Home Grown: Florida Artists from the Permanent Collection

November 29, 2003 – January 18, 2004

Perkins Gallery

Florida is home to some of this country’s most talented artists and the Polk Museum of Art has a rich collection of their work. In conjunction with the Florida Visual Arts Fellowship Exhibition, Home Grown will feature works from the Polk Museum of Art’s permanent collection that were created by Floridians, many of whom are current or past recipients of the annual Visual Art Fellowships. Artists in the exhibition include Rocky Bridges, Clyde Butcher, Akiko Sugiyama, Margeret Tolbert, and Anna Tomczak.

Some Assembly Required: Collage Culture in Post-War America

August 30 – November 2, 2003

Dorothy Jenkins and Emily S. Macey Galleries

This exhibition explores what is perhaps the dominant aesthetic of the 20th century—collage. Curated and organized by the Everson Museum of Art in Syracuse, New York, Some Assembly Required examines the history of collage as it has unfolded in the United States in the fifty-plus years since the end of World War II. From its beginnings in Cubism around 1912, when the term described the act of gluing bits of newspaper and other everyday objects onto the surface of paintings, collage has evolved to include works that combine found objects, photographs, and images from popular media. In addition to revolutionizing the way artists make art, collage can be appreciated for the way it has accompanied and fostered some of the most momentous shifts in art and society during the post-war period. Some Assembly Required consists of 45 works done in various types of media including paper, photomontage, sculptural assemblage, digital art and video. The selected works vary from traditional to cutting-edge with a wide diversity of conceptual aims.

Pieces of Art: Assemblage Works from the Permanent Collection

August 16 – October 26, 2003

Perkins Gallery

Collage and mixed media artworks are an important component of the Museum’s Permanent Collection. As a compliment to the major exhibition, Some Assembly Required: Collage Culture in Post-War America, the Polk Museum of Art has assembled this exhibition of works from its permanent collection.

Artists in the Exhibition:

• Rocky Bridges
• Sheila F. Crawford
• Ummarid “Tony” Eitharong
• Jane Kaufman
• Jeffrey Kronsnoble
• Barbara Kruger
• Pat Lasch
• Bruce Marsh
• Steve McCallum
• David McKirdy
• Howardena Pindell
• Judith Powers-Jones
• Robert Rauschenberg
• James Rosenquist
• Miriam Schapiro
• Erika Schmidt
• Alan Sonfist
• Keith Sonnier
• Jerry Uelsmann

Stepping Away from the Mirror: Expressive Figurative Works from the Polk Museum of Art Permanent Collection

June 28 – August 24, 2003

Dorothy Jenkins and Emily S. Macey Galleries

For the first time in several years, Polk Museum of Art will exclusively feature works from our Permanent Collection in our two main galleries. This exhibition presents over 50 works centered around artists’ interpretation of the human figure. As the viewer enters the main galleries, the style of the works moves from very naturalistic to increasingly abstract, a decision that was meant to allow the viewer to consider all of the options that artists have and which ones have been chosen for each work. Color, scale, gesture and pose are considerations for the composition, but there are many more that relate to the ultimate purpose of an artwork. For example, a portrait that is rendered as accurately as possible is frequently not the most suitable subject for a particular artwork. Remember as well that any portrait is itself an abstraction to some degree since it is composed of some artistic medium rather than flesh, blood and bone. Since many artists want to address more theoretical and imaginative issues, they must step away from physical reality or its reflection and create unique forms that expand upon our current modes of visualizing the world.

In addition to the artists listed below, the exhibition also includes selections by unidentified artists from our Asian Arts and Pre-Columbian collections.

Artists in the Exhibition:

• Downing Barnitz
• Thomas François Cartier
• Maria Castagliola
• Sandro Chia
• Edward S. Curtis
• Lynn Davison
• Leslie Dill
• Ummarid “Tony” Eitharong
• Domenico Facci
• Nancy Graves
• John Gurbacs
• Victoria Hirt
• Marcia Isaacson
• Graciela Iturbide
• William King
• Irving Kriesberg
• Jeffrey Kronsnoble
• Robert Kushner
• Norma Liebman
• Patty Margerum
• Marino Marini
• Chaz Meissner
• The Mekons
• James Michaels
• Alice Neel
• Carla Nickerson-Adams
• Ed Paschke
• Philip Pearlstein
• Tall Rickards
• Gilberto Ruiz
• Miriam Schapiro
• Kenny Scharf
• Keith Sonnier
• Mark Tobey
• Rigoberto Torres
• Jerry Uelsmann
• Bob “Daddy-O” Wade
• Vern S. White
• Andy Woung
• Theo Wujcik
• Yoshitoshi Tsukioka

Seeing the Forest: Landscapes by Jerry Cutler

May 24 – August 10, 2003

Perkins Gallery

For years, University of Florida professor Jerry Cutler has been exploring wooded landscapes for allusions to our lives as well as to our longings for the past. Forms link the natural to human even as the subject matter can demonstrate humankind’s self-imposed alienation from nature.

From the catalogue which was produced to accompany this exhibition:

“Until 1989, Cutler was primarily a painter of the human figure and this experience affected his earliest landscapes. Most of his work contains references to universal experiences throughout nature such as life and death. The forest is a place in which life, growth, decay, death, and rebirth are played out in clear ways. Passion Play I is the earliest painting in this exhibition and refers specifically to his memories of his childhood in rural Wisconsin. Even though he had lived in Florida for ten years at the time of this painting, Cutler’s idea of “land” was still very much attached to his youthful experiences. Pitfall is another early landscape that typifies his unique combination of land and body imagery. Though it is recognizable as a landscape, the individual parts of the painting are not so easy to decipher. They seem to relate strongly to the human body from external form down to the most basic structures such as blood vessels.

“Trees and paths took on a more prominent role in Cutler’s paintings of the mid-1990s. Red Bridge, Ring Path, and Hommage Path come from this series of large paintings that placed a human presence within the image through lonely paths to uncertain destinations. Each explores the idea of a journey into places both strange and familiar.

“After working with landscapes for a number of years, Cutler began to incorporate some aspects of traditional Romantic landscapes. Using a lower horizon line gave him the freedom to increase the intensity of the lighting and, therefore, the shadows. In Moonlit Landscape, the low-hanging full moon reflects the light onto the water and through the trees.

“In 1998, Cutler began to focus more of his time painting small-scale works. This scale allowed him a greater opportunity to investigate the effects of foliage within a wooded landscape and to create a more intimate connection between the painted image and the viewer. More important, however, was his experimentation with the form of landscape popularized in the 19th century by Barbizon painters in France and the Hudson River School in the United States. In contrast to these historic movements, Cutler’s contemporary paintings such as Escarpment, Romantic Landscape, and Island at Dusk have a restrained emotional quality, focusing instead on the forms and colors of the natural environment to create vibrant patterns across the canvas.

“Divided Pine and Florida Waters are the most recent paintings in this exhibition. They mark a return to large paintings after a four-year period of focusing on smaller works and reflect the changes that occurred to Cutler’s work during that period. Now, instead of standing detached from the wooded landscape, we stand within the landscape. The patterns of the sky, the eroding bank, and the reflections in the water recall earlier paintings, but the colors of the leaves have a prominent place as well. The cycle of life is clearly presented with a fallen tree in each foreground and an intensely colored young tree growing out of the adjacent bank.”

Form, Function, and Flourishes: The Decorative Impulse in European History

February 8 – June 29, 2003

Murray and Ledger Galleries

This exhibition features a selection of the Museum’s unique collection of decorative arts. Included will be 18th and 19th century English silver pieces, beautiful Italian, French, English, and Spanish ceramic objects from the 16th through the 19th centuries, glass vases, hand-painted 19th century wallpaper samples from France, and historic bells.

A Painting for Over the Sofa (That’s Not Necessarily a Painting)

April 12 – June 22, 2003

Dorothy Jenkins and Emily S. Macey Galleries

This eclectic mixture of nationally recognized artists pokes fun at the idea that artworks are created purely for home decorating purposes. Included in the exhibition are 18 blow-up sofas over which the artworks will be installed. This exhibition has been organized by Bernice Steinbaum Gallery, Miami.

Artists in the exhibition:

• Mario Algaze
• Ida Applebroog
• Ken Aptekar
• Louise Bourgeois
• Edouard Duval-Carrié
• Tim Curtis
• Rico Gatson
• Bruce Helander
• Komar & Melamid
• Hung Liu
• Pepón Osorio
• Karen Rifas
• Miriam Schapiro
• Jaune Quick-to-See Smith
• Federico Uribe
• Joe Walters
• Deborah Willis
• Wendy Wischer

“The exhibition A Painting for Over the Sofa (that’s not necessarily a painting) makes a distinctly art world jest. It plays on the notion, relived all too often by artists and dealers, that there is a segment of the art-buying public whose main interest in paintings, prints, and sculptures is that they not clash with the wallpaper, outshine the upholstery, bollocks the feng shui, or otherwise shame the appointments.

“Those who make a living by art find this attitude annoying and retrograde to say the least, especially because they put a lot of thinking and doing into their exertions, down to the small details. Art people tend to be critical by nature, and their routines embrace the social and political, the psychological and the historical far more often than they dabble in interior design. This is not to mention, of course, formalist daring-do, or the art-critical thickets that headier practitioners like to thrash around when they apply paint to canvas, focus their lenses, or start molding their protoplasmic substances. It’s no wonder that they’re quick with the rude fun when it comes to what might be called bourgeois sensibility.

“What ties this show’s eighteen pieces together is something deeper and more elusive than the admittedly thin premise of a raspberry to clients of heedless taste, however. A Painting for Over the Sofa (that’s not necessarily a painting) goes to great, mostly oblique lengths to show just how unsuitable art is as decoration, how much more it is than accoutrements. The exhibition’s works are observant, droll, argumentative, heart-breaking, off-putting, discomfiting, perplexing, memorable. Anything but demure. These are not knick-knacks for the den that you casually turn your back to. You would not overlook a single one to indulge in gastronomic chit-chat or the exchange of middle-brow fashion statements. In their presence, they are precisely what you talk about.

“It’s not simply that the work is tough, though much of it decidedly is. Or that it is outsized and oddly shaped. Or that it’s put together with a spiny bravura whose harshness is its point. Rather, each of these works has some evident, nagging complexity, rendering it useless as a color spot, overpowering as a pretty picture, too subtle for thick-headed stylishness. It seems that Bernice Steinbaum (who served as curator of this project and organizer of its tour) has convened a group of artists who, all told, are sharp but not brainy, quick with quip, far-seeing, and able workers.

“But let us give some credit to our absent patron, the gilder of living room walls and sunporch nooks, that swine before whom one’s pearls have been cast. This hypothetical philistine is not entirely to be hooted at. Who’s to say that our interloper, when remarking on the lovely tropical pin air of The Door of No Return, which Mr. Duval-Carrié has sweated copiously over just imagining, is not getting to the very stuff that draws us to these works in the first place?

“It may indeed be that it’s nice arrangement of objects, the weight an curve of their lines, their shadows and hue, that provide their inner light. It is a dynamic process that we are considering when we look at artifacts on the wall, a process that begins as pigment touches and canvas and burin scratches stone. These may be the qualities that the artist most deeply considers, the dealer gives a chance to, that you and I, the visitors to the studio, gallery and museum, stop before so we can all begin to talk about the important things we imagine the work really signifies.”

-Joel Weinstein, Miami, Florida extracted from catalogue for A Painting for Over the Sofa (that’s not necessarily a painting)

Defining Paintings: Mixed Media Works from the Permanent Collection

March 1 – May 18, 2003

Perkins Gallery

When we think of a “painting”, we can easily imagine a stretched canvas with a coating of oil or acrylic paint, or a sheet of paper with watercolor paint. But how far can the definition of a painting be expanded? If an artwork has sculptural elements but is covered with paint, can it still be considered a painting? What about a hand-colored photograph? This exhibition is an exploration of the flexibility of paint within artworks. Featuring 22 works from the Polk Museum of Art Permanent Collection, this exhibition gives you the opportunity to rethink your assumptions about what it is that makes a painting, or other type of artwork, what it is.

Artists in the exhibition:

• Rocky Bridges
• Robert E. Calvo
• Roy DeForest
• Edouard Duval-Carrié
• Andrew Ehrenworth
• Robert Farber
• Don Hazlitt
• Roberto Juarez
• Rebecca Sexton Larson
• David Maxim
• William Pachner
• Tony Robbin
• Rose Ann Samuelson
• Miriam Schapiro
• Mark Tobey
• Rigoberto Torres
• Ann Turnley
• Theodore Waddell
• Robert Rahway Zakanitch

The Contemporary Tableau: Beal, Goodman, Leslie, and Witkin

January 18 – April 6, 2003

Dorothy Jenkins and Emily S. Macey Galleries

Organized by Polk Museum of Art with guest curator Dr. August Freundlich, this exhibition will feature artworks by well-known artists Jack Beal, Sidney Goodman, Alfred Leslie, and Jerome Witkin that use a theatrical lighting style to accentuate the dramatic moments portrayed in their works. These artists come from the same generation, now matured, that began under the dominant styles of the New York School. Their large-scale, often monumental works present us with a well-lit set, a tableau, a scene frozen for presentation and contemplation.

Diversity Within Unity: The Scope of African-American Art in Florida

December 21, 2002 – March 2, 2003

Perkins Gallery

The number of talented artists working in Florida today is extraordinary. We at the Polk Museum of Art have little problem locating wonderful artworks to present to you as part of our longstanding commitment to support in-state artists. Our surveys of contemporary art being produced throughout the state, however, have often failed to note the important work being done by African-Americans. To rectify this omission, we are pleased to present Diversity Within Unity: The Scope of African-American Art in Florida.

This exhibition includes twelve men and women from around the state whose work, taken together, is as disparate as one would expect from almost any randomly selected artists. Paintings, prints, mixed media constructions, ceramics, photographs, and drawings are presented to you as examples of the extraordinary talent often missed by art museums.

The artists included in this exhibition range in age from their mid-twenties to their early-sixties, in artistic education from those who are self-taught to university professors, and in birthplaces from Polk County to New York City, Brooklyn, South Carolina, Mississippi and Jamaica. Professionally, some have chosen art as their full-time occupation, some teach in addition to their studio work, and others have alternate forms of employment that allow them to explore their artistic passions.

There are three attributes that are shared by all twelve artists and which have led the Museum to bring them together: they reside in Florida, they are African-American, and they have made important contributions to the artistic climate in the state. It is this last factor that has been the most important for our consideration. Beyond race or geographical location, these artists, like all great artists, have been able to visualize part of the world around us in ways that can extend our own imaginations.

Artists in the exhibition:

• Rhonda Bristol (Fernandina Beach)
• John W. Butler (Winter Haven)
• Glendia Cooper (Jacksonville)
• Jonathan Green (Naples)
• Adler Guerrier (Miami)
• Nzingah Muhammad (Tampa)
• Sangoyemi Ogunsanya (Tampa)
• Vickie Pierre (Miami Beach)
• Tall Rickards (North Miami)
• James Vann (Valrico)
• Terry Wilson (West Palm Beach)
• Purvis Young (Miami)

In the Pink: An Exploration of Color in Art

September 14, 2002 – February 2, 2003

Ledger and Murray Galleries

What color seems more stereotypically Florida than pink? In the Pink: Explorations of Color in Art opens September 13 with no flamingos in view. Though the Museum certainly has no goal to collect pink artworks, it has throughout the years acquired a fascinating collection of artworks that feature the color pink, in all of its subtle shades. Taking that as its cue, the Curatorial Department has selected many of these works for an exhibition that discusses the different uses in art of this hot color. The works in this exhibition range from a terrazzo sculpture by Tampa artist Richard Beckman to intense prints by Kenny Scharf and Cesar Martinez. Among the other artists included in the exhibition are Larry Bell, Paul Brach, Leonora Carrington, Lise Drost, Bob Kane and William Renc.

Carmen Lomas Garza: A Retrospective

November 2, 2002 – January 12, 2003

Dorothy Jenkins Gallery

Born in Kingsville, Texas in 1948, Carmen Lomas Garza has established herself as perhaps the leading artist of Chicano life in the country. Her art powerfully expresses the Chicano artist by documenting the fabric of Chicano life in her vivid scenes of celebrations, healing rituals, food preparation, myths, and family stories. Her themes of love, family, death, and faith have profound relevance for people of all backgrounds.

Although Ms. Garza’s narratives record her childhood in Texas, they also reflect the memories of a generation of rural Chicanos. In addition to her artworks, she has produced a number of award-winning children’s books.

This nationally touring exhibition has been organized by the San Jose Museum of Art.

Ms. Garza’s artworks have been the focus of many important exhibitions prior to this retrospective, including a nationwide touring exhibition in 1991 and an exhibition at the Hirshhorn Museum of the Smithsonian Institution in 1995 (the first one-person Latino exhibition ever held at the Smithsonian). She has received three grants from the National Endowment for the Arts. Her work can be found in the collections of the National Museum of American Art, Hirshhorn Museum and Sculpture Garden, The Mexican Museum in Oakland, CA, and the Mexican Fine Arts Center Museum in Chicago.

Life Sculptures by Rigoberto Torres

November 2, 2002 – January 12, 2003

Emily S. Macey Gallery

Rigoberto Torres was born in Aquadilla, Puerto Rico in 1960 and grew up in the Bronx. At the age of 19 he began a collaboration with noted artist John Ahearn that continued for nearly 20 years. Recently he moved to Kissimmee, FL and the Polk Museum of Art is proud to organize his first Florida museum exhibition.

He creates plaster and fiberglass life-casts that are empathetic studies of real people – family, friends and strangers. The focus of Mr. Torres’s career has been the use of art to define and bring together communities by celebrating the people who live there.

Mr. Torres has been selected for the Whitney Biennial Exhibition and the Venice Biennale. His work is in the collections of numerous major institutions including The Metropolitan Museum of Art, the Museum of Fine Arts in Boston, the Museum of Contemporary Art in Chicago, and the Dallas Museum of Art.

Luisa Basnuevo: That Which is Unseen

October 5 – December 15, 2002

Perkins Gallery

Luisa Basnuevo was born in Cuba in 1962 and currently lives in Miami. She received her Bachelor of Arts degree at Florida International University in Miami and her Master of Fine Arts degree from Yale University. She has won numerous awards including a Florida Visual Arts Fellowship and a Southern Arts Federation Fellowship through the National Endowment for the Arts.

Ms. Basnuevo has created a unique body of work that combines abstract, organic forms with pure artistic forms. Her numerous layers of painting create intense tonal variations that pulsate with emotion.

Independent Curator Janis Karam Gallo has described Ms. Basnuevo’s work as “idiosyncratic iconography [that] is strictly a visual means to exploring emotion, feeling and memory. Biomorphic forms suggesting seeds and fossils are utilized as metaphors that allow Basnuevo to explore an inner world. One camphor seed representative of a life experience spawns a comprehensive series of emotive explorations. These personal landscapes are the result of an introspective personality and an ardent passion for the act of painting. Coupled with the organic shapes that characterize her semi-abstract landscapes, the viewer can journey through an enigmatic, but meticulously painted, vista of visual and psychological depth. Atmosphere and a painterly surface make these abstracted artworks a rich visual experience.”

The Narrative Paintings of Hung Liu

August 3 – October 27, 2002

Dorothy Jenkins Gallery

Born in 1948 in Changchun, China, Hung Liu was a university student during the Cultural Revolution. She and other students were sent to be “re-educated” through four years of field labor. After attending the Beijing Teachers College, she taught painting at the Central Art Academy in Beijing. In 1984, she immigrated to the United States to study at the University of California, San Diego, where she received her Master of Fine Arts degree. She is currently an associate professor at Mills College in Oakland, CA.

Ms. Liu’s stunning reproductions of historical Chinese photographs (many taken by Western visitors) address the “cultural collisions” she faced while coming of age during the decade of the Cultural Revolution in China. Her paintings often seem both nostalgic and critical, as they combine western aesthetics with Chinese subject matter, a cross-cultural blend that communicates Liu’s unique sense of beauty. She recreates these scenes in such a way that specific issues of identity are explored: as an individual, as a member of a cultural group, and as a stereotype. Her work is in major museum collections including the National Museum of American Art, Washington, DC, the Los Angeles County Museum of Art, the Dallas Museum of Art, the San Francisco Museum of Modern Art, and the Kemper Museum of Contemporary Art & Design.

Works in this exhibition will be drawn from Bernice Steinbaum Gallery, Miami.

Untitled: What’s in a Name?

August 3 – October 27, 2002

Emily S. Macey Gallery

This exhibition presents a group of artworks from the permanent collection that share an unusual distinction: either they lack a known title or the artists have deliberately assigned Untitled or a non-specific title to their artworks. Artists sometimes choose to do this for the same reason that many composers of classical music choose to number their symphonies rather than create a more expressive title. By choosing not to assign a title, the artist allows others to experience the artwork in a fresh way, as if each viewer is the first person to encounter this object.

Most of the artworks in this exhibition have their title officially recorded as Untitled. There are, however, variations of this among the artworks in this exhibition. Several of the works come from a series that the artists completed; while the artists assigned titles to the series, they chose not to assign a title to each work within the series. A few works have titles other than Untitled, but the titles only identify what the work is, such as Video/Print or Sculpture in Two Pieces, rather than titles that refer more descriptively to the artist’s intent in creating the works.

As a part of this exhibition, visitors are invited to become actively involved, not simply by looking at the artworks on display and discussing them with friends and family, but by sharing their ideas for titles for the artwork with other visitors. Located on two pedestals in the gallery are two pairs of “notebooks” with pages that correspond to each artwork on display. If a visitor believes that one or more of the artworks in the exhibition would benefit from a title he or she has created, that visitor may write that idea in one of the notebooks. At the end of each week, the museum staff will select the most creative and appropriate label for display along with the actual label for each work.

Scott Reed: So Close to Waking

July 20 – September 29, 2002

Perkins Gallery

The Polk Museum of Art will present a collection of Scott Reed’s recent vibrant, large-scale acrylic paintings on loose canvas, as well as his delicate, atmospheric monoprints. Although he assigns his works whimsical or curious titles, such as Damn, Arriving At A Party Late With A Frog Still On My Head and After Cadabra, his works are fully non-representational and are intended to be mysterious and surprising. Reed’s painting and printmaking process is concerned with shared control; he is willing to allow his paint or ink to dictate the path toward the resolution of an image.

Reed is a Lakeland native who is currently associate professor of art at Colby College in Waterville, Maine. He attended Polk Community College in Winter Haven and then received his Bachelor of Arts degree in painting from the University of South Florida in Tampa. Reed then went on to receive a Bachelor of Fine Arts degree in printmaking from Southwest Missouri State University and a Master of Fine Arts degree from the Rhode Island School of Design. His works have been collected and exhibited nationwide as well as in Europe and Asia.

Bodies of Work: Figurative Artworks from the Permanent Collection

May 25 – July 14, 2002

Perkins Gallery

The versatility of the human body to portray formal and theoretical concerns in art is examined in this exhibition. Many of the works come from the Museum’s collection of contemporary art, including new acquisitions by Louisa Chase, Jeffrey Kronsnoble, and Robert Farber. However, the other works in the exhibition will come from the Museum’s collections of Asian art and Pre-Columbian art, inlucding a recently acquired ceramic figure from the Chupicuaro Culture of West Mexico, ca. 400 – 100 BC. This will enable the exhibition to provide a broader study of interpretations of the human form.

The other artists included in this exhibition are: Richard Heipp, Gary Gessford, Alice Neel, Philip Pearlstien, Julio Antoinio, R.C. Gorman, Simon Gate, Rikk Traweek, Tsukioka Yoshitoshi, James Rosenquist, Alfredo Bustinza, Carla Nickerson, and Robert Kushner.

Kent Hagerman: Etchings of Florida

May 18 – September 8, 2002

Murray Gallery

The Museum’s unique collection of etchings by Kent Hagerman (1893-1978) is the focus of this exhibition. Hagerman was an important commerical and fine art printmaker of the early 20th Century. Born in Ohio, Hagerman began his studies at the Cleveland School of Art. After serving in World War I in France, he spent his leave in Paris studying at the Sorbonne. When he returned to this country, he and his brother operated the largest engraving company west of the Mississippi. He moved to Lakeland in 1933 and set up a studio at his house on Cambridge Avenue, Hagerman took great pride in the fact he was able to bring a sense of creativity to the commercial workd of advertising and illustration. These prints reveal a beautiful artistic vision and a master’s touch with the etching needle.

Looking Beyond Nature: Alternative Perceptions of the Landscape

May 18 – September 8, 2002

Ledger Gallery

This exhibition features seven artworks from the Permament Collection that demonstrate different approaches to the depiction of the landscape. Often they have accomplished this by combining or fracturing vistas to challenge our moment to moment understanding of what our eyes are sensing. Other artists have focused more on the internalization of the landscape by placing themselves squarely between nature and their creative visions. Artists included in this exhibition are: Bruce Marsh, Jerry Uelsmann, Robert Gelinas, Leslie Neumann, Rudolph Bostic, Lisa Williamson, James Twitty.