ARTISTS FROM THE SOUTHERN TIER )( SARA BAKER-MICHALAK)( MARVIN BJURLlN)( ROBERT BOOTH)( MARCIA DALBY )( THOMAS J. GOLYNSTORK)( JUDITH OLSON GREGORY)( JOHN J. HUGHSON)( BEVERLY BAILIS LlTION)( LYNNE E. MCELHANEY)( ALBERTO REY)( PENELOPE WILLIAMS-YAQUB)(

)( JANUARY 31 THROUGH FEBRUARY 27,1991 )( THE CENTRE GALLERY FINE ARTS CENTER )( CATIARAUGUS COUNTY CAMPUS )( JAMESTOWN COMMUNITY COLLEGE )( AND )( OLEAN PUBLIC LIBRARY GALLERY )( OLEAN, NEW YORK

)( MARCH 15 THROUGH APRIL 20,1991 )( THE FORUM GALLERY )( JAMESTOWN COMMUNITY COLLEGE )( JAMESTOWN, NEW YORK

)( MAY 4 THROUGH JUNE 30, 1991 )( BURCHFIELD ART CENTER )( BUFFALO STATE COLLEGE )( BUFFALO, NEW YORK

Per son a I T err ito r y:

A, the title oithi, exhibition implies. the work in this show comes from pri­vate regions of the artists' lives; the work refers to places in the world, places imagined, and places that completely twnscend the boundaries of the physi­ca l. Although the artists in the exhibition look in different directions forthe structure, subject. and philosophical underpinning that informs their work, they share common innuences including the region in which they choose to live and work, All of the artists in this exhibition are from the Southem Tier of westem New York state. It is tempting 10 attach a great deal of signifi­cance to this fact and 10 build a case for a regional aesthetic or to theorize about the impact oi thisenvironment on their artistic development. Howev­cr, we do not propose that aSouthern Tier aesthetic exists nor do we attempt to look for unifying directions or com mon philosophies. We instead present an exhibition that includes a range of aesthetic concems being addressed by eleven anists in an area of the state that is all too often neglected in the wider di scourse on an in New York,

Of the cleven anists presented in the exhibition, Penelope Williams­Yaqub's work is geographically the most far-reaching. Her piece is based on her ex pcriences living in Beirut where the daily fare of annihilation. death. terror. and mouming is as routine as items on the menu of a corner caie. She focused on the harsh reality of this ongoing connict and reminds the viewer that all of the world is not as bucolic 3, westem New York state. The piece makes us take it hard look at the consequences of contlicts over geopolitical issues and it entreats us to examine the repercussions that occur when deeply held belief systems collide.

Alberto Rey's work examines the collision of cultural systems, but his ex­amination is not about violent world politics, but rather about the internal conllicts created by his biculturdl heritage. Rey 's work develops from hisex­ploration of life as an Hispanic American and deals with the feelings that arise when neither of his cultures can totally account for the elements in his Iife. Even with the lack of obvious narrative, Rey's paintings visually evoke a recognition of the duality we all face balancing our past and present. our hopes and t'ear, . and our successes and failures. His paintings bring us in touch with the complexity of our own exi,tence.

Lynne E. McElhaney's book works are full of in tense metaphor that alludes to her own physical and emotional connic\. The pieces are al once menac­ing and fragile, boldly suggesting the complex inner struggle McElhaney has endured. The work evolved as a method for the artist to work through a long and devastating illness. But the pieces are not simply "therapy" they exist as testaments to her inner explorations which have uncovered sadness. fmstration ,progress, and hope.

Beverly Bailis Litton's paintings. like Rey 's, are built in layers - physical layersof pigment and corresponding layers of implication, The work resists ex plicit interpretation, relying instead on subtle suggestion . Litton taps into the matrix of her rational and intuitive being to develop work that resonates with visual beauty.and emotional substance. Litton said this of her recent work: "My images are consciously primilive, but they dictate themsel ves. You can't help painting (yoursituation) at apaniculanime olyour life ... "

John J. Hughson' s work explores the intersection of technology and a more traditionally basednotion orthe handcrafted objec\. The pieces question the culturally biased view that technologically generated images are dehuman­ized and impersonal. Many of his earlier works are generated on the com­puter then translated into a"traditional" painting contex\. His recent pieces explore new processes for capturing these images into paint and photo­graphic material. The works featured in this exhibition, although based on a digital image, are essentially "handmade" and effectively blur the distinc­tion between these seemingly divergent modes. For Hughson, the comput­er image is like any other imaging process used by anists - not inherently ?ood or bad, just avehicle for expression.

Judith Olson Gregory's work produces a formal tension between the appar­ent and the actual. She frequently uses cast paper to build forms that appear on first inspection 10 be solid and impenetrable (possibly made of slOne or ceramic) but on closer inspection, they divulge their subtle fmgile realit y. This dichotomy, set up by her deft manipulation of materials, can be thought of as aparallel to natural situations where the visual and tactile sens­es send connicting signals. Hercurrent series, based on imagery taken from nature, usesthis paral lel by capital izing on our expectat ions.

Artists from the Southern Tier

ThomasJ. Golya/Stork 's work incorporates elements of astute selection,as­semblage, carving, painting, and otherass0I1ed techniques to produce pieces that resist tradi tional an classifications. Thean ist ' s relationship to hiswork re­sides somewhere between obsession and worship. The resulting pieces are akin to relics imbued with power and alive with an energy that defies ration­al explanation. They function as totems and talismans directing our allention 10 places only remembered somewhere in the distant recesses of our genetic codes.

Marcia Dal by works primarily with large scale installations composed of objects she has constructed from chicken wire covered with a thin surface of fiberglass and resin. The elements in the installations primarily take the form of animals; some are obvious (cows, dogs, camels, etc.) and some are of more ambiguous origins. This ambiguity in form is an intentional ploy be­cause Dalby is more concerned with our ability to relate to the notion of ani­mal than to specific species. These animal forms are often accompanied by groupings of human figures, as well as her chicken wire and fiberglass ver­sions of manmade objects. While Dalby 's work outwardly appears simple and comprehensible, prolonged examination leads to a multitude of narra­tive possibilities as well as contemplation of the nature and structure of hu­man knowledge.

Roben Booth has used a variety of materials over the years to produce enig­matic sculptural pieces full of mystery and whimsey. Booth's work ex­plores perception with all of its nuance, from the starkness of the things we "know" to the shifting elusiveness of the things we only "suspect." Booth says of this exploration, "... 1 try to focus on the illusiveness of physicality, that is to say on the space between concrete structure and the reality of it as modified through the abstraction of thought." While the work intellectually grapples with these issues ofsubstantiality, it physically stimulates the view­er through precision craftsmanship and unexpected juxtaposition of material and form.

Marvin Bjurlin's recent work incorporates his interest in the environment and his love for clay. For a number of years , Bjurlin worked as a functional poller. As his work developed, he increasingly explored questions about the

limits of functionality and notions of"decoration." As his investigations of these issuescontinued, his work increasingly alluded to the cosmic and then finally to the eanh itself. Hiscurrent work is concerned with environmental misuse and itspossible consequences.

Sara Baker-Michalak 's work is a physical pursuit of the spiritual. Overthe years, she has used avariety of materials in aprocess that incorporates intri­cate motions that become ason of physical mantra. It was an interest in cer­emonial rituals of Native Americans that lead Baker-Michalak to stan wrapping colored threads around bamboo, sticks, and grapevine tendrils. This physical act of wrapping sets up rbythms of consciousness very differ­ent from other motions in our lives.Through this movement, the anisttunes into a subtle decision making process that informs the placement of these pieces and permeates the overall composition of the work with a sense of tranquility and mood ofcontemplation.

We hope that the work in this exhibition gives some insight into the multi­plicity of thoughts and attitudes prevalent in the an world today.This show by no means accounts for all of the high quality work being produced in this region. And although this show is not definitive, we hope it will set a precedent for future exhibitions that seriously address some of the more challenging pieces being produced in thi s area. We hope that by acknowl­edging and experiencing the an in this exhibition, the Southern Tier will be­come more engaged in the ongoing dialogue that constitutes contemporary an in the '90s.

Dan R. Talley Special Project Director The FORUM Callery

Sara Baker-Michalak o u n k r k

The crealive work of people from olher cullures and olher limes has been importanl in my evolulion as an anisl. One area Ihal is especially inleresling for me is Ihe Iheme of spirilualily and sym­bolism in arl ,and specifically, Ihe roles Ihal fiber and fiber-relaled processes have played as melaphors for universal experience. AI Ihe same lime, whal began years ago for me as a slrong allrac­lion 10 whal is "beauliful" in Ihe nalural world has become a rec­ognilion Ihal Ihe fOlms and processes in nalure are meaningful because Ihey are archelypal for human experience.

The aClivily I am involved wilh is Ihe wrapping of small bam­boo pieces, grapevine lendrils and bils of driflwood wilh Ihreads. The wrapped Slicks are placed informally as colleclions on a flal surface, in wall-hung shadowboxes or as an elemenl in small composilions Ihal resemble ideograms. These malerials and pro­cesses allow me 10 work wilh Ihe elemenrs of line, form and space as Ihey express Ihe ideas Ihal are mOSI relevanl for me now.

An imponanl pari of Ihe process is Ihe searching for malerials wilh acertain "spirilual" qualily. Then, in Ihe selecling,wrapping and arranging of Ihe elemenls in a piece, I Iry 10 enhance Ihal qualily and inlegrily by making carefully considered aeslhelic choices. In all cases, I am mOSI inleresled in Ihe "essence" of a Ihing.

One way lilal I like 10 Ihink aboul arl is as a way of connecling influences and ideals. Anolher way is as a language developed 10

conneCI Ihal which one knows wilh Ihal which one wanlS 10

know ...

yN e w a r k

Selected Exhibitions Craft ArlJi'om Western New York, 1990, Burchfield Arl Cenler, Buffalo, NY, 1990. SelectionsofSeleClions, Parsons School of Design, New York, NY, 1990. Spring Shew, Erie Art Museum, Erie, PA, 1990. Col/egelnvitational,Burchfield An Cenler, Buffalo, NY, 1988. Craft Artfrom Western New York, 1988, Burchfield An Cenler, Buffalo, NY, 1988. Western New York Artists, Albrighl-Knox Arl Gallery, Buffalo, NY, 1986.

Reviews, Publications, Catalogs, and Awards: Craft Art Ji'om Western New York , 1990, calalog, Burchfield An Cenler, Buffalo, NY, 1990. BuffaloSociery ofArtists. 94thJllried Exhibition ,calalog ,Buffa­IO,NY, 1989. Col/age Invitational, calalog, Burchfield An Cenler, Buffalo, NY, 1988. Craft Art Ji'om Western New York, 1988, calalog, Burchfield

Arl Center, Buffalo, NY, 1988. "Collage Show is Much More Than BilS and Pieces," Richard Hunlington, Buffalo News, Buffalo, NY,April, 1988. Norslar Bank Award, Buffalo Society of ArtislS, 1989.

Education: B.F.A., Rochesler Institute of Technology, College of Fine and Applied Ans, New York, 1974. Syracuse University, Syracuse, New York, 1969.

Sara Baker-Michalak, detail, Sticks, 1990, sticks, threads, 3 x 4 inches. Photo by Terry S. Lindquist.

Mar vi n F r e d a n a

In our terrestrial landscape, next to water, clay is the most com­mon substance to be found. It is no wonder that the inventive hu­man mind and hand throughout all time have been intrigued by what can be shaped when these two materials are combined. A comparable interest in fire ultimately yielded the medium we now call ceramics. An early somewhat unrefined, high iron bearing varietyof ceramics is called terra cona (baked earth). Be­fore glaze was invented, superfine clay slips were used to coat or seal vessel forms. This process is called terra sigilata. The Latin term "terra" is found in other contexts like terra firma (solid ground) and common terms such as terrace, terrain, terrarium, and ,ofcourse, terrestrial. I find it entirelyreasonable that after25 years of making pottery or pot-like forms the primary subject matter of my creative investigations has become the earth itself. These earthenware forms are "earth aware."

The landscape has often been acompelling subject matter for ar­tistic expression. At times the artist has tried to glamorize the im­age, to improve upon nature, to remove the blemishes. The re­sulting artworks have served to draw attention to Ihe magnificence of nature, perhaps even contributing to our taking the abundance of our planet for granted . Contemporary society, however, is having a devastating effect on much of our environ­ment. In many places flora and fauna both are endangered. Ulti­mately, the very existence of humanity is at risk. Perhaps it is time for artiststodraw attention to the issue.

I have an ecological concern about our planet based upon an awareness of the potential disaster resulting from careless use or

B j uri in yN e w a r k

outright misuse of our natural resources. We have readily squan­dered our earthly assets assuming that they were inexhaustible. The vessels I am currently making offer the viewer the chance to imagine the consequences of continued disregard for our planet.

Selected Exhibitions: Craft Artfrom Western New York , 1988, Burchfield Art Center, Buffalo, NY, 1988. Great Lnkes Clay. Lil Street Gallery, Chicago,IL, 1987. Group Invitational , Kornbluth Gallery, Fair Lawn, NJ , 1986. COT/vergence, Carson Sapiro Gallery, Denver, CO, 1985. Solo exhibition, Atrium Gallery,Indianapolis, IN, 1984. Solo exhibition, Contemporary Artisans Gallery, San Francisco, CA, 1983.

Education: M.F.A., University of Michigan, Ann Arbor, MI, 1968. B.A. , Bethel College,St. Paul. MN, 1966.

Marvin Bjurlin, Terra Luhricus, Infeslus, Periculosus, 1990, terra cotta, terra sigilata, 12 x 12 x 14 inches.

Rob e r t Boo t h Angola, New York/Fredon a , New Y 0 r k

I am concerned with perception as something other than the act of looking and thinking with specificity. It is a complex synthesis of recognitions, associations, andparticipatory alignment of phe­nomena into an always changing awareness and appreciation of presences. In much of my work I try to focus on the illusiveness of physicality, that is to say on the space between concrete struc­ture and the reality of it as modified through the abstraction of thought. It is about the contextual interfacing of forms through spatial/ex perienced relationships,and the participatory act in hav­ing realities develop. I'm concerned with the nature of the space between these things, through which we go and within which our possessionof information, thought, and ultimately, the con­firmation ofexistence reside.

My work is a mapping of sorts: Asystem of material, color, and form that tries to articulate the structure and event of conscious awareness.

Selected Exhibitions: The Chair Sho w, Oxford Gallery, Rochester, NY, 1990. 43rd Western New York Exhibition. Albright-Knox Art Gal­lery, Buffalo, NY, 1990. Wet Paint, Gillman-Baker Gallery, Boca Raton, FL, 1989. Sizzlin' Summer Show, Stein Gallery, Tampa, FL, 1989. Not Boring, Henri Gallery , Washington, DC, 1988.

Education: M.F.A., Syracuse University, Syracuse, NY , 1978. B.F.A., Massachusetts College of Art, Boston, MA, 1976.

Robert Booth, Transparent Recognition, 1990, wood, waxcloth, steel, glue, enamels, acrylics, 46 x 50 x 12 1/2 inches,

Marc i a D u n k r k

Marcia Dalby creates large-scale sculptural installations and mul­ti-piece figurative works. The sculpture juxtaposes animal and man-made imagery, variations in natural scale, and groupings of dissimilar objects. While many of the pieces are quite identifia­ble, others beg to be named. It is this process of naming and cate­gorizing which is a primary interest of the artist. Dalby's work, made from chicken wire covered with asurface of fiberglass and resin, maintains a strong physical presence while still revealing the fabrication process.

0 a I by yN e w o r k

Selected Exhibitions: Playing Around, Decordova Museum, Lincoln, MA, 1991. Marcia Dalby, St. Peter's Gallery, Citicorp Building, New York, NY, 1990. Empire Slate Biennial, Everson Art Museum, Syracuse, NY, 1990.. The State of Upstate: New York Women Artists,State Museum , Albany, NY, 1990. Small Medium and Large, Daniel Wolf Gallery, New York, NY, 1985. ADecade ofNew Arl, Artists Space, New York, NY, 1985.

Reviews, Publications, Catalogs, and Awards: Christine Temin, Boslon Globe,January 1990. Kim Levin, The Village Voice,January 1984. John Russell, The New York Times, January 1984. Jerry Tallmer,The New York Post, January 1984. Grace Glueck,The New York Times, March 1983. Corky Pollan, New York Magazine, March 1983.

Education: M.F.A., Rutgers University, New Brunswick, NJ, 1982. Fellow, Whitney Museum of American Art, New York, NY, 1980. B.F.A., Hartford Art School, University of Hartford, CT, 1980.

Marcia Dalby, Anvil Head, 1990, fiberglass, resin, wire, 23 x 56 x 14 inches.

Thomas J. Golya/Stork F o r e s t v e

My work is a reaction to the infinite dualities that propel me and the other character actors in this stupendous game called/labeled life. The agenda is survival with dignity. Absorb, respond . Art is business not always obvious. Mexico, Central America, Ameri­can Southwest. I draw direction from earth (land) oriented peo­ples, especially the metaphoric animal content of their thought schematics. I question why the United States govemment sup­ports, trains and directs killer regimes in Guatemala, San Salva­dor and Chile. Rethink the nuances of death, such as my moth­er's via Alzheimer's Disease. Remembering accumulative joyous calm and earth pungent, air of full moon nights in fall. Being outside the outside. Pulled by the allure and provocation of an act, gesture, encounter, information non-interpretable when found. Zen~ Self-destructive banshees. Vegetables from the gar­den versus midwinter's tasteless stores. Cunning: destructive or constructive. Pure. Honesty battling dishonesty. Equating the non-ending story line ofvariables.

N e w y o r k

Friendship Fear Putting agun to someone's head & pulling the trigger~ Quasars,black holes Amish, Mixtec, Negro, Greek, Roos, Bio Sheets Golya. Hungarian word for stork Order-Disorder Motivations

Selected Exhibitions: Masks, Messengers, Messages , Elaine Horwitch Galleries, Scottsdale, AZ, 1988. Scottsdale Center for the Arts, Scottsdale,AZ, 1986. Spirits in the Dark, Cochise College Gallery, Douglas Campus, Douglas, AZ, 1985. Elaine Horwitch Galleries,Santa Fe, NM, 1985. Zolla/Lieberman Gallery, Chicago, IL, 1985,1983, 1982. Chautauqua Art Association Galleries,Chautauqua, NY, 1980. Kalamazoo College Art Gallery, Kalamazoo, MI, 1979. The FORUM Gallery, jamestown Community College, James­lown, NY, 1977

Education: Traveled to Arvi, Crete to research primitive altar painting and study thecolorcharacteristicsoflocal marine life, 1980. Traveled throughout Spain, Greece, Crete, Turkey, Iran, and Af­ghanistan devoting time to the study of the different cultural and artistic traits ofeach region, 1971-72. M.F.A., Ohio University, Athens, OH, 1967 B.F.A., Kent State University, Kent, OH, 1965.

Recurring in the work of Thomas 1. Goyla/Stork , this symbol was used by many

cultures throughout history. The Piute Indians used it as a locater for water pools and pockets in rock formations. Goyla/Stork says of his use of the symbol "".it is a sym­bol of optimistic survival or

esoteric suggestion."

Judith Olson Gregory Rochester, New York/Chautauqua, New York

In order to better define our place in the universe, I'd like my work to address the connection we as human beings have to a creative life force ... that innermost level at which we are spiritual­ly linked to each other and all living things.

Selected Exhibitions: The Summer Exhibition, Dawson Gallery, Rochester, NY, 1990. The Seventh Generarion, Pyramid Arts Center, Rochester, NY, 1990. 1989 Regional Exhibit, Arnot Art Museum, Elmira, NY, 1989. 1989 Regional Artists, Chautauqua Art Association Galleries, Chautauqua, NY, 1989. Judith Olson Gregory Cast Paper Sculpture . Adams Art Gal­lery, Dunkirk, NY, 1988. 3Dx3. Key Corp Tower, Albany, NY, 1988.

Reviews, Publications, Catalogs, and Awards: "Public Funding of the Arts," Roundtable discussion, Rochester BusinessJournal, Rochester, NY, 1990. "Three-Dimensional Fantasy," by Ron Netsky, Democrat & Chronic/e ,Rochester, NY, 1990. "Conservatory of Sculptural Art," by Ron Netsky, Democrat & Chronicle, Rochester, NY, 1989. "Gems Among the Greenery," by Sebby Jacobson, Times­Union, Rochester, NY, 1989. "Gregory 's Whimsy-With An Edge," by Susan D. Peters, Cit)' Newspaper, Rochester, NY, 1986. "When A House Is Not a Home," by Ron Netsky, Democrat & Chronic/e, Rochester, NY, 1986.

Education: B.F.A., Alfred University, Alfred, NY, 1968.

Judith Olson Gregory, Hide , 1990, acrylic-painted cast paper with mixed media, 65 x 42 x 5 inches.

J 0 h n J. Hug h son F r e d o n a

The paintings in this exhibit are selected from a series of small­scale pieces that developed from freehand reinterpretations of computer generated imagery being amalgamated with mixed media painting techniques.

As a consequence, they differ from my other work that outputs compositions created on the computer onto large-scale canvass­es using the Scanmural process and Duratrans color photo­graphs.

Here the emphasis is weighted towards "painterly" considera­tions and purposely downplays the familiar digitized appearance ofelectronic imaging.

yN e w o r k

Selected Exhibitions: Viridian Gallery, New York City , NY Albright-Knox Art Gallery, Buffalo, NY C.W Post College Art Gallery, Long Island , NY Hamilton Artists Co-op, Hamilton, Canada. Ferens Art Gallery, Hull,England. Newcastle University, England.

Education: M.F.A., Tulane University, New Orleans, LA, 1969. B.F.A. , Hull College of Art, England, 1967

John 1. Hughson. Untitled . 1990. mixed media. 14 x 14 inches.

Seve rl y Sai lis Litto n Cleveland, Oh o/Chautauqua, New York

My work is an exploration of self and universe, reflecting not what I see, but what I feel about this world we all share. Each canvas represents a world of its own, layers with richly textured "skins" of paint and embedded with symbolic forms evoking real or illusionary times, places, relationships. My paintings are excavationsofthe spirit, laying bare my own intuitive and ration­al responses to what I see in the hope of engendering a wider, more nurturing concern for mankind and the planet entl11sted to ourcare.

Selected Exhibitions: All Ohio 1990,Canton Art Institute, Canton, OH, 1990. Women Artist of America, Chautauqua Art Gallery, Chautau­qua, NY, 1990. Spring Show, Erie Art Museum, Erie, PA, 1990. Solo exhibition,Trumbull Art Gallery, Warren ,OH, 1989. LalldscapeslMindscapes, A.R.C. Gallery, Chicago, IL, 1989. Solo exhibition, Karamu Art Gallery,Cleveland, OH, 1989. Transfigure, Ariel Gallery, New York, NY, 1988. The May Show, Cleveland Museum of Art, Cleveland, OH, 1987

Reviews, Publications, Catalogs, and Awards: LandscapeslMindscapes, catalog, A.R.C. Gallery, Chicago, IL, 1989. "Cross-Cultural Integration and Contrasts," by Helen Cullinan, The Cleveland Plain Dealer Cleveland,OH, 1989. "The Specificity of the Image," by Dustan Knight, Artspeak, New York, NY, 1988. Rites of Passage, catalog, Dittmar Gallery, Northwestern Uni­versity,Evanston, IL, 1988.

Education: Painting, Cleveland InstituteofArt, Cleveland,OH. B.S., Kent State University,Kent,OH.

Beverly Bailis Litton , Opening Up, 1990, acrylic, string, wood on canvas, 56 x 50 x 2 inches. Photo by Jordan Davis.

L Y nne E. Me E I han e y Buffalo, New York/Dunk r k , New Y 0 r k

An artist book must be an interplay of content and its influence on the image and page manipulation, structural development, material and process choice, presentation and means of percep­tion. This unit, an interdependent orchestration of all compo­nents, must communicate on multi-levels both physically and visually.

I have worked with the book format since 1982. My present work uses this art form as a means of expressing my react ions to a long devastating illness and the resulting intense emotional struggle. These one-of-a-kind sculptural book works represent my continuing search for meaning and closure to the anguish of my illness and fulfill my need to define and share these experi­ences.

Selected Exhibitions: Craft Art from Western New York , 1990, Burchfield Art Center, Buffalo, NY , 1990. Adams Annual '89, Adams Art Gallery, Dunkirk, NY, 1989. Handworks V, William Engle Gallery, Indianapolis, IN, 1988. Craft ArtJt-om Western New York,1988, Burchfield Art Center, Buffalo, NY, 1988. Recent Work, Vermont State Craft Center at Frog Hollow, Mid­dlebury, VT, 1988. Handworks IV, William Engle Gallery, Indianapolis, IN , 1987 FacultyFavorites, Burchfield Art Center, Buffalo, NY, 1987

Reviews, Publications, Catalogs, and Awards: Craj; Art Jt-om Western New York, 1990, catalog, Burchfield Art Center, Buffalo, NY , 1990. Craft Art from Western New York, 1988, catalog, Burchfield Art Center, Buffalo, NY, 1988. Faculty Favorites, catalog, Burchfield Art Center, Buffalo, NY, 1987 "Dedicated Collectors See Crafts As Art," by Paula Voell, Buf­falo News, Buffalo, NY, July, 1988. "Handworks V," by Steve Mannheimer, Star, Indianapolis, IN , 1988. SUNY Research Foundation Fellowship Awards, 1976 & 1975.

Education: Visual Studies Workshop, Rochester, NY, 1990 & 1984 . M.S. ,State University College, Buffalo,NY, 1972. B.S., State University College, Buffalo, NY, 1964.

Lynne E. McElhaney. Anatomy ofAnRuish Series 3AA, J990, rubber, paper, cord, stone, 4 x 4 x 4. Photo by Steve Mangione.

A I be r o u n k r k

Recently, I had dinner with my parents. For the first time in twenty-four years we di sc ussed the situations we encountered when we moved to the United States. Because I was so young, most of the discussion pertaining to Cuba and the first few years we spent in Mexico, Miami, and Pennsylvania was new to me. By the end of dinner I felt admiration for my parents but also an intense alienating presence. It was as though I was a stranger to these people and to mysel f. Once again, I was caught between two cultures and yet not belonging to eitheLI first acknowledged this alienation when I was a teenager and began to notice a lack of connection between myself and my environment.

My work is based on these elements of alienation and the con­scious and unconscious examination into what has been person­ally inaccessible. This examination of the past and present is symbolically overlapped in the work. The symbols retlecttrans­formed images and icons from my memory and environment. The art work has become an autobiographical journal of specific periods in my life.

toR e y yN e w o r k

Selected Exhibitions: Alberlo Rey, Rockefeller Art Center, State University of New York, Fredonia, NY, 1990. New Choices, Harcus Gallery, Boston, MA, 1990. Selectiollsfrom MarineMidlalldCollection, Albright-Knox Art Gallery, Buffalo,NY, 1990. Unique Works on Paper Memorial Art Gallery, Rochester, NY 1990. SoulhSlreelSelections, Bank of Boston, Boston, MA, 1990. Alberto Rey, Museum of Contemporary Hispanic Art (MO­CHA), New York. NY, 1989.

Reviews, Publications, Catalogs, and Awards: "Painters' Object is to Examine the Symbols," by Joanne Silver, BaSIon Herald, Boston, MA, August , 1990. "Summer Surprises on South Street," by Mary Sherman, Bas­Ion Globe, Boston, MA, August, 1990. "Perspectives," by Christine Temin, BaSIon Globe, Boston, MA, April, 1989. "Gallery Scene," by Joanne Silver, BaSIon Herald, Boston, MA, April , 1989.

Education: Harvard University, Cambridge, MA, 1988-89. M.F.A., University of Buffalo, Buffalo, NY. 1987 B.F.A. , Indiana University of Pennsylvania, Indiana, PA, 1982. Art InstituteofPittsburgh, Pittsburgh,PA, 1981.

Alberto Rey , Slacked /'s, flour compound , ink washes and oils, 48 x 96 inches. Photo by Deborah Lanni.

Penelope Williams-Yaqub F r e d o n a

The idea began as a poem in French, triggered by a news broad­cast describing Beirut as acity of death. From 1966-86, 1lived in Beirut, sharing with the Lebanese their dangers and sorrows. I began to conceive of the fifteen years of civil war as daily fare , a menu set before them everyday. My aim in creating The City of Death Restaurant was to evoke sympathy and empathy for their pliglu.

ye w o r k

Selected Exhibitions: Access '89, Adams Art Gallery, Dunkirk, NY, 1989. Gateways, solo exhibition, The Canadian Embassy. Beirut, Lebanon, 1983. Solo exhibition, John F. Kennedy Center, Beirut. Lebanon, 1980.

Reviews, Publications, Catalogs, and Awards: "Rev iew Access Annual '89," by Richard Huntington, Buffalo News, 1989. "Penny Williams Ouvre Les Portes De L'Orient. .. ," by [rene Mosalli,L' Orient Le Jour, Beirut, Lebanon, 1983. "Penny Williams au Centre Kennedy, L'[mage Populaire Liba­naise. C'est EIJe," by Irene Mosalli, L'Orient Le Jour, Beirut, Lebanon, 1980. "Penny Williams Depicts Lebanon with Sympathy...•" An Na­har, Beirut.Lebanon. 1980. First Juror's Award. Access '89, Adams Art Gallery, Dunkirk. NY. 1989.

Education: State University of New York. Empire State College. Fredonia. NY. present. The Ontario College of Art. Drawing and Painting. Toronto. Ontario. 1961 .

Penelope Williams- Yaqub, The City of Death Restaurant, hand-built terra cotta, 45 x 44 x 27 inches. Photo by Herbert D. Skinner.

Acknowledgements

The artists included in this exhibition were chosen by Anthony Bannon (Burchfield Art Center, State University of New York at Buffalo), James Colby (Centre Gallery. Jamestown Community College Callaraugus Coumy Campus), Robert Taylor (Olean Public Library Gallery), and Dan R. Talley (The FORUM Gallery. Jamestown Community College) to high­light some of the innovative visual art being produced in the Southern Tier of New York state.

The eleven artists included in this exhibition were se lected after representa­tives from the pal1icipating galleries reviewed work by over fifty artist s from a two-county area. This pool of fifty-plus artists responded to a"call for art­ists" issued in the fonn of a leller se nt to over 200 artists in December 1989. Lists used for this initial mailing were supplied by The Arts Council for Chautauqua County and by the participating galleries. To reach arti sts not on these list s, press releases about the exhibition wcrc sent to print and electronic media throughout the area.

The curatorial group made some decisions regarding what constitutes "resi­dency" and decisions about potential "conflicts of interesl.·' In recognition of the significant influencc Chautauqua Institution has had on this area, the cu­rators decided that artists who were only part-year residents of the county could still be included in the exhibition (two of the eleven artists fit this cate­gory). Likewise, the curators decided that an artist who maintains a studio in one of the eligible counties but resides outside the two-county area could also participate (two of the eleven artists are in this category). Faculty members of Jamestown Community College's Jamestown and Callaraugus county campuses were categorically disqualified to avoid the perception of favorit­ism.

All of the artists included in thisexhibitiondemonstratecommitmem,profes­sionalism. awareness of extra-regional issues, and an intense personal vision so crucial to the production or strong work. They all have experienced vary­ing degrees of success in other geographic areas, but for the most part they all remain under-exhibited in their home counties. It is hoped that this exhibition and the accompanying catalog will be important steps in rectifying this situa­tion.

Catalog design: Pattie Belle Hastings Catalog production: Michelle Henry and Dan R. Talley Production assistant: Nelida Ruiz Printing: Register Graphics, Randolph , New York

Unless otherwise noted, illustrations have been supplied by the artists. All dimensions are listed in inches with height preceding width, then depth.

Catalog © 1991, The FORUM Gallery

The Centre Gallery

The Centre Gallery, Fine Arts Center Cal\araugus County Campus Jamestown Community College 125 East Sullivan Street Olean, New York 14760

(716) 372-1661

Gallery Hours: ,Monday through Wednesday, 12 p.m. till 3 p.m. and 7 p.m. till 9 p.m., Friday, 12 p.m. till 3 p.m.

James Colby, Gallery Director Lance Johnson, Gallery Assistant Shawn Rees, Gallery Assistant

Funding for the Centre Gallery is provided by the Facul­ty Student Association of lamestown Community Col­lege; Olean Public Library, and the New York State Council for the Arts. The Centre Gallery is a member of the Gallery Association of New York State.

Olean Public Library Gallery

Olean Public Library Gallery Second and Laurens Olean, New York 14760

(716) 372-0200

Gallery Hours: Monday through Saturday, 10 a.m. lill4 p.m.

Robert Taylor, Art Coordinator Maureen Curry, Library Director

Funding for the Olean Public Library Gallery is provided by the Olean Public Library, the New York State Council for the Arts , and the Cattaraugus County Campus of Jamestown Community College. The Olean Public Li­brary Gallery is a member of the Gallery Association of New York State.,

The FORUM Gallery

The FORUM Gallery at Jamestown Community College 525 Falconer Street Jamestown, New York 14701

(716) 665-9107

Gallery Hours: Tuesday through Saturday , 10:00 a.m. till 5:00 p.m. (Wednesday and Thursday till 8:00 p.m.)

The FORUM Gallery Staff: Dan R. Talley, Gallery Director Michelle Henry, Gallery Assistant

Student Assistants: Bruce Bogart Gerald Egana Kim Erickson Nelida Ruiz

Development Committee: Nancy Bargar William Disbro Carole Fasso Mike Fitzpatrick Robert Hagstrom John Hiester Cletus Johnson Gloria Lasser Julia Militello Alberto Rey Lois Strickler William Waite Gary Winger

This exhibition is part of The FORUM Gallery's Visual Arts Initiative which is made possible through fund s provided by the Ralph C. Sheldon Foundation , Inc. Ad­ditional funds for this exhibition were provided by the Faculty Student Association of Jamestown Community College.

The FORUM Gallery is an Associate Member or the Na­tional Association of Artists ' Organizations.

Burchfield Art Center Burchfield Art Center Rockwell Hall Buffalo State College 1300 Elmwood Avenue Buffalo. NY 14222-1095

(716) H7H-6011/6012

Gallery Hours: Tuesday through Saturday, 10 a.m. till 5 p.m. Sunday. I till 5 p.m. Group Tours: H7R-6020

Anthony Bannon. Director Barry Besmanotl. Lighting Designer Catherine Carl·agna. Director or Development Lisa Brown. Administrative Assistant Craig Ktose. Museum Preparator/Interpreter Midleline Lepine. Business/Operations Manager Gerald Mead. Education Curator William Menshon. Museum Monitor Lorey Schultz. Development Associate Rohert Siamon. Researcher J. Benjamin Townsend. Editor/Burchfield Journals Diane Wckarski. Volunteer/Special Events Coordinator Michelle Weekly . Registrar Nooney Weekly . Charks Cary Rumsey Curator

Edna M. Lindemann. Director Emeritus

Burchfield Council Members: e. Taylor Kew. Council Chairman Anne E. Hayes. Vice Chairman Edward J. Wozniak . Treasurer Harriet Vogelsang , Secretary

Albert Abgott Marlene Sisti La Rocque Anthony Bannon Edna M. Lindemann Steven Biltekoff Phyllis Lutwack Olivia Smith Blackwell Sally Marks Maureen Bowen Johanne Miller Paul G. Bulger Calvin Rand George Campos F.e. Richardson Robert T Coles Donald Ross R. William Doolittle Douglas G. Schultz Peter Fleischmann George Dick Smith Penny Flickinger Peter Sowiski Appleton Fryer Mortimer Spiller M. Allyn Gallup H. Michae l Stroh Judith Hojnacki J. Benjamin Townsend Edward Hunt. Jr. Donald Voltz Nancy Jewett Wendy Warner Ross Kenzie Wayne Wisbaum

Support for this exhibit was received from the City of Buffalo and Erie County. A portion of the Burchfield Art Center 's general operating and conservation support for thi s fiscal year have been provided through grants from the Institute of Museum Services, a Federal agency that offers s upport to the nation' s museums.