Artist Profiles

Richard Anuszkiewicz
Intersecting Yellow - 2000
painted steel
45 x 50 inches on 9 x 38.5 inch base (114.3 x 127 cm on 22.86 x 97.79 cm)


		Richard Anuszkiewicz		
		LINEAR SCULPTURES

		Space and color have always been primary elements in my work. My earliest abstract works from the 
		mid-fifties are best described as organic abstractions consisting of complementary colors juxtaposed in 
		ambiguous spatial relationships such as figure and ground reversal.

		Line began to appear in my paintings during the sixties. This development resulted from my interest in 
		"optical mixture" - using the eye to mix color as opposed to mixing the paint physically on a palette 
		(a method associated with both impressionism and pointillism). The shapes or "figures" that had previously 
		been organic, became more geometric and regular. This freed me to fully explore color as a variable, with 
		the use of line.

		Over the next twenty-five years, I used "optical mixture" in a variety of "series". These series implemented a 
		consistent geometric format within which the color(s) would vary; among these were:  "geometric 
		abstractions", "portals", "pairs", "spectral complementaries", "centered squares", and finally the "temple 
		series". This last series evolved after a trip I made in 1981 to view the ancient art of Egypt. The line in the 
		"temple series" became so bold that the paintings had an almost architectural dimension. I began to pursue 
		this "architectural" quality, creating a series of constructions built with lines in three - dimensional relief. 
		These constructions were no longer bound by the constraint of a square or rectangular format.

		In the early nineties I freed, or removed line from the background and began to create fully dimensional 
		linear sculptures. I think of them as linear color drawings in space. The current exhibition consists of these 
		new works of painted steel which explore the creation of transparent and opaque space. The five newest 
		works introduce the idea of the "Broken Square".

		Richard Anuszkiewicz, November 2000

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John Baeder
Super Duper Weenie - 2000
oil on canvas
30 x 40 inches (76.2 x 101.6 cm)

		John Baeder
		Various facets of life become vehicles for liberating the soul.

		When I was five years old I began traveling with my parents and sister to Chicago by train. From Chicago 
		we went to South Bend, Indiana by inter--urban transit. The "South Shore" which historically was the last 
		inter-urban train to run in America, ceased operation in the early seventies. These trains provided the 
		stimulus of visual ecstasy. This was the beginning of early sensory experiences that immersed themselves 
		deep into my unconscious, later on providing seeds for the conscious, and they then blossomed and 
		became art.

		On the train the dining car was more than just an eating locale, it was compounded with the fulfillment of 
		looking out the window of our "drawing room" and soaking in the countryside and the backyards of small 
		towns and communities. For my tiny tender eye, these were paintings, framed by large windows. My first 
		museum.

		During the same early period, due to housing shortages we lived in a hotel for six months. Across from the 
		"Biltmore" in Atlanta, Georgia was the "Majestic". It was an eatery with a counter, but not a diner in the 
		traditional, pure, bonafide sense. It had short stools and I was enthralled sitting on those stools with all the 
		grown-ups and was more thrilled by observing with complete and clear amazement the choreography of the 
		counter-man preparing food so swiftly on the grill in front of me. I couldn't tear my eyes away from the twists 
		and turns of the wrist flipping burgers and flopping toast; the opening and closing of the polished metal 
		doors; and of course the magical one-hand-egg-breaking routine. I loved it all. It was entertainment in a 
		spiritual area I knew nothing about. More visual joy for the little boy and his beginning sensibilities that were 
		later redefined and redistributed on canvas.

		I am concerned with process: the revelation of a particular and poignant part of the urban landscape, and 
		thus the preservation of a unique and rapidly disappearing icon of American roadside culture. (Take from 
		culture in one dimension and contribute back in another dimension.) A significant aspect of the process is 
		the quest, which basically is the transformation of documented archaeological findings,travel, investigation 
		and gathering of material. The painting is the mere act of transcendence, an end product that enters space 
		and time; the final leg of the quest.

		John Baeder, 2000

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Scott Redden
#45 - 1995
oil, acrylic and photograph on paper
14 x 11 inches (35.56 x 27.94 cm)

	
		Scott Redden
		I am interested in the structure of things. In musical composition, Baroque counterpoint for instance, a 
		seemingly chaotic display of disorder reduces down to a meticulously ordered unification of individual 
		melodies governed by a harmonic whole. Painting, too, can be broken down, revealing only the structural 
		necessities with which it is built. In formalist painting, elements such as hue, value and chroma designate 
		color. Color, in accordance with other formal attributes such as line, form, space and texture, creates a 
		vocabulary with which the painter speaks. The organization of these integral parts composes a dialogue, a 
		calculated whole resulting in a finished painting or concept, completing the artistic process. It is this formal 
		investigation that most concerns me.

		Scott Redden, November 2000   

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Keith Long
Feral 1 - 2000
wood, painted metal
56 x 82 inches (142.2 x 208.3 cm)


		Keith Long
		Constructed wall-relief sculptures that combine natural and man-made forms into 
symmetrical abstract compositions. The pieces often constructed from the discards of contemporary
culture are incorporated into the construct in order to be perceived in a formistic way yet retaining
the recognizable original character as well. The works have a totemic, icon-like presence and are
sometimes humorous and often brooding. Artist's Statement: I am always interested and somewhat amused when people ask me if my work is influenced by
Northwest Coast Indian constructions, Australian aborigine rock and "Dream" paintings, constructed
star charts of the Micronesian canoeists, African tribal art, American Indian handicrafts and sand
paintings, Egyptian artifacts, etc. I am aware of and enjoy looking at these and other art forms and
artifacts. However, most of these objects were made for purposes other than "art." Only the eclecticism of our contemporary esthetic would allow the conglomerate of, for example, an Egyptian
canoptic jar (made for holding preserved viscera), a prehistoric carved "Venus," a Mimbres pot
(made to cover the face of the deceased in burial), and an African fetish figure which is pierced with
nails, to be thought of as an "art collection." While we admire their form, level of abstraction, ingenuity and imagination, etc., the primary sense and function of these objects is lost to us. To
simply copy the forms of these artifacts would be plagiarism without content. By contrast, I saw recently, in a collection of African and Oceanic art, a mask from the Tusyan tribe
(whose art I was seeing for the first time) which took almost exactly the same form as one of my
pieces from a number of years ago. I would call this, in Darwinian terms, a case of "parallel
development," and I was truly charmed and pleased by the discovery. Clearly, the mask-maker
and I have many things in common. For me, true motivation comes from the natural sciences in general, and biology, fossils and
paleontology in particular. Far more interesting to me than the average art gallery or art museum is
the Museum of Natural History in New York, or better still, the Museum d'Histoire Naturelle In Paris,
where skeletons and specimens are lined up side by side with no fanfare or attempt to aggrandize
the spectacularly unique beauty of their individual forms. I find it tremendously exciting to view the delicate indentations of a fossilized plant or animal, and to try to have some sense of the
individual life that formed it. If I have any real heroes of art, they are the prehistoric cave painters-it
is really exciting to see an image made as much as 30,000 years ago, and to feel within a relatively
uncomplicated image made without the successive layering of cultural imprinting and experiences,
the delicate decisiveness and choice of a human hand and brain. This is "art" made only for the innocent purpose of creating an image - or as close to it as we are likely to see - and again, I feel a
kinship and a communality with the artist, even though our methods and results differ. It is my opinion that people try to find a relationship between my work and other cultures, not because
there is some kind of superficial resemblance in common, but rather because my work is estranged
from the Western tradition of art-making, and the viewer, sensing this, feels the need to attach the
work to some cultural roots. I try to make something which is an object in its own right, commanding
its own space in the world by reason of its own unique character. It is presented frontally and formally, almost clinically, like a carefully prepared microscopic slide designed to clarify or instruct
the viewer, as opposed to assuming some relaxed or naturalistic posture. Referentially, my work is
concerned with, for the most part, highly abstract notions of growth and interrelation of forms as they
occur in the physical and natural world, rather than an attempt to picture or copy some particular
aspect of nature. There is no implied window or point of view that refers to the naturalistic world in
my pieces aside from basic considerations of horizontality and verticality; only the centrality and
internal logic of the object invites the viewer to regard each of them as an entity. I have a fascination,
almost a preoccupation with symmetry, or rather the kind of symmetry which is found biologically,
and it permeates my work. When symmetry or some play upon symmetry is not present in a piece
of mine, it is conspicuous by its absence, like lack of movement in a Calder. My pieces are built physically with a kind of collage mentality, adding and subtracting chunks of
material at will. These materials vary - sometimes they come already manufactured from another
source and are used as is, sometimes they are raw material directly from natural sources, and
sometimes they are completely reworked by me, shaped, carved, painted, etc. I am most pleased
with a piece when it is impossible to determine at what point intervention on my part has taken place. Although it is enjoyable to build in the surrealistic reaction that recognition of an element from a
disparate source engenders, it is better still when it does not even occur to the viewer to ask what
the original source of materials in the piece is. Art, if it is mature work, can contain many psychological and emotional aspects simultaneously. I am
excited by the realization that my better works contain a complicated combination of sometimes
conflicting messages. The simplistic pieces are discarded, are reworked, or become parts of other
works; they are not intelligent or complex enough to have an ongoing relationship with me, their
maker, let alone the outside world. I am governed by the pantheistic sense that everything is absolutely unique, can occur only once, and
should be appreciated, perhaps revered, for this quality. This is as true for individual artworks as it is
for individual people, or for that matter, birds in the tree, or plates of bean salad on the dinner table. When the object on which I am working begins to have its own internal integrity and logic, it then
begins to become interesting to me. At this point, paradoxically, I have less to do with it than when it
was in a more formative stage - it begins to construct itself. This object starts to assume a "presence," a place of its own in the world which is at first delicate and somewhat tentative. I try to help it along, to
give it space to find itself beyond the incidental or haphazard. Finally, if we are both lucky, it asserts
itself, much like an ingenious child who does or says something it was not taught. Like any other individual, it has become unique. This moment, to me, contains the real, perhaps magical essence of
art, the reason why Man has been involved in art-making since the emergence of Homo Sapiens and
perhaps before, and the reason why I am hopelessly and continuously intrigued and involved in such a
ridiculous undertaking. Keith Long, August, 1995 New York

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John Ranard
"Inside a High-Risk Community" Kaliningrad, Russia - 1998
inkjet print on rag paper
37 x 88 inches (93.98 x 223.52 cm)


		John Ranard
		IInside a High-Risk Community
		HIV and Intervention within Russia and Neighboring States

		This social documentary photographic project examines those forces that intersect and govern the 
		HIV/AIDS epidemic within Russia and neighboring states. This is a story about information,  the right of 
		the public's access to clear, concise and accurate information. HIV and AIDS are often ruled by 
		myth - propagated by self-interest and misinformation. These photographs will make clear that myth and 
		ignorance spread this disease and that intelligent prophylactic behavior will stem it. Reliable information 
		processed by the brain is the body's best defense.

		This project began years ago and has followed the unique evolution the Russian epidemic has taken. 
		During the summer of 1995, I watched Moscow architectural university students home cook and then inject 
		their own chemistry. They communicated ignorance of the multiple dangers associated with this type of 
		drug use. At the time there were less than 500 documented HIV cases in all of Russia. Today this epidemic 
		is the fastest growing HIV epidemic in the world. 85% of new infections are drug related, many of them 
		teenagers.

		Throughout Russia, the police prompted by public fear, picked out teenagers that looked like "narkomanie", 
		Russian slang for junkies, off the street to search for track marks. IV drug users, making a dangerous habit 
		even more dangerous, began to shoot drugs in their neck and underarms. Anyone arrested for drug 
		possession, including cannabis, could spend years behind bars. Up to twenty percent of people with HIV 
		are or have been prisoners; no statistics exist on how many became positive while inmates. Prisoners are 
		segregated according to HIV status; a new prison has just been built in Siberia especially for those with HIV. 
		In April 1998, the Russian Duma passed a law making it illegal to be an addict, jeopardizing all voluntary 
		detox programs. Tuberculosis wards, historically segregated from the rest of the hospital, filled up with 
		HIV/AIDS patients. It became general knowledge that dirty needles spread the virus, addicts in Odessa 
		began to clean their syringes with urine.

		The photographs concentrate on the debate centering on intervention, harm reduction, and the effect 
		government and public policy have on the future course this virus takes. Yet these photographs are not 
		abstract. These are photographs of individuals lying waste to a disease that exploits ignorance.

		The work has been supported by the International Harm Reduction Development program of the Open 
		Society Institute and Medecins sans Frontiers, Holland. It won first place in the The University of Missouri 
		School of Journalism and the National Press Photographer's Association 55th Annual Pictures of the year 
		for the category Newspaper - Issue Reporting Picture Story.

		The photographs are printed on 11x14 and 16x20 silver gelatin fiber based paper.

		John Ranard, November, 2000

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Stephen Lane
Salvage - 2000
oil on wood
each panel approx. 20 x 24 inches (50.8 x 60.96 cm)


		Stephen Lane
		My art is about material, space, light and time. My paintings are about transforming the ordinary and giving 
		it life through the usage and isolation of paint and wood.

		The oil on wood paintings are heavily painted, the initial appearance is of subdued color that is pushed 
		back to create an effect of a whitish field. My art is created through many layers of paint and color; it is 
		involved with the process of painting and repainting.

		I am looking to transform the ordinary and then to isolate it onto a rectangle. The paintings are cut, reversed 
		and redone. The stretcher bars are placed on the front of the paintings; they work as part of the painting.

		The pieces being shown are fifteen paintings that can be viewed together or separately. My art involves the 
		process of changing and redoing - making something from what was.

		Stephen Lane, November 2000

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