• Velocity of a Single Gesture, or How to Build an Empire

    Velocity of a Single Gesture, or How to Build an Empire on view spring of 2007. “In an interview by journalist Ron Suskind, a senior White House adviser is quoted as saying “We’re an empire now, and when we act, we create our own reality.” In the exhibition “The Velocity of Gesture, or How to Build an Empire,” artists are recognized as rulers of their picture planes, creating their “own reality” through personal sensibility and gesture. Conducting with a baton, making the sign of the cross, waving a magic wand or saluting a crowd—all are acts in which the drama and tempo of a hand movement have significance. Power lies…

  • Blackbird on My Shoulder

    Blackbird on My Shoulder on view fall 2006 organized with support from The Margaret Virginia Philip Art Endowment Fund. Blackbird on my Shoulder featured visual artists, writers and performers who were unshakably attached to the southeastern United States and were inspired by auto(biography) and storytelling. Stories, song and poetry were installed among photographs, drawings and sculptural installation. From the marrow of the South tales grow like beanstalks, reaching towards the patient sky. Blackbird on my Shoulder was organized with support from The Margaret Virginia Philip Art Endowment Fund.

  • Pink Days Azure Nights

    Pink Days Azure Nights on view Spring 2006 curated by Lisa Alembik. “This exhibition does not revolve around a theme. Pink Days, Azure Nights was borne from a call that brought forth artists unknown to the organizer in addition to new ideas from familiar ones. This exhibition does not revolve around a theme, but connections are made. Is it something in the air, or burning questions that have evolved over centuries time of artists and culture makers? That which is occurring in the world around us is dredging up unavoidable complexities linked to raw emotion and new action. The volcanic eruptions and digging down of Julie Puttgen and Celeste Roberge…

  • limbs heart tongue & teeth

    limbs heart tongue & teeth on view fall 2005 curated by Lisa Alembik. “These fleshy vessels, our bodies, vehicles for our being, push into our surroundings. Form merges and turns as we respond to our environment. Moving, measuring time, we keep beat with our hearts. Gravity tethers us while the earth turns, propelled through space. We gather knowledge through our senses. Semi permeable membranes brush up against molecules that we inhale, absorb, sometimes reject. How do we begin to understand our bodies? As babies we recognize ourselves as extensions of our parents’ hands, breasts, arms, feet. (Funny how as we age that knowing returns as sentiment when we see similarities…

  • Tender Landscapes

    Tender Landscapes on view Spring 2004 curated by Lisa Alembik. “Artists will tread the broad, awkward, often absurd boundary between humans and nature, negotiating various roles – mediator, interloper, documenter, amateur scientist. Some directly engage the land, feeling an undeniable bond because they, of course, are of nature. A sense of responsibility calls for them to be caretakers as best they can. They dig, peel, gather, nurture. The landscape, encompassing both flora and fauna, provides solace. The natural world enters their art through a deep understanding of the landscapes subtle and monumental power, and respect for human collaboration with the earth. The artists in Tender Landscape responded to their natural…

  • No Agenda But Their Own

    No Agenda But Their Own on view Fall 2002 curated by Jerry Cullum. “I tried very hard not to curate this show. It illustrates the point I’m trying to make that in the end, a few of the artists wouldn’t let me avoid it; more than one of them told me to quit trying to interest a woman curator in the topic of shifting sensibilities among women artists, and just do it. These are not your father’s feminists.* But neither are they that misleading or meaningless rubric, “post-feminist”. They’re something else altogether. They’re simply autonomous, not paying much attention to anyone else’s attempts to restrict their artmaking and their reflections…

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