographic cutouts, 22 x 19 x 6" dimensional drawings. At the time of cutting into the photographs, drawings were the furthest thing from my mind. Nothing you ever do is lost. It comes back as a springboard waiting to be reinvented.

NORMAN MERCER The nearness of the 21st Century, with all its technological and scientific im­ plications, has reinforced my motivation for working in the medium of cast acrylic. Originally, the material was used to provide bullet shield protection for the cockpits of war planes d~ring World War II. Now, through science and technology, I can take what was once a substance of destruction l and aggression and use it for its inherent I aesthetics and beauty.

How, 1997 Cast acrylic, 48 x 27 x 18"

gh gh i h 20" 20"

phragmites, phragmites, in in reduced reduced , , Fahrenheit

° ° 2200 at at fired fired raJru raJru glaze, glaze, bead bead

matte matte copper copper titanium titanium Salt-fumed, Salt-fumed,

998 998 1 Amphora, Amphora,

ntrol. ntrol. co and and dedication dedication

disciplined disciplined of of amount amount magnificent magnificent

a a requires requires vessel vessel the the of of surface surface the the on on

spontaneity spontaneity and and chance chance of of appearance appearance

the the achieve achieve To To grasses. grasses. local local and and

• •

reeds reeds with with lined lined r r chambe n n o i uct d re

a a in in placed placed is is piece piece the the hot, hot, ed ed r Still Still

tongs. tongs. iron iron with with kiln kiln the the from from removed removed

molten, molten, and and glowing glowing then, then, and and heat heat red red

to to t t brough quickly quickly is is ware ware the the process, process,

Japanese Japanese ancient ancient this this n n I technique. technique.

ralmfiring ralmfiring a a to to devoted devoted exclusively exclusively

been been have have clay clay with with involvement involvement year year

six six - twenty my my of of years years eighteen eighteen last last The The

REUTER REUTER RD RD CHA RI

02"' 02"' I I x x 72 72 x x 2 2 , , media Mixed Mixed

) ) il (deta 1998 1998 lt, lt, k c msu rea D

. . Norton Allyson Allyson and and Arndt, Arndt, Vickie Vickie Palmieri. Palmieri. John John

. . Pharmacy Mid-Village Bianco. Bianco. Carl Carl La La of of support support

and and p p l he the the through through possible possible made made wns wns project project

s s Thi Arts. Arts. the the for for Foundation Foundation York York New New the the and and

Council Council s s rt A End End East East the the through through given given grant grant

S.O.S. S.O.S. an an by by part part n n i funded funded s s i e e kl c u reams D

us. us. of of all all inside inside lives lives

still still that that child child the the e e r tu r nu and and calm calm

to to needed needed are are comfort comfort and and security security

when when " " up, rown rown "g are are we we when when for for

something something special special very very a a s s i It It . . alone

together together or or alone alone times times those those for for two, two,

or or one one for for made made is is quilt quilt nipple nipple This This

PALMIERI PALMIERI MAUREEN MAUREEN ARLEEN SCHATZ

Through the use of the collage format, it is my intention to create a design that appears simple, precise, and ordered in appearance with closer inspection re­ vealing subtle details of texture, shading, and color. The collages are begun with a monoprint which is usually embellished with buttons, threads, and stitches. The net effect of the integration of these read­ ily identifiable, commonplace objects is the creation ofa simple, concise state­ ment.

Twin I, 1997 Monoprint, stitchery, and buttons, 13x 17'" Photo credit: ©William E. C. Haussler

KAREN SHAW

ETYMOLOGY: The origin and historic development of words. ENTOMOLOGY: Scientific study of insects.

The confusion I used to experience with these two words are the inspiration for these works. Etymological/Entomologi­ cal Specimens = 100 contains all the words I know equivalent to JOO according I to a system I call Summantics. The words in the box are organized into the various parts of speech and encompass all time: past, present, and future. The words are pinned with butterfly pins. I like the idea of trying to pin words down.

EtymologicaVEntomological Speclmens:IOO, 1998 Mixed media, 20 x 15 x 14"

x x 26" 26" 24 24 watercolor, watercolor, and and intaglio intaglio Solar Solar

m m 1, 1, 1 1 Tracks Tracks heep heep S

ents. ents. movem instinctive instinctive its its and and

animal animal the the of of part part a a becoming becoming feelings feelings

my my of of concept concept the the and and , , pathways and and

trails, trails, patterns, patterns, meandering meandering these these with with

deals deals subject subject y y M years. years. the the over over made made

have have animals animals that that tracks tracks and and marks marks of of

aware aware become become have have I I hillsides, hillsides, e e th at at

Looking Looking of of landscape landscape the the by by influenced influenced

been been and and times times five five visited visited have have I I place place

a a Zealand, Zealand, New New from from stemming stemming works works

of of es es ri se a a represents represents Tracks Tracks Sheep Sheep

WELDEN WELDEN DAN DAN

NY NY Hampton. Hampton. East East

Rowe, Rowe, Noel Noel 1995 1995 C C Photo Photo credit: credit:

NY NY Hampton, Hampton, East East

Bujcse Bujcse Gallery, Gallery, Arlene Arlene Cowtesy Cowtesy

n n x x x x 4" 4" 28 28 metal, metal, and and

screen, screen, wire wire cheesecloth. cheesecloth. , , Plaster

5 5 199 aros, aros, P

plaster. plaster. fixed fixed the the from from releases releases

it it as as movement movement and and place place own own its its claims claims

cheesecloth cheesecloth The The ss. ss. upplene s and and rigidity rigidity

of of qualities qualities polar polar their their and and cheesecloth cheesecloth

and and plaster plaster of of rkness rkness sta and and whiteness whiteness the the

by by led led was was I I , , Zante and and s s Paro creating creating In In

qualities. qualities. inherent inherent their their on on drawing drawing ways, ways,

non-traditional non-traditional in in materials materials using using is is work work

my my to to basic basic Also Also experimentation. experimentation. and and

discovery, discovery, spontaneity, spontaneity, for for allows allows it it that that in in

sculpture sculpture making making y y m to to central central is is cess cess Pro

SMALL-GAMBY SMALL-GAMBY JULIE JULIE FELICITAS WETTER The expression of ideas that have uni­ versal meaning is the central focus ofmy work, with the purely visual and tactile elements being equally important. To create a sculpture from discarded mater­ ials has always intrigued me. I try to invent my own vocabulary of symbolic references that speak to the imagination of the viewer.

Abandoned Site, 1997 Installation: stone, steel rods, metal, broken glass, and pottery shards, 60" d.iameter

ACKNOWLEDGEMENTS

Special thanks are due to Marcia Wiener, Most of all, I wish to thank the artists for Coordinator of the Stony Brook Union participating in this exhibition and for sharing Art Gallery for her invaluable assistance as their work with the Stony Brook community. co-curator of ARTISTS: Focus on Matt:}"ials, our second special Rhonda Cooper exhibition featuring Long Island artists. Director

Special thanks are also extended to members of the Staller Center for the Arts staff: Pete Pantaleo and Pat Pickett, for installation Cover design: Marcia Wiener assistance; Caroline Childress, Pauline Cullen, Peter Kaufman, and Karyn Valerius, Gallery Assistants; Lori Mendez and Shi-ne Oh, Gallery Interns; Patrick Kelly, Production Manager, Liz Silver, Technical Director, Neil Creedon, ATD, and the Technical Crew, Staller Center, for © 1998 University An Gallery, exhibition lighting; and Mary Balduf, Gallery Staller Center for the Ans, Secretary. State University of at Stony Brook CENTER FOR THE ARTS STATE UNIVERSITY OF NEW YORK PREVIOUS EXHIBITIONS AT THE UNIVERSITY ART GALLERY

197S FACULTY EXHJBmON 1987 HANS BREDER: ARCHETYPAL DIAGRAMS 1976 MICHELE STUART MICHAEL SINGER: RITUAL SERIES RETELUNGS RECENT DRAWINGS JUDITH DOLNICK/ROBERT NATKIN SALVATORE ROMANO MARGARET BOURKE-WHITE: THE HUMANlTARIAN 1977 MEL PEKARSKY VISION JUDITH BERNSTEIN MELALEXENBERG: COMPUl'ER ANGELS HERBERT BAYER STEINA AND WOODY VASULKA; THE WES!' 1978 LEON GOLUB 1988 THE FACULTY SHOW '88 ROBERT WHITE: SELECTED WORKS 1947-1988 JANET ASH LEE KRASNER: PAINTINGS 19S6-1984 ROSEMARY MAYER EDGAR BUONAGURJO: PERMUTATION AND THE SISTER CHAPEL EVOUTTION 1974-1988 1979 SHIRLEY GORELICK JOAN SNYDER COLLECTS JOAN SNYDER ALANSONAST 1989 ROBERT KUSHNER: SILENT OPERAS HOWARDENA PINDELL HERMAN CHERRY: PAINTINGS 1984-1989 ROY LICHTENSTEIN HAmAN ART: THE GRAHAM COLLECTION 1980 BENNY ANDREWS ABER EXPLORATIONS: NEW WORK IN ABER ART ALEX KATZ 1990 PRil'ITS BY PRINTMAKERS EIGHT FROM NEW YORK KIT-YIN SNYDER: ENRICO IV ARTISTS FROM QUEENS FANTASTIC VOYAGES OTTOP!ENE POETIC LICENSE 1991 STONY BROOK II, THE STUDIO FACULTY FREDERIC AMAT and ROBERTO JUAREZ ADOLPH OOITL!EB: EPIC ART 1981 ALICE NEEL THE MONOI'YPES OF ADOLPH OOITLIEB SS MERCER: 10 SCULPTORS THE FACULTY SHOW '91 JOHNLITILE NEW TRADm ONS: 1lllRTEEN HISPANIC IRA JOEL HABER PHOTOGRAPHERS LEON POLK SMITH 1992 1UL1US TOBIAS 1982 FOUR SCULPTORS REUBEN KADISH CECILABISH CITY VIEWS JACK YOUNGERMAN GEORGE KORAS ALAN SHIELDS 1993 CONCEPTS WITH NEON THE STONY BROOK ALUMNI INVITATIONAL WARREN BRANDT: A RETROSPECTIVE ANN McCOY JOHN FERREN: IMAGES FROM NATURE 1983 THE WAR SHOW WOOD 1994 PAPERWORKS CERAMICDIRECl10NS:A CXlNIBMPORARY OVERVIEW ROBERT RICHENBURG: ABSTRACT EXPRESSIONIST CINDY SHERMAN THE FACULTY SHOW '94 THE FACULTY SHOW MAURA SHEEHAN: DORA: BIG GIRLS DON'T CRY 1984 BERNARD APTEKAR: ART AND POLmcs 1995 EIGHTEEN SUFR:>LK ARTISTS ERIC STALLER: LIGHT YEARS PAT HAMMERMAN and BURT HASEN NORMANBLUHM: SEVEN FROM THE SEVENTIES ART AND TECHNOLOGY EDWARD COUNTEY 1921 -1984 PRIVATEARTIPUBUCART: PHOTOGRAPHS FROM THE CARL ANDRE: SCULPTURE COLLECTIONS OF CITIBANK AND JOHNSON & 198S LEWIS HINE IN EUROPE: 1918-1919 JOHNSON FRANCESC TORRES: PATHS OF GWRY 1996 JOHN HULTBERG, VINCENT PEPI, and HOMAGE TO BOLOl'OWSKY: 1935-1981 EDVINSSTRAUTMANlS FREEDOM WrrAIN: PAINTING BY JUAN SANCHEZ/ ROGER ARRANDALE WILLIAMS: THE AMERICAN INSTALLATION BY ALFREDO JAAR TERRAIN KEITH SONNIER: ORIENTAL-OCCIDENTAL ABSTRACT PAINTINGS REDEANED 1997 TEXT AND IDENTmY: 12 WOMEN/12 ARTISTS 1986 KLEEGE: METAL SCULPTURE TERENCE NETTER: VISIONS AND REVISIONS TOBY BUONAGURIO: SELECTED WORKS FACULTY SHOW 1997 YANG YAN-PING and ZENG SHAN-QING NEW POSSWILITIES/1997 EIGHT URBAN PAINTERS: CONTEMPORARY ARTISTS OF THE EAST VILLAGE TV: THROUGH THE WOKING GLASS WOMEN ARTISTS OF THE SURREALIST MOVEMENT '