Art in Town

Art in the Workplace

Art On Campus

Art In Trenton

Other Galleries

Art by the River

To the North

Other Museums

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Published in U.S. 1 Newspaper on April 19, 2000. All rights reserved.

Artsbridge at Prallsville

E-mail: Pat

Not a barn in the show." If that comment by Artsbridge’s

Edie Sharp, co-chair of the sixth annual art exhibition, were not

enough to propel you there, about 95 other reasons — that is,

all the works on view — should do it.

Truly "a contemporary show," this national juried exhibition

— "Artsbridge at Prallsville Mills ’00" — is marked

by much broader acceptance than is traditional. Think Bucks County

barns and realism in general. And the "national" part of the

title says still more about the artistic spread and variety of works.

Two top winners come from California and Texas; 70 of the show’s 549

entrants came from outside the four-state area, so this is more cosmopolitan

than the usual Delaware River area art show. Jurors were Elizabeth

Osborne, a watercolorist and instructor at the Philadelphia Academy

of Fine Arts, and the internationally-known photographer Klaus Schnitzer,

who teaches at Montclair State University.

Proof of its contemporary nature: There are enigmas, strangenesses,

unbeautiful works, and outre things happening here. There’s a story

behind many of the pieces, and it’s not "autumn comes to the fields

nearby" or "the orchard in springtime."

On April 19, at 7 p.m., the Artsbridge monthly meeting, open to the

public, will be held in the Prallsville gallery, where member artists

represented in the show will talk about their works.

Well, nobody promised us art we could hang over the couch. Probably

not Caroline Gibson’s "Long Johns," fetching as they are,

and winner of "most innovative material" recognition award.

Cloth, paper and aluminum, they hang, stiffly, on a blue clothesline,

flaunting beautiful silver-toned fasteners and a ruff of metal pleats

at cuff and ankle. Nor Barry Snyder’s mixed media "Blinder Mask,"

with its black leather harness headdress, almond-shaped eye slits,

and toothy grimace cut from metal, and a weathered cylindrical bell

hanging by a cord, suggesting an oversize bolo tie.

You don’t simply look at these pieces and walk away; you want to ask

the artists how their works came to be, what they were thinking, how

they assembled them.

And Gibson and Snyder are just two of the participating artists whose

entries may startle, amuse, or mystify. Richard Laurent’s "Eve

Without Adam," a smallish, darkish oil on canvas, suggests otherworldly

stories. Atop a wholly non-traditional figure, a woman’s face is surrounded

by fur and pointed animal ears; this creature’s body looks silky-furry,

except that the front "legs" look ladder-like, and only one

hind leg reaches the ground, with the other somehow stunted. A curtain

along the top seems to open on either side of "Eve," and an

apple glows in the left foreground. Below a cloud-filled sky, sunlit

green hills roll out behind her.

Somehow related to Eve, at least in the ear department,

Laurent’s smaller oil, "Little Red Dog," seems caught in mid-lope,

looking coolly out at viewers. Edward Pardee’s black and white photograph,

"Dream No. 15," employs tones, shadows, and angles to convey

a few images of the same figure falling backward, down stairs. Another

story, this one a mystery for sure.

"What did you say?" asks a woman in closeup, her head turned

to face the viewer — or whoever is next to her in bed, attached

to the hairy legs that stretch out next to hers. A green sweater lies

on the pale blue cover, and a purple carpet runs to the doorway. On

the other side of the room a mirror over the chest of drawers may

reflect the couple on the bed. Mavis Smith’s oil on board is painted

flatly, with a cartoon-bubble for the question being asked by her

distinctively depicted woman.

Cheryl Raywood’s large oil painting on linen, "Wedding Dreams,"

shows a woman who might once have been called "statuesque"

in white dress and pensive mood. Is this a portrait? Is the woman

anticipating — or regretting — something? What’s her story?

Aileen Cramer’s mixed-media table or floor light, "Spirit Totem,"

stands two-feet tall and incorporates what looks like flecked handmade

paper with embedded insect forms. Somewhat resembling a tepee, it

casts a warm light. M.J. Gelarden’s appealing mixed media figure,

"Pescare (To Fish)," features a thought-provoking if not appetizing

carrot for a right arm, amid more recognizable fishing paraphernalia.

This artist won the show’s sculpture award for "Say Goodnight

Gracie," a piece that could be viewed as more puzzling than interesting.

Another of the artists represented in this exhibit by two works, James

Feehan continues in the enigmatic vein with "Martin Chronicles,"

a small oil that shows three very uncommon figures. As usual, this

painting is smoothly rendered, and suggests another time or place

or dimension.

More traditional, though not at all conventional, is

Susan Worthington Duffy’s pastel-watercolor "Fushia," a small,

glowing "sunsetscape," vivid even from a distance in black

mat and frame — as if seen from a tiny window in an unlikely inside

wall. Annelies van Dommelen’s watercolor abstraction, "Fish Face,"

offers her signature colors, and none of the silhouetted figures that

often people her works; "Fish Face" is stronger without them.

Mary Blackey’s watercolor paintings are far from flowers or landscapes,

the customary subjects of this medium. In "Totemic Magnitude,"

she shows shaded shapes in tones of brown that might be curving walls

or forms. Kosmas Ballis’s clay "Evolutionary Bouquet 2000"

is a rounded arrangement in glazed, wonderfully gaudy reds, oranges,

and yellows. And in two untitled works, Debora Muhl uses fiber with

Maine sweetgrass on gourds to create aromatic, green vessels.

Harold Porterfield’s first-prize winning acrylic, "After the Rain,"

and his acrylic "Frosty Autumn Morning" are atypical in both

color and cost, despite their traditional-sounding titles. His apparent

use of brush-flicked sprays of paint dots in high-voltage colors reflects

an uncommon vision that makes for compelling landscapes.

Deep window sills throughout the two-floor Prallsville exhibition

provide excellent display areas for sculptures and ceramics, and Lou

Ferra’s black steel "Carrion II," a bird of prey, or of road

kill, shows up in dark relief against a window.

Incorporated in 1993, and sometimes, necessarily, seeming

to be finding its way, Artsbridge has matured. The group’s professionalism

is evident throughout this exhibition, from its very mounting through

its useful program and just-informative-enough wall labels. Sharp

also described the large volume of entries as "a growing-experience"

for members, with the show’s national nature giving them wider exposure

and competitive opportunities. There were times in the past when visitors

to this show seemed more interested in the wine and cheese than in

the art. This year, the work speaks for itself — as well as a

growing level of sophistication. Also appreciated: the group’s decision

to move back from July to April, hoping to avoid the horrible heat

and humidity that often confronted, and deterred, viewers — especially

at the crowded opening reception. It worked.

Prallsville Mills itself is the least contemporary element of this

Artsbridge exhibition. The first grist mill on this site, at the juncture

of the Delaware River, the Delaware and Raritan Canal, and the Wickecheoke

Creek, goes back to 1720. Near the end of the 18th century, John Prall

Jr. bought the property, replaced the original wooden mill with a

stone one, and erected a saw mill and other buildings to develop "Prallsville"

into an important commercial center. Dating from its 1877 rebuilding

after a fire, the present mill is the largest building at the site,

housing cultural and environmental events as well as serving historical

purposes. The entire area is leased by the Delaware River Mill Society

at Stockton, which is gradually restoring it.

On opening night from the mill’s tall windows: wide, swiftly-moving

waters, growing grayer each minute, matching the darkening sky, and

then, steady rain — probably the most traditional scene of all

in this year’s Artsbridge exhibition. Rain or shine, or even unseasonal

snow, it’s a show to see.

— Pat Summers

Artsbridge at Prallsville ’00, Prallsville Mills, Route

29, Stockton, 609-397-3349. Area artists selected for the group’s

sixth annual juried show give a talk on their work. Exhibition is

open daily, 11 a.m. to 5 p.m., through Tuesday, April 25. Wednesday,

April 19, 7:30 p.m.

Artsbridge of Bucks and Hunterdon Counties hosts art events on the

third Wednesday of every month at 7:30 p.m. at Riverrun Gallery in

the Laceworks, 287 South Main Street, Lambertville. Call for membership


Top Of Page
Art in Town

Chapin School, 4101 Princeton Pike, 609-921-7206. "John

King: Wildlife Photography," to May 12. Open by appointment during

school hours.

Firebird Gallery, 15 Witherspoon, 609-688-0775. An exhibition

of work by children’s book illustrator Charles Santore, celebrating

his latest book, "The Fox and the Rooster," with original

artwork from his "Snow White" and "Little Mermaid."

To May 15. Gallery hours are Tuesday to Sunday, 11 a.m. to 6 p.m.

Born in Philadelphia in 1935, Santore graduated from the Museum School

of Art, studying illustration with Henry C. Pitz, Albert Gold, and

Ben Eisenstat. His first editorial assignment was for the Saturday

Evening Post. Since venturing into children’s book illustration in

1985, he has produced seven books. In 1992 he was honored with a major

exhibition at the Brandywine River Museum.

Medical Center at Princeton, Witherspoon Street, 609-497-4192.

A dining room exhibition of watercolors by Beverly S. Nickel. Percentage

of sales benefits the Medical Center. To May 18. Open 8 a.m. to 7

p.m. daily.

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Art in the Workplace

Gallery at Bristol-Myers Squibb, Route 206 and Province

Line Road, 609-252-6275. "Still Working: New Jersey Artists Over

65." The celebratory exhibition features 11 New Jersey-based artists:

Miriam Beerman, Walter Culbreth, Marguerite Doernbach, Tom George,

Riva Helfond, Margaret K. Johnson, Jacob Landau, Lyanne Malamed, Jack

Roth, Naomi Savage, and Sheba Sharrow. To June 4. Gallery hours are

Monday to Friday, 9 a.m. to 5 p.m.; weekends and holidays, 1 to 5


Merrill Lynch Financial Center, 800 Scudders Mill Road,

Plainsboro, 609-282-3401. A solo exhibition of sculpture and works

on paper by Eleanor Burnette. A graduate of Chicago State University,

and a former apprentice at the Johnson Atelier, her work has been

exhibited extensively, including a 20-year retrospective at Mercer

County College. To April 27.

Stark & Stark, 993 Lenox Drive, Building 2, Lawrenceville,

609-895-7307. "Optical Illusions: Nancy Laughlin and David Savage,"

works by two artists who explore the effects of heightened color and

unexpected formal relationships to surprise and engage the viewer.

To June 9. Exhibit is open Monday to Friday, 9 a.m. to 5 p.m.

Laughlin graduated from the California College of Arts and Crafts

in 1973 followed by studies at the Johnson Atelier. Savage, born in

Brooklyn in 1923, earned a degree in architecture before moving to

Paris where he studied with the painter Fernand Leger until 1951 when

he returned to the U.S. and architecture. His recent series of abstract

paintings is the "Jyira Series."

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Art On Campus

Art Museum, Princeton University, 609-258-3788. "A

Window into Collecting American Folk Art: The Edward Duff Balken Collection

at Princeton," 65 paintings and drawings by major 19th-century

figures who include Zedakiah Belknap, Erastus Salisbury Field, Sarah

Perkins, Ammi Phillips, and Asahel Powers. To June 11. Open Tuesday

through Saturday, 10 a.m. to 5 p.m.; Sunday 1 to 5 p.m. Free tours

every Saturday at 2 p.m.

A native of Pittsburgh, the collector, Edward Balken, was a member

of the Princeton Class of 1897 who later became curator of the department

of prints and drawings at the Carnegie Institute.

Also, "Photographs by Barbara Bosworth," a survey exhibition

of panoramic photographs and the debut of the 24-print narrative sequence,

"The Bitterroot River," to June 18; "The Responsive Eye:

Optical Art from the Collection," to April 23; "The Dawn of

Maya Kings: An Exhibition of Early Maya Stela," to July 30; and

"Flora and Fauna in Chinese Painting," to July 30.

College of New Jersey, Art Gallery, Holman Hall, 609-771-2198.

A juried exhibition of works by TCNJ art students in all media. To

April 26. Open Monday through Friday, noon to 3 p.m.; Thursday 7 to

9 p.m.; and Sunday, 1 to 3 p.m.

Rider University Art Gallery, Route 206, Lawrenceville,

609-895-5464. An exhibition of drawings and paintings by Lennart Anderson,

a preeminent figurative painter runs to April 30. Gallery hours are

Monday to Thursday, 2 to 8 p.m.; Friday to Sunday, 2 to 5 p.m.

Born in Detroit in 1928, Anderson studied at the Art Institute of

Chicago, Cranbrook Academy, and with Edwin Dickinson at the Art Students

League. Having taught at Pratt, Yale, Princeton, and the Skowhegan

School, he currently teaches at Brooklyn College.

"What distinguishes Anderson from other figurative artists,"

says curator Harry Naar, "is his continual pursuit of his figurative

esthetic vision and his constant investigation of, and desire to,

discover the visual elements, such as location, proportion, light

and dark, and the compositional arrangements as imagined and seen."

Top Of Page
Art In Trenton

Capital Health System, Mercer Campus, 446 Bellevue Avenue,

Trenton, 609-394-4121. Garden State Watercolor Society exhibition

by members of the statewide organization, founded in 1970 by Dagmar

Tribble. In the lobby gallery to April 28.

Extension Gallery, 60 Ward Avenue, Mercerville, 609-890-7777.

"I’ll Make Me a World," an exhibition of sculpture by Clifford

Ward, dedicated to sculptors Selma Burke and Augusta Savage. To April

27. Gallery hours are Monday to Thursday, 10 a.m. to 4 p.m.

Grounds for Sculpture, 18 Fairgrounds Road, Hamilton,

609-586-0616. Fall-Winter Exhibition. In the Museum and Domestic Arts

Building, "Beverly Pepper," one-artist show. On the mezzanine,

a thematic photography show, "Focus on Sculpture." To April

16. Thursday through Saturday, 10 a.m. to 4 p.m., and by appointment.

Rhinehart-Fischer Gallery, 46 West Lafayette, Trenton,

609-695-0061. Figural bronzes by Joseph Menna, Glenn Cullen, Miguel

Angelo Silva, and Chris Rothermel, with florals and landscapes by

artists from the 19th century to the present. To May 15. Wednesday

to Saturday, 10 a.m. to 5 p.m.; Sunday, noon to 5 p.m.

New Jersey State Museum, 205 West State Street, Trenton,

609-292-6464. "Unseen Treasures: Imperial Russia and the New World,"

an exhibit of historic treasures of the Russian empire. The dazzling

collection of 300 art objects and artifacts from Russian’s famed State

Historical Museum and State Archive is displayed in five historical

settings. Extended through Sunday, April 23. Admission $10; $8.50

seniors and students; $6 children. Advance tickets at 800-766-6048

or online at Tuesday through Saturday,

9 a.m. to 5 p.m.; Sunday 11 a.m. to 6 p.m.

Also on exhibit: "Forgotten Gateway: The Abandoned Buildings of

Ellis Island," Larry Racioppo’s exhibition of the little-known

world of Ellis Island’s abandoned buildings, reminders of their historical

significance and current disrepair. To June 30. Tuesday to Saturday,

9 a.m. to 4:45 p.m.; Sunday noon to 5 p.m.

Racioppo has been photographing the physical landscape for nearly

30 years. The son of a longshoreman, he often focuses on the hidden,

forgotten, and disappearing waterfront. "I photograph the things

I feel connected to," says Racioppo: his four grandparents entered

America through the Ellis Island gateway.

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Other Galleries

DeLann Gallery, Princeton Meadows Shopping Center, Plainsboro,

609-799-6706. "A Room of One’s Own," a group exhibition by

five contemporary women artists: Brazilian artist Amneris Hartley;

Bangladeshi artist Zakia Aziz Sayed; New York artist Deborah Dorsey;

and New Jersey artists Jill Kerwick and Gloria Wiernik. To April 29.

Gallery hours are Tuesday to Thursday, 11 a.m. to 6 p.m.; Friday,

11 a.m. to 7 p.m.; Saturday, 10 a.m. to 6 p.m.

Firehouse Gallery, 8 Walnut Street, Bordentown, 609-298-3742.

"Diversity, a Celebration of Individual Expression" featuring

co-op members Eric Gibbons, Beverly Fredericks, Sarah Bernotas, Richard

Gerster, Robert Sinkus, Dorothy Orosz, Michael Bergman, Jane Lawrence,

Charlotte Jacks, Dorothy Amsden, Carmen Johnson, Jon Wilson, Bob Gherardi,

and Egil Jonsson. To May 30. Gallery hours are Wednesday 4 to 9 p.m.;

Friday & Saturday, 11 a.m. to 5 p.m.; and Sunday, 10 a.m. to 2 p.m.

Main Street Gallery, Montgomery Center, Route 206, Skillman,

609-683-8092. Jay and Marilyn Anderson, photographs in black and white,

color, and other techniques. To June 1. Hours are Monday through Friday,

10 a.m. to 6 p.m.; Thursday to 9 p.m.; and Saturday, 9:30 a.m. to

5 p.m.

Montgomery Cultural Center, 1860 House, 124 Montgomery

Road, 609-921-3272. Princeton Photography Club group show by 18 professional

and amateur photographers continues to May 7. In the Upstairs Gallery,

paintings by professional artists Connie Louise Gray and Diana Wikoc

Patton, to April 28. Gallery hours are Tuesdays to Saturdays, 10 a.m.

to 3 p.m.

Washington Township Arts Council, Washington Township

Utilities Office, Route 130, just south of Route 33, 609-259-3502.

Second annual community show selected by Dallas Piotrowski with work

by Tom Chiola, Kristina Sadley, Steven Marvsky, Karen Bacyewski, Deborah

Paglione, and Seow-Chu See. Through June 3.

Top Of Page
Art by the River

ABC Gallery, Lambertville Public Library, 6 Lilly Street,

609-397-0275. "Landscapes, Beachscapes," an exhibition

of oils by Pete Biester. His subjects include the high country of

Northern New Mexico and nostalgic canvases he calls "Ghosts of

the ’30s." To May 13. Open Monday to Thursday, 1 to 9 p.m.; Friday

1 to 5 p.m.; and Saturday, 10 a.m. to 5 p.m.

Artists’ Gallery, 32 Coryell Street, Lambertville, 609-397-4588.

A shared show featuring watercolors and drawings by B.A. Keogh, and

recent crayon and charcoal drawings by Paul Mordetksy. A Hightstown

native, Mordetsky teaches at the Princeton Latin Academy, Artworks,

and Mercer College. He has a degree from the Philadelphia College

of Art. Show runs to April 30. Open Friday, Saturday, and Sunday,

11 a.m. to 6 p.m.

Coryell Gallery, 8 Coryell Street, Lambertville, 609-397-0804.

"Annual Spring Show" featuring recent paintings by Tom Chesar

and pastels by Pamela M. Miller created to accompany poems by Emily

Dickinson. To May 21. Gallery is open Wednesday to Sunday, 11 a.m.

to 5 p.m.

Top Of Page
To the North

American Hungarian Foundation, 300 Somerset Street, New

Brunswick, 732-846-5777. "Mihaly Munkacsy In America," featuring

works of the celebrated Hungarian painter who, at the time of his

death in 1900, had become the most famous Hungarian in the world.

His 1890 commission, "The Conquest of Hungary," can be seen

today in the Hungarian parliament building. His American patrons included

Cornelius and William Vanderbilt, Jay Gould, William Astor, Joseph

Pulitzer, and department store magnate John Wanamaker, who purchased

his paintings of "Christ Before Pilate" and "Golgotha"

for the equivalent of $2 million. Museum hours are Tuesday to Saturday,

11 a.m. to 4 p.m.; and Sunday, 1 to 4 p.m., for the show that runs

to June 18. $5 donation.

Top Of Page
Other Museums

James A. Michener Art Museum, 138 South Pine Street, Doylestown,

215-340-9800. "The Art Gene," the annual Bucks County Invitational,

curated by Bruce Katsiff, focuses on four pairs of related artists:

George and Daniel Anthonisen; Robert and Jason Dodge; Emmet and Elijah

Gowin; and Barbara and Mark Osterman. The show includes videos of

the artists discussing their work. To July 2. Tuesday to Friday, 10

a.m. to 4:30 p.m.; Saturday & Sunday, to 5 p.m. $5; children free.


Also, "No Ordinary Land: Encounters in a Changing Environment,"

a 10-year retrospective of collaborative photographs by Virginia Beahan

and Laura McPhee that explores the way people interact with the landscapes

in which they live. Organized by the Aperture Foundation, to June


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