,

,

THE FORUM GALLERY AT JAMESTOWN COMMUNITY COLLEGE

DIANNE MALLEY

KELLY MCKAIG

TETSU OKUHARA

DAVID SEILER

PRISCILLA A SMITH

KAORU TOHARA

JAMES WILLIAMS

Ko. YAMADA

SELECTED BY JEFFREY HOONE • DIRECTOR, LIGHT WORK, SYRACUSE, NEW YORK

JANUARY 30 THROUGH FEBRUARY 24, 1 996

THE FORUM GALLERY AT JAMESTOWN COMMUNITY COLLEGE

2

JEFFREY HOONE 5

WILLIAM K GREINER 6

DIANNE MALLEY 8

KELLY MCKAIG 1 0

TETSU OKUHARA 1 2

DAVID SEILER 1 4

PRISCILLA A SMITH 1 6

KAORU TOHARA 1 8

JAMES WILLIAMS 20

Ko YAMADA 22

ACKNOWLEDGEMENTS 2 4

,­The FORUM Gallery is extremely This is the sixth annual presentation

pleased to present PhotoNominal of the PhotoNominal exhibition. '96, an exhibition examining a cross­ In previous years, the exhibition section of approaches to both the has been selected by Christopher content and methods of contempo­ Scoates, director of the Atlanta rary photography. Over 275 artists College of Art Gallery in Atlanta, from the U.S. and Canada submitted Georgia; Charles A. Wright, Jr., a over 2 ,50P images to be considered freelance curator from Rochester for this year 's exhibition. Our juror New York; Carlos Gutierrez-Solana, this year Jeffrey Hoone, director of former director of Artists Space in Light Work in Syracuse, New York, New York City; Susan Krane, direc­had the daunting task of reducing tor of 20th century art at the High this enormous field to a manageable Museum of Art in Atlanta, Georgia; selection of work that could fit into and Sandy Skoglund, an artist rec­our smallish exhibition space. ognized internationally for her elab­

orately-staged photoworks. Each Mr Hoone met the challenge with a exhibition has had a uniquely differ­curatorial clarity that has produced ent character defined by the range an extraordinarily stimulating exhibi­ of work submitted and by the aes­tion. The nine artists selected by thetic predilections of the person Mr Hoone for this year's show selecting the work. explore issues and themes that spring from a range of formal and We are grateful to Jeffrey for his ideological positions. While the curatorial commitment and to the show affords a great deal of visual nine participating artists for their diversity, a sense of adventure and creativity and cooperation. discovery imbues each and every piece .

4

PhotoNominal '96 represents one of the oldest genres of art presenta­tions the juried exhibition. From the venerable salons of Europe to the alternative Art Spaces in the United States, juried exhibitions have become a time-honored tradi­tion. The wide open submission pol­icy of PhotoNominal '96, like the best of previous juried exhibitions, drew a variety of work from across the United States and Cariada.

The work selected for the exhibition reflects a diversity of approaches to the medium of photography, from straightforward documentary images to three-dimensional photo­sculptures. Yet within the diverse choice of materials and methods employed by each artist, there are similarities that resonate in each of the artists' work. it wasn't until after I had made the final selections and had the opportunity to look at all the work together that I realized how each artist had expressed a sense of dislocation or uncertainty.

At their best, artists reflect the sen­sibilities of a culture by asking the right questions. The' artists in this exhibition have created tangible visual repres~ntations of the chal­lenges we face as a society. Byask­ing the right questions, they also give us the hope of finding the right answers.

5

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ExHIBITION CHECKLIST' RED CRossl WHITE Box,

RACELAND, LA, 1990,

C-PAINT 24 X 28 INCHES.

BINGO BOARD,

NEAR BOUTTE, LA, 1990

C-PRINT 24 X 28 INCHES.

BLUE HEART,

HOUMA, LA, 1989,

C-PRINT, 24 X 28 INCHES.

BROKEN HEART,

NEW ORLEANS, LA, 1990

C-PRINT 28 X 24 INCHES.

WHITE WALL,

GREENWOOD CEMETERY,

NEW ORLEANS, LA, 1989,

C-PRINT 24 X 28 INCHES.

FRAME WITH RED LIPS,

NEW ORLEANS, LA. 1990,

C-PRI~T 28 X 24 INCHES.

The cemetery series, titled The Reposed, is a group of color pho­tographs made over the past five years which, in part, explore some of the unique characteristics, construc­tions, and objects of graves and burial places in Southern Louisiana. My pho­tographs are not intended to be an his­torical documentation of these places, for that task would be anthropological in nature and would deserve extensive research and cataloging. These im­ages are factually informative, but they are interpretations of the objects in their environment.

The ornaments, fixtures, drawings, flowers, pictures, trinkets, and written words I find are the wonderful ways homage is paid and/or the existence of a loved one or friend is remembered. To this extent these images represent disintegration, rejuvenation, and life cycles. Additionally, they are docu­ments of some of the ways, in our Southern culture, loved ones are remembered and eulogized, Viewing these images, we are left to provide our own fiction as to the circum­stances of these things and places.

6

SELECTED EXHIBITIONS: H OftfEERONT, DUKE UNrVE,R SITY,

DURHAM, N C, 199 5 .

R EC EN T A co ISqIONS ,

N EW O RLEAN S M USEUM OF ART

N EW O RLE NS, LA , 1995.

RECENT PHOTOGRAPHS,

LOUISIANA STATE UNIVERSITY,

BATON ROUGE,LA, 1995.

WILLIA"" EGGLESTON/ WILLIAM GREINER,

CONTEMPORARY ARTS CENTER,

NEW ORLEANS, LA, 1993.

PHOTOGRAPHS FROM THE COLLECTION,

MUSEUM OF MOD ERN A AT

NEW YORK, NY 1993.

THE REPOSED,

RIVERSIDE MU SEUM,

BATON ROUGE, LA, 1993.

REVIEWS, PUBLICATIONS, CATALOGS: THE SUBURBAN SOUTH,

EDITED BY ALEX HARRIS,

NEW YORK, NY SPRING, 1996

BLUE SKY # 14, BLUE SKY GALLERY, PORTLAND, OR, SPRING, 1995.

W,LLIAM K. GREINER PHOTOGRAPHER,

30 MINUTE DOCUMENTARY, P.B.S. WLRN-TV MIAMI, FL, JUNE, 1994.

.. UNCOMMON PICTURES," THE TIMES-PICA YUNE,

NEW ORLEANS, LA, NOVEMBER 11 1994

"TRUTHS & REVERI ES , " BY TED, CALAS,

THE NEW ORLEANS ART REVIEW,

NEW ORLEANS, LA, MAY/ JUNE, 1993

"WILLIAM K. GREINER," PHOTO M ETRO,

SAN FRA NC ISCO . CA, MARCH, 1993. ,

EDUCATION : M. B. A., SUFFOLK UNIVERSITY,

BOSTON, MA, 1985

B. F. A., TUFTS UNIVERSITY.

MEDFORD, MA, 1982.

A.A., BRADFORD COLLEGE,

BRADFORD, MA, 1980.

7

The body is one of the great polifical arenas of our time . Again we are experiencing a resurgence in attempts to limit women 's role and con­.strain our lives. We must be aware of the ways in which these concepts are woven into the very fabric of our ways of thinking. In my work I attempt to make visible century old traditions that view women as inferior and give voice to women's resis­tance.

Wandering Wombs was inspired by Charlotte Perkins Gilman's story "The Yellow Wallpaper" published in 1892. The story is a study of a woman's descent into madness, caused by a wetl­meaning but insidious hus­band-doctor who follows S. Weir Mitchell's Rest Cure. His 'prescription was that she devote herself to domestic work and to her child, con­

fine herself to, at most, two hours of intellectual work a day, and "never touch pen , brush or pencil as long as you live."

Sowing His Oats and The Seed and The Soil were inspired by the outrage I feel over attempts by right-wing fanatics . to take away women's reproductive rights. Theories of repro­duction once held that the seeds of creation were man 's alone with women providing only the soil. It seems that many people still hold tight to such archaic theories.

PA

SELECTED EXHIBITIONS: STORIES FROM HER,

HARTNETT GALLERY, UNIVERSITY OF ROCHE STER,

ROCHESTER. NY. 1995.

S HE ART FACULT Y INVITATI ONA L E XHIB ITION,

KIPP G ALLER Y AND THE U N IVE RSITY MU S EUM,

I NDIANA UNIV ERSITY OF PA ,

INDIANA. PA . 1995.

JUST TA KE THIS : WOMEN/PAIN/MEDICAL HISTORIES,

SAN FRANCISCO CA ME RA W ORK,

SAN FRANC ISCO, C A , 1994.

TH E EXA M INI NG R OOM,

THE WOMEN'S HEALTH SHOW,

CERE S GALLERY,

NEW YORK. NY, 1994 .

RE VIEWS, PUBLI CATIONS, CATALOGS: E XHI BITION CATALOG , STORI ES 'FROM H ER ,

BY DI NA LIGHT AND S A RAH E . W EBB,

U NIVERSIT Y OF RoC HE STER,

ROCHES TER, NY, 1995 .

. "SOWING H IS O ATS," BV DI AN NE MAllE Y,

THE WOMAN R EB EL . ATLA NTA. GA. VOLUME 1 IS SUE 2, 1995.

~RE S PECT WOMEN/PAIN/M ED ICAL HISTORIES,"

BY DEBORAH KNAFF, ARTWEEK,

SAN JOSE , CA. VOLUME 25. NUMBER 8. 1995.

"ART PICK OF THE WEEK," BY PETER FRANK,

LA WEEKLY. Los A NG ELES, CA, APRil 1 1994.

"KERR & M AL LE Y," BY AND REA JUNO, REI SEARCH A NGRY W OMEN.

SAN FRANC ISCO. CA , NUMBER 13, 1991

EDUCATION : M .F.A .. SUNY BUFFALO. BUFFALO. NY, 1988

B.F.A., EOI NBORO STATE UNIVERSITY,

EDINBORO, PA , 1985 .

WANDERING WOMBS , 1995 ,

SILV ER G ELATIN PRINT ACETATE, W ALLPAPER,

SPECIMEN CONTAINER , 48 x 20 3/4 INCHES .

8

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"In creative living you or everything we do strengthens feeling that we are alive, that we are ourselves. One can look at a tree (not necessarily at a picture) and look creatively Although allied to creative living, the active creations of letter writers , writers, poets, artists, sculptors, architects, and musicians, are different. You will agree that if someone is eogaged in artistic creation , we hope he or she can calion some special talent. But for creative living we need no special talent."

there is something to be said here about the anxiety that is a drive behind the artist's brand of

creativity"

- D. W. Winnicott, "Living Creatively: An amal­

gamation of two drafts of a talk prep'lred for the

Progressive League, t 970," Home is Where We

Start From; 1986, p. 52 .

GROUP SHOW, E XHIBIT

CHICAGO, f L , 1995 .

REVEALING M OMEN TS, tN SITU, CINCINNATI, OH . 1994

BLINDED BY THe L IGHT: NEVI A COUISITIQN$ IN 20TH CENTURY PHOTOGRAPH Y,

CINCIN NA TI ART MUSEUM,

CINCINNATI, OH, 1993.

MEMENTO M ORI: A PHOTO QUILT,

CAGE ART IN THE W,NDOWS PROJECT CINCINNATI, OH , 1991

EDUCATION : B . A . . U NiVERSITY OF IOWA, fOWA CITY , fA , 1988

EXHI81TION CHECKLIST' UNTITLED, 1992 STITCHED SILVER GELATIN PAINT

24 x 24 INCHES.

UNTITLED, 1992, STITCHED SILVER GELATIN PRINT

26 x 24 INCHES .

UNTITLED , 1992 , STITCHED SILVER GELATIN PAINT

26 x 25 INCHES .

U N TITLED , 1992 STITCHED SILVER GELATIN PAINT

26 x 2 5 INCHES .

10

11

EXHIBITION CHECKLIST:

HAG/WARA PROJECT (MACHETE),

1994. SILVER GELATIN PRINTS,

5 X 10 INCHES.

FIVE BAMBOO,

1994. SILVEA GELATIN PRINT

40 X 52 INCHES.

MI S A O OK U H A RA , HAG /WARA , JAPAN,

1993. SILVER GELATIN PRINTS,

40 x 30 INCHES. WOAK IN PAOGAESS .

In May of 1990, I made my first visit to Japan. After 50 years, I was finally going to meet my family in Japan. Both my parents' families live on Honshu, the main island. Sixty miles west of Hiroshima in the south'ern most state of Yamaguchi is a small mountain called Hagiwara. Hagiwara is covered by thick forests of pine and bamboo trees but much of the mountain has been cleared of trees and replaced by terraced rice fields that go all the way down to the town of Yanai by the inland sea.

My father's family has I.ived on Hagiwara for 800 years and two of his youngest brothers, Yasuto 'and Misao and tneir families live and work there today.

Since 1992, and again in 1994, I have bee'n photographing Hagiwara and my family there . I hope to create a body of work that will have meaning for me and perhaps some connections for the Japanese

who share a similar

AR~U NEW YORK, NY

SELECTED EXHIBITIONS: PAIRINGS,

55 MERCER. NEW YORK. NY 1994

INTERNATIONAL PHOTOGRAPH Y,

GOTLA ND KUN ST MU SEUM ,

GOTLAND , SWEDEN,

1994

ART INS TITUTE OF B OSTON,

BOS TO N , MA,

1994 .

PHELA N A WARD FELLO WS 3 , SAN FR ANCISCO CAMEAAWO RKS GALLER Y ,

S A N FRANCISCO, CA, 1994

ROPE SHOW,

ARTiSTS SPACE,

NEW YORK, NY 1992.

RUTTENBERG COLLECTION,

ART INSTITUTE OF CHICAGO,

CHICAGO, IL, 1991.

REVIEWS , PUBLICATIONS, CATALOGS : NEA/IA ARTIST TRAVEL GRANT JAPAN, 1994.

JAM ES D. PHELAN ART AWARD,

SAN FRANCISCO, CA , 1993 .

THE INTUITIVE E YE.

ART INS TITUTE OF CHIC AGO.

CHICAGO, I L , 1992 .

" 100 NUDES, ~ SUN MAGAZI N E,

T O'KYO , JAPAN, 191)1

NEA FELLOW SHIP, 1989.

New YORK FOUNDATION FOR THE ARTS,

NEW YORK, NY, 1989.

12

13

DAVID

110

E XHIBITION' CHE CKLIST' F IGURE STUDY WITH LARGE STONE,

1 993. MIXED MEDIUMS.

87 x 77 INCHES.

F'GURE S UPPOR TED BY Two CHAIRS , 1_993

MIXED ME DIUMS ,

48' x 40 INC HE S.

F ,GURE S TUDY WITH PULLEY AND R OPE.

1993, MIXED MEDIUMS.

96 x 72 INCHES ,

Compositions, usually one or two nude figures isolated in a field of Baroque style black­ness , are pieced together in toned sections of photo­graphic paper then painted on and drawn on , so that the bodies' parts are fragmented and isolated , creating a patchwork of stripped and peeled flesh ; tortured and abused bodies submitting to some sublime ritual that is at once bizarre and divine; both fantasy and nightmare , not unlike the highly charged atmosphere of a circus arena.

14

SOLO EXHIBITION,

OLG A D OLLAR GALLERY.

S AN FRANCISCO, CA, 1996 .

H OLL Y R OBERTS. T ODD M URPHY , DA VID SEIL ER ,

A TAtUM GALLERY.

U NIVERSITY OF C ONNECTICUT

STORR S, CT 1996.

PHOTOWORK '95, BARRETT H OUSE GALLERIES,

POU GHKEEPSIE , NY 1995

IOWA ARTIS TS 1994 , Des M OIN ES A AT C ENTER ,

DES MOINES, lA, 1 994

INTRODUC TIONS ' 94 ,

OLG A D OLL AR GA LlEA,(,

SAN FRANC ISCO, CA, 1994 .

T HE SURFACE OF THE SIGN ,

CALIFORNIA STATE UNIVERSITY,

CHICO, CA , 1 993.

REVIEWS, P UBLICATIO NS, CATALOGS : " THE BODY ELECTRIC,"

SA CRA MEN TO NEWS AND REVIEW, SACR...... ENTO, CA, JANU ARY 1 4, 1 993 .

EDUCATION: M .F .A ., UNIV ERSITY OF C ALIF ORNIA,

DAVIS , CA , 1 993.

B ,A " UN IV ER SI TY OF N OATHERN IOWA,

CEDAR FAllS, l A , 1990.

15

E XHIB ITI ON CHECKLIST' E VE'S DILEMMA, 1995

C-PRINT 16 x 20 INCHES.

SEEKING PWMB , 1995 C-PRINT 16 x 20 INCHES.

W,TH FRIENDS LIKE THA T . . , 1 995, C-PRINT 16 x 20 INC HES.

L UNA,199 5,

C-PRINT 16 x 20 INCHES .

•

The tension between rational control and emotional impulse has been the impetus for art and meditation since the ancient Greeks detailed the struggle between Apollo and Dionysus. More recently Jung and other psychoanalysts saw the psy­che as bein~ split into two opposing impulses-one which seeks pleasure , joy and freedom from repression and one which embraces rational con­sciousness and control. This body of work is . based on that conflict as it explores the sometimes playful , ironic and often anguished struggle between rational control and emo­tional impulse.

Using color and still-life elements both as symbol and pun in a photo­graphic tableau , the work incorpo­rates fragments from half-remem­bered dreams and nightmares-noc­turnal messages in each the rhythm of a cautionary tale. The chro­mogenic prints are created by tradi­tional methods with texture added to the image during the printing process . The result is a color print with a unique texture and muted palette .

SELECTED E XHIBITIONS: SOLO EXHIBITION.

ARTi SANA GALLERY,

DALLAS , TX .

MIDDLE GALLERY,

ROCHESTER INSTIT UTE OF TeCHNOLOGY, ROCHESTER, NY

STANDING ROOM ONLY,

TeXAS TecH UNIVER SITY A AT DEP ARTMENT

LUBBOCK, TX.

WORKSPACE GALLERY,

UNIVERSITY OF COLORADO,

BOULDER, CO .

EA ST GALLERY I

SCHWEINFURTH MEMOR IAL GALLERY,

AUBURN , NY

DEPARTMENT OF ART ANO D eSIGN ,

EAS T TeXA S STATE U NIVER SITY,

COMMERCE , TX .

EDUCATI ON: M .F.A., UNI VERSIT Y OF ILLI NOIS,

CHAMPAIGN, IL , 1985 .

BFA ., TEXAS T ECH UNI VERSITY,

LUBBOCK, TX , 1980 .

DE

16

17

KAROl:J-I--I~

)U

My work is concerned with produc­tivity which relates to my genera­tion. I like to collect and view mass­produced "multiples." When I was born, the economy of my count ry was in transition . It was becoming strong and every part of society needed efficiency. The motto "Kei Haku Tan Sho" (light , thin, short and small) was adopted by industry . Plastic and light-weight metallic hOJT1e products became popular items because mass-production made them affordable.

A LL M IXED U P.

S AWTOOT H BUIL DIN G GALLERI ES.

WIN STON ·SALEM. NC. 1995.

A FFILIA TED AR TISTS E X H IBITION,

IN D IANA E AS T ,

RICHMOND. IN , 19 95.

R EGIONAL J URJED P HO TO E XHIBITION,

EVANSVi llE M US EU M OF ART

EVANSVI LLE , IN , 199 5 .

C OMPUTER IMAGING: N EW T OOL FOR ARTISTS.

I ND IANA U NIVERS IT Y F INE ARTS L IBRARY,

BLOOM IN GTON , IN , 19 9 5 .

R EGIONAL J URIED PHO TO E XH IBITION,

E V ANSV I LLE MU SEUM OF ART

EVANSV ILLE , IN , 1 9 93.

EDU CATI ON : M . F .A ., INDIAN A U N IV ERS ITY ,

BLOOMINGTON, IN , 1 99 5 .

B . F .A ., OHIO U NIVER SITY,

ATHENS, OH, 1992 .

A.F.A ., MUSASHINO ART U NIV ER SITY I

T OKYO, JAPAN, 1981

E XHIBITION CHE CK LI ST : ME TA MORPHOSIS, 199 1 FIBERGRAPH ,

1 4 x 44 x 4 INCHE S.

N INE FA CES, 1 994, F1BERGRAPH , 30 x24 x 3 INCHE S.

ASHINAMI: FEET W A VE , 1995,

SILVER GELATIN PAI NT , PLE XIGLAS,

4 7x 90 x 2 4 INC HE S.

18

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19

SELE CTE D 'E XHIBITIONS: S TEEL TOWN ,

ARTSPACE, PETERBOROUGH, ONTARIO. 1 995.

STEEL TOWN ,

OLE AN P UBLIC GALLERY,

OLEAN, NY 1995 .

STEEL TOWN,

A SPACE, TORONTO, ONTARIO, 1995

S TEEL TOWN,

ARC G ALLE RY, CHICAGO , IL , 1995 .

S TEEL TOWN,

H AMI LTON ARTI ST I NC.,

HAM ILTON, O NTARIO, 995.

STEEL TOWN,

THE New GALLERY. CALGARY, ALBERTA, 1994.

S TEEL TOWN,

MODERN FUEL G ALLERY, KINGSTON, O NTA RIO, 1994.

REVIEW S, PUBLICATION, CATALOGS: " F AC TORY PHOTOS I

STEELTOW N EXHIBIT Re V IEW',"

BY JILL GLESSING , O UR TIMES MAGAZI NE, T O R ON TO, ON TAR IO, V Ol. 14 , No.4,

AUG./SEPT 1995.

" PH OTOGRAP HE R CAPTURES I MAGE OF

'INDUSTRIAL G OTHI C'," BY JEFF M AHON EY,

T HE HAMILTON SPECTATOR,

H A).t llTON, O N TARIO,

APRIL 1 1 995 .

" SHOWS T H AT REAl l Y W ORK,"

BY P A UL BE NEDETTI ,

T HE H AMILTON SPECTA TOR,

HAMil TON, O NTARIO,

J ULY 24 , 1993 .

Steellown is an ongoing exami­nation and documentation of steel making and related indus­tries throughout North America. My exhibitions portray the strug­gle of both the workers and the industries as they face an uncer­tain future . When companies close down , or pull out of tradi­tional steel towns in favour of more cost efficient locations and labour forces , they leave whole communities in a state of eco­nomic and psycholog ical depres­sion.

My project consists of an exhibi­tion of 10 x 12 inch portraits of blue collar workers strategically placed on 7 x 9 foot industrial landscape murals. The term "industry" and all its associa­tions makes people think of metal , pipes and machines. By placing portraits on these land­scapes I have created windows into the industry that allows the viewer to think of the workers.

In this work , I utilized techniques of personal interviewing . My process consisted of introducing myself and explaining my project

to the workers. This engaged them in conversation. My im­ages confrbnt the viewer from the perspective of the workers . They portray a struggl-e for sur­vival at a time of changing modes of production and vali­date the cultural experience attached to the steel industry.

Public awareness is necessary to begin to inst itute industrial redevelopment and to insure economic regrowth . Education of the public is also necessary to eliminate stereotypical im­ages of blue collar workers. Steel/own educates and stimu­lates a moral 'impulse on the survival of steel and related industries .

EDUCA TlON : M.F .A., STATE UNI VER SITY OF New YORK AT BUFFALO,

BUFFALO , NY 1992.

B . F .A ., S TATE U N IVERSIT Y OF New YORK AT BUFFALO,

BUF FALO, NY 1990.

A .O .C . A . , ONTARIO C OLLEGE OF ART,

TORONTO , ONTARIO, 1 9 6 9 .

E XHIBITION CHE CK LI ST : STEEL TOWN , WESTERN NY, 1995

HAMILTON, ON

20

21

Due to circumstances

beyond our control , the

artist's statement was

unavailable at press time.

EXHIBITION CHECKLIST :

F UNDAM ENTAL FRAGMENTS # 1 1995 . SILV,ER GELATI N PAINT 1 ,9 x 18 .5 INCHES.

FUNDAMENTAL FRA GMENTS #3, 1995 . SILVER GELATIN PRINT 19 x 18 .5 INCHES .

FUNDAM ENTAL F RAGMENTS # 5 , 1995, SILVER GELATIN PAINT 19 x 18.5 INCHE S.

F UNDAMENTAL FRAGMENTS # 7 1995 . SILVER' GELATIN PAINT 19 X 18 . 5 INCHES.

FU NDAM ENTAL FRAGMENTS # 8, 1995, Si LVER GELATIN PRINT 19 x 18 .5 INCHES.

FU NDAMENTAL FRAGMENTS # 9, 1995 SILVER GELATIN PRINT 19 x 18.5 INCHES.

22

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23

This exhibition was organized by The FORUM Gallery at

Jamestown Community. College, 525 Falconer Street,

Jamestown ,. New York 14701 (716) 665-9107

The FORUM Gallery presents significant and professionally

executed solo and group exhibitions of contemporary art

and related programs, events, and services to both the

artist and non-artist residents of Chautauqua County, NY

and the surrounding area. Through our programs, we strive

to stimulate discussion, to challenge assumptions, and to

present artwork relevant to the social and cultural life of

the general and special populations within our service area .

This exhibition is funded in part by the Fund for the Arts in

Chautauqua County, which is managed by the Arts Council

for Chautauqua County.

Programs of The FORUM Gallery are funded in part by the

Ralph C. Sheldon Foundation, Inc., the Jamestown

Community College Foundation; the Faculty Student

Association at JCC; and by our corporate and individual

members.

Photographs in this brochure were provided by the artis!s.

All dimensions are listed in inches with height preceding

width, then depth.

The FORUM Gallery is an Associate Member of the National

Association of Artists Organizations.

© 1996, The FORUM Gallery

GALLERY STAFF : DAN R . TALLEY, DIRECTOR

MICHEllE HENRY I ASSISTANT

STUDENT ASSISTANTS: CLARK MYERS

NATHAN NAETZKER

GALLERY DEVELOPMENT COMMITTEE: SUZANNE ALLEN

NANC Y BARGAR

REGINALD DARLING

WADE DA'lENPORT

JUDE DIPPOLD

DENNIS DRew

F'lITRICIA FREET

SHAUNA FAISCHKOAN

ROBERT HAGSTROM

JENNIFER HANER-SMITH

GLORIA LASSER

DAVID MUNNELL

KEITH SCHMITT

LOIS STRICKLER

NANCY WELLS

JAMESTOWN CqMMUNITY COLLEGE BOARD OF TRUSTEES : JE' ANNE G. BARGAR

DONNA BEAL

MARY ELLEN BONNER

SHAWN HILL

V IClOAIA JAMES

MARIANNE McELRATH

LILLIAN VITANZA Nev

CLARENCE J. PETERSON

SAMUEL PRICE . JR .

CATALOG DESIGN : SHAUNA FRISCHKOAN

CATALOG PRINTING : STUDIO PRINTING, JAMESTOWN, NY

24