Summer 2011

On display July 2 through October 9, 2011

It's Always Rock and Roll:  The Work of Photojournalist Janet Macoska

For more than 25 years, Cleveland-based photojournalist Janet Macoska has been capturing some of rock and roll's most legendary performers through the lens of her camera.  In 1974, she began capturing many of the musicians who had their beginnings in Cleveland or found early notoriety there.  She has also traveled around the globe, photographing entertainment personalities, and her images have appeared in Creem, Rolling Stone, People, 16, Entertainment Weekly, the New York Times and the London Times.  Reflecting on her career in a recent interview with Black & White Magazine, Macoska said, "I know a lot of my photographs are going to be the images that will define what was going on at this important time in musical history.  Hopefully, people will see my photographs and feel some of the emotion and energy that the audience was hearing and seeing with me in those memorable moments."  This exhibit was organized by the Rock and Roll Hall of Fame and Museum, Cleveland, Ohio.

Bruce Springsteen Paul McCartney Tina Turner

Bruce Springsteen, 1984
Photograph by Janet Macoska
Courtesy of the photographer

Paul McCartney, 1989
Photograph by Janet Macoska
Courtesy of the photographer

Tina Turner, 1985
Photograph by Janet Macoska
Courtesy of the photographer

 

 

The Velvet Years:  1965-1967, Warhol's Factory
Photographs by Stephen Shore

This collection of photographs, taken by Stephen Shore between 1965 and 1967, depicts the scene at Andy Warhol's studio, the Factory.  Shore captures a time when Warhol was emerging as a prominent visual artist and avant-garde filmmaker.  The Factory that Shore depicts is populated with a diverse group of musicians, artists, actors, writers and aspiring cultural sophisticates.  This exhibit was organized by the Rock and Roll Hall of Fame and Museum, Cleveland, Ohio.

Stephen Shore's work has been widely published and exhibited for the past twenty-five years.  He was the first living photographer to have a one-man show at the Metropolitan Museum of Art, New York.  He has also had one-man shows at the Museum of Modern Art, New York and the Art Institute of Chicago and has received fellowships from the Guggenheim Foundation and the national Endowment for the Arts.  His series of exhibitions at Light Gallery in New York in the early 1970s sparked interest in color photography and led the rebirth of the use of the view camera for documentary work.  Aperture has published two monographs of his photographs, Uncommon Places and The Gardens at Giverny. Stephen Shore currently serves as chairman of the photography department at Bard College.  He is represented by Pace/MacGill in New York City.

 Velvet years Warhol and Reed Group                            

Lou Reed and John Cale
Photograph by Stephen Shore
Courtesy of the photographer

Andy Warhol and Lou Reed, lead singer, guitarist and songwriter of the Velvet Underground 
Photograph by Stephen Shore
Courtesy of the photographer

The Velvets and Nico being filmed by Andy Warhol for the "Exploding Plastic Inevitable"
Photograph by Stephen Shore
Courtesy of the photographer

 

E. Brady Robinson:  Transfer

E. Brady Robinson's work is informed by a culture of instant and mobile image capture. She uses the camera to examine her environment and record fleeting moments of existence. Transfer is based on the concept of the drift – Drifting draws upon pure chance and opportunity for new and authentic experiences generated by different atmospheres from urban landscapes and new places. The snapshot aesthetic is utilized as means to quickly record, document and observe.

In Transfer, Robinson combines mobile image capture with the concept of the psychogeographic drift. Psychogeography is “the study of precise laws and specific effects of geographic environments, consciously organized or not, on the emotions and behavior of individuals” coined by French Theorist Guy Debord. The installation is a mapping of geography encountered at home and abroad.

The artist's exploration of the formal qualities of the snapshot is met with rigorous editing and purposeful sequencing culled from over 1,000 images. The installation is a deliberate re-contextualization of sequential shots and describes a territory where the social/cultural landscape, personal experience and pure aesthetics meet.  This presentation of thirty photographic images is dynamic and site-specific, designed by the artist herself.

E. Brady Robinson received her MFA in Photography from Cranbrook Academy of Art (1996) and BFA in Photography from The Maryland Institute, College of Art in Baltimore, Maryland (1993). Robinson is Associate Professor in the MFA in Studio Art & the Computer at University of Central Florida. She maintains studios in Washington, DC and Orlando, Florida.

I-4 
E.Brady Robinson 
I-4 Light, 2011 
Inkjet print 

 

Above Virginia

E.Brady Robinson                                                                                                                                     
Above Virginia, 2011
Inkjet print
 
 

Douglas Witmer:  I Found a Reason

This exhibition brings together two series of intimate abstract works by Philadelphia artist Douglas Witmer.  Beginning with found materials, both bodies of work go in unique directions that differ surprisingly from the artist's usual reductive geometric paintings.  Produced over a span of more than ten years, Witmer did not release the works from the studio until 2010.  This exhibition marks the Florida debut for both series. 

Fruitville is the name for a body of work that has been ogoing since 2000; however, individual objects are undated...produced in intermittent spurts, often with years between periods of activity.  The Fruitville Pike is a road where Douglas Witmer grew up in Lancaster County, Pennsylvania.  It's a major thoroughfare, but doesn't go to, from, or through anywhere called Fruitville.  Fruitville exists in Witmer's imagination as a kind of Eden:  a place of purity, clarity, and quiet delight.  It manifests itself in an ongoing visual process of experimentation with wood, paint, glue, paper, ink, light, and shadows.  The things that make up Witmer's Fruitville exist to be in relationship to the places where they can be seen-- and also in relationship with each other.

Inspired by Indian Tantric drawings for the first time in 2004, Witmer connected immediately and profoundly with their visual energy and uncanny balance that felt precisely calibrated, yet simultaneously blunt and raw.  Given a cache of vintage school-grade writing paper found by his father in 2006, Witmer found the color of the old paper reminded him of the color of the Tantric drawings and one day began layering upon this paper the simplest rectangular forms in black and white.  The paper had a way of receiving and transforming every kind of touch and material the artist put to it, with the sheet size and repetitive ruled lines serving as grounding constants.  School Papers represents Witmer's exploration of a personal tactility and geometry in a contemplative mindset, just as within the Tantric tradition those Indian drawings serve specific meditative purposes for both their creators and their viewers. 

Douglas Witmer's work has been exhibited internationally, including at such prestigious venues as MoMA PS1; The Painting Center, New York; The Indianapolis Museum of Contemporary Art; and the Sydney Non-Objective in Sydney, Australia.  He holds a BA from Goshen College and an MFA from The Pennysylvania Academy of the Fine Arts.


 Douglas Witmer Installation Fruitville detail School Papers

Douglas Witmer, (1971-)
Installation view of Fruitville  and School Papers series, 2010
Mixed media

Douglas Witmer, (1971-)
Untitled (detail), from ongoing Fruitville  series since 2000
Water-soluble crayon on museum board with acrylic on found wood
Courtesy of the artist

Douglas Witmer, (1971-)
Untitled (from the School Papers series), 2011-1
Acrylic on found paper
approx. 9 x 6”
Courtesy of the artist

 

  • Douglas Witmer Lecture
    Thursday, September 22, 2011
    6:00 p.m.
    Cornell Fine Arts Museum
    Gallery talk open to the public, surveying the artist's career to date, including his commissions for religious spaces

 

The Last Harvest:  A History and Tribute to the Life and Work of the Farmworkers on Lake Apopka

The Last Harvest is a documentary project tracing the life of farmworkers who found their way of life was to rapidly come to an end. In 1997 the Florida legislature purchased the land surrounding Lake Apopka and declared that Lake Apopka was to be flooded. This land was farmed by men and women economically struggling; they were left jobless. The state cited their end goal was to balance the eco-system of the notoriously polluted lake, but as a result a culture of farmworkers was threatened.

The Farmworkers Association of Florida implored various organizations to help document their fading why of life. From this request came the The Last Harvest Photographic project. The history of the farmworkers and their families were gathered, written down, and powerfully photographed. Through these images, the project captures the finality of the harvest. Additional research was gathered on the history of the farms, the people, and the effect the flooding of Lake Apopka would have on the community at large.

Students at the Crealdé School of Art under the guidance of documentary photographers Faith Amon and Crealdé Executive Director Peter Schreyer captured the images.

To find out more about the Rollins-Apopka Community Partnership, please click here.

 The last Harvest