NEWSLETTER SUMMER/FALL 2015 WHAT’S INSIDE: 3 Notes from the Director 2 Featured Exhibition: James Rosenquist: Illustrious Works on Paper, Illuminating Paintings 5 Quiet Intersections: The Graphic Work of Robert Kipniss 8 On the Road: TRAVEX 10 Collection Spotlight: Cranach’s Judith 11 University Lens: Gregory Heisler and Stacy Pearsall James Rosenquist, Sky Hole, 1989. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved.
EXHIBITION/EDUCATION/COLLECTION Syracuse University Art Galleries/Shaffer Art Building /Syracuse Ne w York 13244
suart.syr.edu
FEATURED/EXHIBITION
James Rosenquist, The Geometry of Fire, 2011. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved.
JAMES ROSENQUIST
Illustrious Works on Paper, Illuminating Paintings August 20 – November 22, 2015 GALLERY RECEPTION Thursday, September 10, 5:00–7:00 P.M. One of the most influential living American artists, James
The SUArt Galleries, in collaboration with the Syracuse University
Rosenquist became well known in the 1960s as a leader in
Humanities Center in the College of Arts and Sciences as a part of
the American Pop art movement alongside contemporaries
the 2015 Syracuse Symposium™ on Networks presents:
Andy Warhol, Roy Lichtenstein, and Claes Oldenburg. For more
THE ROSENQUIST NETWORK: Collaboration and Connections in the American Print Workshop
than five decades Rosenquist has created seminal work in a variety of media, employing printmaking, collage, drawing, and painting. This exhibition presents over 35 works from the artist’s long career, including examples of his earliest abstractions from the 1950s to his exploration and evolution
October 22, 7:00 P.M. Slocum Hall Auditorium
into Pop Art as well as recent works that epitomize his distinct and powerful style. Iconic large scale prints and works on paper including F-111 (South, West, North, East), 1974, and Space Dust, 1989, alongside monumental works like the 11 by 25 foot The
The Rosenquist Network will explore role that the printmaking
Geometry of Fire, 2011, are balanced with rare sketches, studies
workshop has played in contemporary American art, and in
and collages that give unique insight into the artistic process.
particular in the career of artist James Rosenquist. The panel assembles some of the most influential print publishers and
Developed in collaboration with Oklahoma State Museum of
scholars including long time Rosenquist collaborators Bill
Art and curated by Sarah C. Bancroft, co-curator of the artist’s
Goldston, master printer and director of Universal Limited Art
2003 retrospective at the Solomon R. Guggenheim Museum,
Editions; Donald Saff, founder of GraphicStudio printmaking
Illustrious Works on Paper, Illuminating Paintings exemplifies
workshop at the University of South Florida; and Sarah C.
the indelible impact Rosenquist has had, and continues to
Bancroft, co-curator of the artist’s full-career retrospective at
have, on American art.
the Guggenheim Museum in 2003.
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NOTES FROM THE DIRECTOR Every year we strive to improve. Sometimes the efforts are obvious; the new permanent collection galleries come to mind as it increased our exhibition space by 30 percent. Often it is the small things that may go unnoticed, such as the conservation of individual works of art so that our visitors see them in the best possible condition or our increased programming and public lectures sponsored by the Galleries. This year a shift in our schedule of exhibition openings will change to better meet the need of our students, faculty, and staff at the University. Opening our fall exhibitions just before classes begin will give first year students and their families a chance to visit during orientation week. Domenic Iacono, Director
Our inaugural exhibition is James Rosenquist: Illustrious Works on Paper, Illuminating Paintings (August 20- November 22, 2015). One of the major American artists of the late 20th century, Rosenquist is perhaps best known for his iconic large scale artwork F-111 (West, South, East, North) from 1974. This exhibition presents 35 works from the artist’s long career, including examples of his earliest abstractions created in the 1950s to his exploration and evolution into Pop Art, as well as recent works that typify his unique and powerful style. We will also be hosting a series of lectures during the exhibition that will investigate Rosenquist’s relationships with artists, printers, and the art scene of the last quarter of the 20th century. Many of the works in the exhibition are coming to Syracuse for the first time and the exhibition promises to be a highlight of our year. In order to provide some context for the Rosenquist exhibition we will also be displaying a selection of work by British artists created in the 1960s and early 1970s. While this was the period of the ‘British Invasion’ when music was the number one import from Britain, the influence in the art world was a bit different. American culture was having a tremendous impact on the younger generation of British artists; advertising and mass media blurred the lines of art, design, and communication and American art was making a powerful statement abroad. Artists like Joe Tilson, Peter Phillips and Eduardo Paolozzi were interpreting American ‘Pop’ and creating innovative ways to use advertising and mass media in their art. Patrick Hughes, untitled from the portfolio The Domestic Life of the Rainbow, 1977. SUAC 1980.057.03. Gift of Milton F. Campbell
We will also be displaying The New Humanists: Introspective Impressions from the Syracuse University Art Collection, curated
War II era. Influenced by German Expressionism, Surrealism,
by Assistant Director Andrew Saluti. The show examines those
and Social Realism, these artists sought an emotional response
artists who used observation and reflection to make their work
from the viewer. Included in the exhibition is the print work
about the psychological state of humanity in the post-World
of Leonard Baskin, Robert Marx, Mauricio Lasansky, Nancy Grossman, Jacob Landau, Don Cortese, Jack Levine, Fredrico Castellon and José Luis Cuevas. In the Print Study Room we will be presenting an interesting display about the art of the engraving. Last year we were contacted by Evan Lindquist, the first ‘Artist Laureate’ for the State of Arkansas and a longtime professor of printmaking and drawing at the Jonesboro campus of the Arkansas State University. Professor Lindquist had heard about our print collection and wanted to know our interest in acquiring a set of his engravings about important printmakers. A little research helped to learn more about this particular set of prints and our reaction was “We would love to have them.” The prints in the series include Martin Schöngauer, William Blake, Reginald Marsh, and others. As it happens we have prints in our collection by each of these artists so we developed a small exhibition of the Lindquist prints alongside works by the featured artists in the series.
Evan Lindquist, Albrecht Dürer Engraves His Initials, 2008. SUAC 2015.0477 Gift of Evan Lindquist in honor of Robert K. Newman. Licensed by VAGA, New York.
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NOTES FROM THE DIRECTOR cont. Our Photography Study Room will feature the exhibition
aptitude for the task they curate an exhibition on their own
Everyday Art: Street Photography. Curated by Emily K. Dittman,
with a staff person as advisor. This year one of our graduate
our Exhibitions and Collections Coordinator, the exhibition
students, Theresa Moir, has curated an exhibition of Stacy
examines those images that reveal everyday interactions
Pearsall photographs. A professional military photographer
among people. Ranging in time periods, geographic location
and SU alumna, Pearsall has served two tours to Iraq. During
and content, this exhibition presents work by such artists as
her time in the service, she traveled to over 41 countries and
Eugene Atget, Gary Winogrand and Donna Ferrato, each of
took thousands of photographs of her fellow soldiers. Hard
whom took their camera to the streets in order to capture
Earned: The Military Photographs of Stacy Pearsall presents
visions of everyday scenes the majority of people may not be
selections from her work as a combat photographer and her
able, or choose, to see.
recent Veteran’s Portrait Project. The selected photographs aesthetically and emotionally contextualize war from an
As the semester gets into high gear we will feature new displays
insider’s perspective. Her experience of combat provides an
to take advantage of Family Weekend and Orange Central
intimacy to the viewer, revealing closely guarded moments of
events giving visitors other opportunities and activities beyond
danger and friendship that resonate with refined composition,
the sporting events that usually populate those occasions.
color, and light.
One such display will focus on the work of Gregory Heisler, recently appointed Distinguished Professor of Photography
At the Louise and Bernard Palitz Gallery in New York City we
in the department of Multimedia Photography & Design at the
begin the year with Quiet Intersections: The Graphic Work of
Newhouse School of Public Communication. A most respected
Robert Kipniss. You may remember in our Spring edition of
practitioner, Heisler’s iconic portraits of celebrities, athletes,
this newsletter a piece by Associate Director and Curator of
and world leaders are instantly recognizable for their technical
Collections David Prince about James White who has been
mastery and thoughtful compositions. His portraits have
a long time collector of Kipniss art. This new exhibition
appeared as cover images on more than 70 issues of Time
highlights works from that collection and focuses on the
magazine, and his stunning portraits of Joyce Carol Oates,
development of the artist as a printmaker, not only as a
Hillary Clinton, Muhammad Ali, Bruce Springsteen and others
practitioner of the various media he uses but also as an artist
have appeared in Life, Esquire, Fortune, Sports Illustrated, and
who is using the media to best express aesthetic and creative
many more. Heisler has been said to combine “the eye of an
issues that are important to him.
artist, the mind of a scientist, and the heart of a journalist.” This display will feature many of his outstanding portrait
In December we will be featuring the work of Margie Hughto,
photographs along with new work that he has been developing
long-time Professor in the Department of Art who is a world-
over the last few months.
renowned ceramist. Painting in Clay: The Work of Margie Hughto will celebrate the artist’s long career through a variety
As you know the SUArt Galleries has served as a ‘laboratory’ for
of her clay based installation work and unique sculptural
our graduate students who are working towards an advanced
approach to contemporary ceramic art. You may know
degrees in Museum Studies and Art History. In addition to
Hughto’s work from the New York City subway installations
developing skills in the curatorship, organization, care and
at the World Trade Center and the American Museum of
maintenance of artwork, many have worked on exhibitions as
Natural History, or closer to home, at the Centro Bus station in
assistants to the curators, or in some cases when they show
downtown Syracuse.
Morton Kaish, Encounter I, c1945. SUAC 1962.124. From the exhibition The New Humanists: Introspective Impressions from the Syracuse University Art Collection.
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FEATURED/PALITZ GALLERY NYC
Robert Kipniss, Four Houses, 1991. SUAC 2015.0217. Gift of Mr. James F. White.
QUIET INTERSECTIONS:
THE GRAPHIC WORK OF ROBERT KIPNISS
August 31 – November 12, 2015 The Palitz Gallery, Syracuse University Lubin House 11 East 61st Street, New York City nyc.syr.edu/lubin-house/palitz-gallery The language of abstraction exists within the universe of images. Robert Kipniss Robert Kipniss’ pictorial style had largely matured by the time he made his first print in 1967. He had effectively transitioned from painting realistic landscapes, such as the rocky escarpments of the northern end of New York’s Central Park, to pictures that remained recognizable yet were composed of unrelated, sometimes imaginary, elements. The evolution was propelled by the artist’s growing conviction that his representational imagery didn’t have to reproduce visual reality. He learned that painting what you see could include what was seen by the mind’s eye. His move into printmaking was initially spurred by commercial considerations but over a relatively short time frame Kipniss developed an aesthetic interest and facility for the medium. His prints examine subjects similar to his paintings but offer different insights, often reflecting the print medium’s particular visual and technical characteristics of line and tone. Consequently Kipniss became more and more recognized as a printmaker and gained a new cadre of collectors who were particularly interested in his graphic output.
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CALENDAR/EXHIBITION AUGUST 20 – NOVEMBER 22, 2015 Main Gallery
ALWAYS ON VIEW
THE COLLECTION GALLERIES AND THE COLLETTE GALLERY
JAMES ROSENQUIST: Illustrious Works on Paper, Illuminating Paintings
of Ethnographic Art OCTOBER 6, 2015 – JANUARY 24, 2016 The Study Gallery
GREGORY HEISLER Portraits and Other Work
HARD EARNED:
James Rosenquist, Nails, 1973. Image courtesy of the artist. © 2015 James Rosenquist/Licensed by VAGA, New York. Used by permission of the artist. All rights reserved.
The Military Photographs of Stacy Pearsall
ON VIEW THROUGH SEPTEMBER 27
THE NEW HUMANISTS
GALLERY RECEPTION THURSDAY, NOVEMBER 19 5:00 – 7:00 P.M.
Introspective Impressions The Study Gallery
OPENING DECEMBER 17, 2015
BRITISH PRINTS IN THE AGE OF POP
POETRY OF CONTENT: FIVE CONTEMPORARY REALIST ARTISTS
OPENING RECEPTION THURSDAY, SEPTEMBER 10 5:00 - 7:00 P.M.
THE PALITZ GALLERY
The Photography Study Room
AUGUST 31 – NOVEMBER 12, 2015
Syracuse University Lubin House New York City
EVERYDAY ART: Street Photography
QUIET INTERSECTIONS The Graphic Work of Robert Kipniss
The Print Study Room
NOVEMBER 23, 2015 – FEBRUARY 4, 2016
EVAN LINDQUIST and A History of Engraving
PAINTING IN CLAY
The Fired Landscapes of Margie Hughto 6
CALENDAR/EDUCATION LECTURES/TOURS
LUNCHTIME LECTURES
FAMILY WEEKEND Friday, September 25
SELECT WEEKDAYS AT 12:15 P.M. For a complete list of scheduled lectures, visit suart.syr.edu
COLLECTION GALLERIES TOUR 11:00 A.M.
Wednesday, September 9 James Rosenquist and the American Print
JAMES ROSENQUIST TOUR 2:00 P.M.
Andrew J Saluti, Assistant Director, Syracuse University Art Galleries
Thursday, October 22 7:00 P.M. Slocum Hall Auditorium
Wednesday, September 16 British Prints in the Age of POP gallery tour Domenic J Iacono, Director, Syracuse University Art Galleries
The 2015 Syracuse Symposium™ Networks
THE ROSENQUIST NETWORK: Collaboration and Connections in the American Print Workshop
Wednesday, September 23 The New Humanists: Introspective Impressions gallery tour
This panel assembles some of the most influential print publishers
Andrew J Saluti, Assistant Director, Syracuse University Art Galleries
and scholars to explore the role the printmaking workshop has played in the career of artist James Rosenquist:
Director and Master Printer, Universal Limited Art Editions
Wednesday, September 30 Everyday Art: Street Photography Photography Study Room tour
DONALD SAFF
Emily Dittman, Exhibition and Collection Coordinator,
Emeritus Dean and Distinguished Professor, University of South
Syracuse University Art Galleries
SARAH C. BANCROFT Curator, Associate Director at Fluent~Collaborative/testsite, Austin, Texas BILL GOLDSTON
Florida. Founder of USF’s Graphicstudio
Wednesday, October 14 Gregory Heisler: Photographs gallery talk with the artist
Syracuse Symposium™ is organized and presented by the Syracuse University Humanities Center in the College of Arts and Sciences.
ORANGE CENTRAL HOMECOMING Friday, October 23
Wednesday, October 21 Sarah C. Bancroft Guest Curator, Illustrious Works on Paper, Illuminating Paintings
James Rosenquist gallery tour
ART ON CAMPUS TOUR 10:00 A.M.
Wednesday, November 4 Hard Earned: The Military Photography of Stacy Pearsall gallery talk with the curator
COLLECTIONS GALLERIES TOUR 11:00 A.M. JAMES ROSENQUIST TOUR 2:00 P.M. 7
ON THE ROAD/TRAVEX Pure Photography: Pictorial and Modern Photographs from the Syracuse University Art Collection DAUGHTREY GALLERY, HILLSDALE COLLEGE HILLSDALE, MI SEPTEMBER 13 - OCTOBER 2, 2015
An American in Venice: James McNeill Whistler and His Legacy POLK MUSEUM OF ART LAKELAND, FL OCTOBER 10 - DECEMBER 6, 2015
Pulled, Pressed and Screened: Important American Prints THE HYDE COLLECTION GLEN FALLS, NY OCTOBER 11, 2015 - JANUARY 10, 2016
The Artist Revealed: Artist Portraits and Self-Portraits FORT SMITH REGIONAL ART MUSEUM FORT SMITH, AR NOVEMBER 12 -DECEMBER 20, 2015
Karl Schrag: Memories and Premonitions HILLSTROM MUSEUM OF ART SAINT PETER, MN NOVEMBER 23, 2015 - JANUARY 29, 2016
Want to learn more about the exhibitions available? Visit us online at
travex.syr.edu 8
ALSO ON VIEW/EXHIBITION August 20 – September 27, 2015 IN THE STUDY GALLERY
BRITISH PRINTS IN THE AGE OF POP During the late 1950s and early 1960s American art had a huge impact around the globe. Artists such as Andy Warhol, Roy Lichtenstein and James Rosenquist were creating images that captured the imagination of the art world, in general, and British artists, in particular. Peter Blake, Peter Phillips, and Joe Tilson, all students at the Royal College of Art during the late 1950s, embraced the direction that the American artists were taking and generated a body of work that looked at the cinema, comic book art, advertising, popular music and product packaging as sources for their art. Many of these artists felt that what they saw in museums and the traditional approaches to art taught in universities and art schools did not represent what they saw around them every day. They looked to develop an art that would speak to contemporary issues and reflect popular culture. At its core Pop Art was designed for a primarily youthful mass audience that was witty, cosmopolitan, and not offended by the consumer driven, mass-produced product that was becoming increasingly ubiquitous. This exhibition displays the work of British artists whose work, on canvas and in print, incorporated these sentiments.
Joe Tilson, Ho Chi Min, 1970. SUAC 1979.0191. Gift of Steven and Bernice Sohacki © Joe Tilson.
THE NEW HUMANISTS Introspective Impressions from the Syracuse University Art Collection The New Humanists examines the swell of post-WWII visual artists making work rooted in the psychological state of humanity: through introspection, observation and reflection. Heavily influenced by German Expressionism, Surrealism, and the Social Realism of the 1930s, these artists sought to elicit an emotional response from the viewer - engaging us to question how we see ourselves and the world around us. At a time in America when Abstract Expressionism and the rise of Pop Art dominated the mainstream and garnered international attention, this group of artists developed a powerful genre that acts as a grounded counterpoint to their contemporaries. Included in the exhibition is the print work of Leonard Baskin, Robert Marx, Mauricio Lasansky, Nancy Grossman, Jacob Landau, Don Cortese, Jack Levine, Fredrico Castellon and José Luis Cuevas.
Leonard Baskin, The Cry, 1960, SUAC 1960.068.
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A NEW PERSPECTIVE/COLLECTION Judith’s clothing illustrates over 45 years of German fashion evolution. A red, silk lined ermine cloak flows over a richly designed, fashionable dress. Made from expensive, imported Italian fabrics the garment features slashed velvet sleeves and a gold brocade bodice. A matching beaded and quilted cap contains her hair over which a wide brimmed red velvet beret is set at a rakish angle. The slashings on her garments and thin gloves have military origins dating back to 1477, the year marking the end of the Burgundian wars.2 The style reached its height between 1520 and 1535 putting Judith’s attire at the peak of popularity. Her beret also had a martial connection, evoking the fancy flat brimmed caps worn by the Landsknecht, Germany’s well known and respected mercenary soldiers. Her accessories included several rings worn over her thin gloves and a gem encrusted carcanet affixed tightly around her neck. Below that is a woven gilded metal hobelspankette necklace, designed to resemble woven wood shavings.3 Cranach’s Judith aligned closely with her biblical description. 8 Judith: 7, 8 describes her: 7 Now she was very beautiful, charming to see. Her husband Manasseh had left her gold and silver, menservants and maidservants, herds and land; and she lived among all her possessions 8 without anyone finding a word to say against her, so devoutly did she fear God. The painting’s neutral setting, however, diminishes the narrative of a chaste, grieving widow saving her home and city from attacking Assyrian forces led by Holofernes. Instead this young woman with the slightest of satisfied smiles gazes at the viewer as her left hand loosely grips Holofernes’ hair. Scholars have pointed out that images of Judith from this period are often part of a genre describing women of power. The subject gained popularity in the 15th and 16th centuries first, as a humorous critique of men powerless in their lust for women and later as cautionary scenes of men who succumbed to feminine sexuality.4
Lucas Cranach the Elder, Judith with the Head of Holofernes, 1525. SUAC 0018.006
David L Prince Associate Director and Curator of Collections
As compelling as this theory is, there is also the possibility that the painting was intended as a broader socio-political statement. These were the early years of the Reformation and Charles V’s Edict of Worms in 1521 had harshly condemned Wittenberg’s Martin Luther, accusing him of being a, “…reviver of the old and condemned heresies and inventor of new ones.” 5 Frederick the Wise literally kidnapped Luther after he departed the Diet of Worms to protect him from seizure by subjects loyal to the Emperor and, for a year, hid the Augustinian monk in the Wartburg, his castle in central Germany.
Included among the items received in 1886 when Syracuse University acquired the world famous Ranke Library was an easel sized oil painting on panel by Lucas Cranach the Elder of Judith with the Head of Holofernes, 1525. The painting describes a young, richly dressed woman standing behind a low wall. Her right hand grips the asymmetrical pommel of an upright sword while her left hand’s fingers are entwined in the hair of a decapitated man’s head. Eyes and mouth slightly open, Cranach positions Holofernes’ head to accurately display the neck’s anatomy and musculature.
The Emperor’s intemperate language angered the German Princes and caused growing hostility to external interference. German City councils hotly debated whether to accept the Edit’s rejection of Luther’s reforms. Cranach, being a close friend of Luther’s and a former Wittenberg burgomaster, was well aware of the religious controversy and its potential political impact. Illustrated pamphlets like Christi und Antichristi aided Reform leaders in enlisting the broadest possible support. Additionally, the printing press proliferated Reformation writings across the European continent so quickly that the Church found it much more difficult to put down the theological revolt.6
At the time Cranach was the court painter to Frederick the Wise, Elector of Saxony. By 1525 the artist had achieved much success making portraits of German princes and the leaders of the Protestant Reformation. He counted Martin Luther among his close friends, having served as a witness at Luther’s wedding.1 Cranach was the co-owner of a press in Wittenberg that published a variety of Luther’s ecclesiastical writings. He contributed a series of woodcuts to the 1521 pamphlet, Passional Christi und Antichristi. The text, by Luther, criticized the Catholic Church and was illustrated by a series of Cranach woodcut prints that combined recognizable bible scenes with images depicting contemporary Church practices. One example paired Christ driving the moneylenders from the temple with the selling of indulgences (with Pope Leo X seated on a dais overseeing and recording the transactions).
Coupling the theme of Judith with a woman dressed in contemporary German clothing, Lucas Cranach composed a modern narrative, pitting the comparably small Duchy of Saxony against the combined might of the Catholic Church and the Holy Roman Empire. As did the bible, the painting portrays Judith as a woman of means who, understanding the threat to her city and trusting in her God to support her, calmly did what was necessary to save it. Her faith and devotion, central tenets of Reformation philosophy, made her an appropriate symbol of the new faith. Ultimately, a similar result ensued with the establishment of Lutheranism and other denominations of Protestant Christianity. 1 Henry Ganss, “Martin Luther.” The Catholic Encyclopedia. Vol. 9.New York: Robert Appleton Company, 1910. 20 Jul. 2015<http://www.newadvent.org/cathen/09438b.htm>. n. pag. 20 July 2015 2 At the time, a mixed force of Lorraine and Swiss soldiers defeated and killed Charles the Bold, Duke of Burgundy in his attempt to recapture the city of Nancy. The victorious soldiers mended their torn uniforms with strips of cloth taken from tents, banners and furnishings left behind by the fleeing Burgundian forces. 3 Andrew Weislogel, Judith and Lucretia: Fashioning Women in the Northern Renaissance. Ithaca: Herbert F. Johnson Museum of Art, 2005, p. 22 4 Ibid, p. 9
10 Luther, Martin. “Passional Christi Und Antichristi.” (1521). Print. Harvard Library
5 Dennis Bratcher, ed., The Voice: Biblical and Theological Resources for Growing Christians http://www.cresourcei.org/creededictworms.html. n. pag. 20 July 2015 6 Jared Rubin, 2016. Rulers, Religion, and Riches: Why the West got rich and the Middle East did not. Cambridge University Press, forthcoming.
THE UNIVERSITY LENS/EXHIBITION GREGORY HEISLER: Portraits and Other Work
Left: Bruce Springsteen, 2002. Right: Robert Ballard, c1999. Courtesy of the artist.
It has been said that Gregory Heisler’s portraits are masterful compositions and that the lighting for his photographs borders on genius. This exhibition includes more than twenty of his portraits and other recent work clearly demonstrates his skill at creating interesting images of people who range from the unknown to some of the most recognizable political, sport and celebrity figures of our day.
HARD EARNED:
The Military Photographs of Stacy Pearsall A graduate of the Newhouse school’s military photojournalism program, Stacy Pearsall ‘04 started her military career at 17 when she enlisted in the Air Force. She was one of the few women ever to be accepted to the highly competitive 1st Combat Camera Squadron and was twice awarded the honor of Military Photographer of the Year. Her insight into military movement and action allowed her to be deliberate in her photographs – resulting in images that instead of depicting the heat of battle they display the quiet moments of combat, haunting in their false tranquility. The photos remind the viewer that war is not just the front lines – battle includes camaraderie, solitude, and patience. Now medically retired from combat photography, Pearsall continues to Stacy Pearsall, Breaking Dawn, 2003. Courtesy of the artist.
photograph veterans for her Veterans Portrait Project.
OCTOBER 6, 2015 – JANUARY 24, 2016 GALLERY RECEPTION Wednesday, November 4, 5:00–7:00 p.m.
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UPCOMING/PALITZ GALLERY NYC
Margie Hughto, from the series Setting Sun, 2011. Courtesy of the artist.
PAINTING IN CLAY
THE PALITZ GALLERY
The Fired Landscapes of Margie Hughto
Syracuse University Lubin House 11 East 61st Street, New York City
November 23, 2015 – February 4, 2016
nyc.syr.edu/lubin-house/palitz-gallery
Painting in Clay: The Fired Landscapes of Margie Hughto will celebrate the artist’s long and varied career, exhibiting a selection of new wall pieces, studies from major public commissions and examples from the nationally recognized project New Works in Clay. A fixture of the ceramics and studio art faculty at Syracuse University since 1974, Hughto’s clay based installation work, collaborative projects
Art
and unique sculptural approach to the medium have established her as a vanguard of contemporary ceramic art.
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