Artist Profiles

JAMES DEL GROSSO
Asparagus II - 2003
oil on canvas
20 x 30 inches (50.8 x 76.2 cm)

		James Del Grosso
		I begin work by arranging some objects, such as an apple and some grapes, by a window with natural light. 
		I prefer a single light source because it shows the most weight of objects and creates the most dramatic 
		effects.

		Simplicity of both objects and composition is important to keep the viewers within themselves. I don't want 
		them disturbed by ambiguity, complicated arrangements, or unfamiliar objects. I want the form and the light 
		to be the unquestioned subjects.

		I use a camera to help me see objectively and to record close-up details. Looking through the lens separates 
		me from what I'm looking at and helps me to see what's there rather than what I think is there. I take many 
		rolls of film of each arrangement and many arrangements of the same objects before I find one I'll work into 
		a painting.

		I work quickly on a painting, and within a few days, I have it looking almost finished, to other people, but at 
		this point it's only the beginning of many more hours of slowly clarifying the images. I work with thin washes 
		or glazes of color, adding one upon the other to achieve the effects I want. This process takes time and 
		helps me to think slowly.

		I strive to give a clear and large-scale experience of simply seeing.

		James Del Grosso, 2003

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KEITH LONG
Cerf Volant 7 - 2003
wood
100 x 101 inches (254 x 256.54 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, 2003

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ADELA LEIBOWITZ
Right Back Where We Started From - 2001- 02
gouache & acrylic
40 x 54 inches (101.6 x 137.16 cm)

		Adela Leibowitz
		“Nowhere Paintings”
According to the artist, these black and white paintings were inspired by the manipulative conventions of the gothic, proto-slasher films of the 70’s. They suggest a stranger about to discover dark secrets buried in the privacy of a lonely house. Gazing at these back roads at dusk, the viewer is positioned as that stranger on the verge of being scared to death. Privileged detachment is about to be undone.
		Adela Leibowitz, 2003

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National Prison Wardens Art Preference Survey:
If you could have a major work of art from the past or present to hang or place in your office, which work of art would you select?

Film Directors Art Preference Survey:
If you were asked to direct a film about the life of a famous artist from the past or present, whom would you select?

Art Censorship Survey:
Should art be censored? If so, what type of censorship should occur? If not, why?

DON CELENDER
Conceptual Documentation

		Don Celender
Dr. Donald Celender continues his exploration into public and private attitudes towards the arts with three surveys: The Censorship Survey asks if art should ever be censored and if so, what kind? The National Prison Wardens Survey inquires into the personal artistic preferences of prison wardens around the country, and the Film Directors Survey asks various film directors which famous artist they would select for a film biography if they had to choose, and why? The actual responses of the participants will be exhibited
.
		Don Celender

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RICHARD HOSCHLER
Spinescense - 2003
mixed media
37 x 13 x 5.5 inches (93.98 x 33.02 x 13.97 cm)

		Richard Hoschler
Richard Hoschler is an artist who creates complex three-dimensional mixed media assemblages involving a wide range of concepts and materials. A strong common thread of mood, design and form is carried throughout the entire body of work. The artist associates his work closely with unearthed artifacts or relics echoing an industrialized nature. “Organic Machines” is a fitting visual to describe Richard’s style.
		Each work is a complex hybrid of ideas combining conceptual, symbolic and subjective thought processes. 
		Although the work is spontaneous, there is a deliberate focus on composition. Objective thoughts are 
		addressed as well such as form, structure, shape, weight and movement. Dialogue between these 
		thoughts coalesce into a visual diary. The assemblages are created from all types of media which span 
		from found objects, nondescript daily items, metal, wood and latex, to magnified lenses and photos. 
		In the artist’s recent work, it is the addition of magnification and layered image transparencies that lift each 
		piece to a fourth dimension. These materials morph and distort the view at every angle similar to the effects 
		of a hologram. Due to the distortions, the pieces have the appearance of flux and movement.
		Richard Hoschler, 2003
 

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