Art in Town

Art in the Workplace

Campus Arts

Art by the River

Art In Trenton

Area Museums

Corrections or additions?

This article by Pat Summers was prepared for the September 26,

2001 edition of U.S. 1 Newspaper. All rights reserved.

Gallery 14 Makes Its

To visit the brand-new Gallery 14 in Hopewell is to

walk in on the excitement of 10 seasoned artist-photographers who

have found a new venue to show their work. On July 14 the lease was

signed for their second floor space at 14 Mercer Street, and they

hosted an opening reception Friday, September 14. That should settle

any questions about the choice of gallery name.

In the bright, white space, with warm-toned newly refinished wood

floors, it’s a pleasure to hear group members talk about how the

gallery

has evolved over time and the group’s plans. Best of all is the range

of photographic styles, subjects, and technologies represented here.

"Lenses and Light: Ten Photographic Visions" is art

photography

in its many traditional and modern incarnations.

Some Gallery 14 members have day jobs, while are retired; many work

in home darkrooms, and most have traveled widely. Yet a reservoir

of professionalism informs the gallery and the venture: the meticulous

wall labels, the crisp white bins holding work (all wrapped and

clearly

marked) by each photographer, the start toward an informational binder

for each member, the very climate in the place. (And the bowl of

chocolate

kisses doesn’t hurt either.)

Did someone say "creme de la creme"? All Gallery 14 members

are also part of the Princeton Photography Club, and most are in

another

offshoot, the photo discussion group, whose raison d’etre is sharing

art photography for positive critique. They go way back together and

know one another’s work. "There’s a very high level of trust,"

says David Miller, the gallery’s co-managing director, of his

colleagues,

united for this new venture in a limited liability corporation.

To find Mercer Street, off Hopewell’s Broad Street, turns right, and

look left for number 14. As soon as flag companies free up from the

demand for United States flags, Miller says, a Gallery 14 pennant

will fly from a window during open hours. While on the subject of

the September 11 attack on America, it should be mentioned that on

a table just inside the gallery, a tasteful message of sympathy stood

beside a color photo of the Twin Towers. The overriding current event

was neither ignored nor cause for maudlin display; what there was

seemed simply caring.

"The images here are of photographic origin." That much, Don

Connors says, is true of everything in Gallery 14. The images then

go through whatever process the artist may choose. Connors,

co-managing

director, expands: "The images may be slightly or heavily

manipulated

through digital techniques. Physical painting or digital painting

through the computer may be involved." Starting an introductory

walk-around Gallery 14, the two artists practically drown each other

out in their eagerness to talk about photography and the work on view.

If one can extrapolate from them, the group’s plan to have its members

staff the gallery during its weekend hours is a good one.

On this afternoon, Rhoda Kassof-Isaac, a painter and

a photographer, has gallery duty, so her colleagues describe her

approach

to photography. She might start by taking beautiful pictures of Italy,

for instance, then change the reality they represent by hand-painting,

using double exposures, incorporating her own oil paintings in what

could become a very complex mix. "You start to build up layers

of perception and alternate views of reality," Connors says.

A 19th-century technology, photography became a 20th-century

communications

means, and has more recently been admitted to the pantheon of

recognized

fine-art forms. Not only that, it is also a comparatively affordable

decorative art — witness the magazine spreads on today’s interiors

that feature art photography.

Noting that her oil paintings are considerably more expensive than

her photography, Kassof-Isaac says photography allows more people

to own good art. To which Connors adds that certain areas of

photography

have reached parity with paintings, and cites the tremendously high

quality and longevity of giclee prints. Giclee (from the French, and

pronounced Gee-clay) prints are generated from digital files and

printed

on ink-jet printers. Some, says Connors, can last 100 to 200 years,

or as long as their (archival) paper will last.

Reference to the growing popularity of digital art, coupled with the

too-common confusion about unlimited versus limited-edition prints,

prompts Connors’ emphatic statement: "Any prints here, however

produced, will be limited editions. We are committed to producing

art work, which means we’re not in the business of cranking out

thousands

of copies of something."

A negative or a transparency is in fact a digital source, he cautions,

and someone could produce 10,000 prints from it, or do the same thing

with a digital file. "Ultimately, though, it comes down to the

integrity of the artist and the trust that we hope the public has

in us as artists to limit our work. When someone invests in one of

our pieces — not only financially but emotionally too — that

will grow with them during their lives. It’s a vision of the subject

or emotion that’s being expressed. It should grow financially as

well,"

he says, "and we want to make sure that happens."

From the entrance to Gallery 14, the visitor faces a few brightly

abstract framed photographs, with reds and yellows prevailing —

at least in memory’s eye. These were produced by Heinz Gartlgruber,

using a process he developed that all starts with a silver tray and

a refrigerator. He puts the tray into the freezer to get it very cold,

so condensation forms when he takes it out. As that happens,

Gartlgruber

reflects off the ice-cold silver surface something from the natural

world with a lot of color, say, a bouquet of roses. To capture all

these tiny little condensation bubbles, he shoots with a macro lens.

"I think of it as glacial art," Connors says, noting that

Gartlgruber also makes beautiful images of Florida water birds.

Marilyn Anderson specializes in "sabatier," or solarization

— the process of exposing a print to light before it’s fully

developed,

causing an effect that can be quite beautiful. It creates a

well-delineated

edge, in effect a positive and a negative at the same time. In her

reality-based images, she sometimes combines hand-tinting and use

of infrared film. The work of her husband, Jay Anderson, includes

both traditional photography, in black-and-white, and "excellent

digital work too," Connors says. "There are many different

painterly techniques that can be introduced once you have scanned

an image into what we call the `digital darkroom.’ The computer has

given photographers the confidence to re-discover older or forgotten

techniques like hand-tinting."

Like many of the Gallery 14 artists, Carol Yam is well-traveled, but

she also draws on images outside her back door. A purple and gold

flower close up becomes sheer abstract beauty, and her crowd of roses

presents a sea of gorgeous faces. Ed Greenblat, also president of

the Princeton Photography Club, is represented by some black-and-white

images of nudes, seemingly in motion, and shots around Princeton —

notably one showing heavy fog obscuring a figure inside a campus arch.

Vivian Abbott, also a Princeton Photography Club officer and a world

traveler, often focuses closely on nature at home. Her images include

vivid and patterned butterflies, part of a flower petal with minutely

textured veins, moisture drops on autumn leaves.

Working with a large-format camera, M. Jay Goodkind makes traditional

images of landscapes in the tradition of the pioneer nature

photographer

Ansel Adams. Connors calls the large format camera a "more

contemplative

way to work. You must use a tripod, so you need to think about things.

You sort of let the landscape surround you before you set up and

shoot."

Goodkind’s close-up image of a fern, vividly green with precise

curling

tendrils, approaches abstraction. Of it, Connors says, "All of

us seek that transcendental moment. It’s like you’re a gymnast, or

someone in a circus, bouncing on the trampoline. Every once in a

while,

because you’ve been bouncing for so long, you go up and you just flip!

And that’s what this is — it’s his double half gainer!"

As for Connors himself, "I haven’t been in my home darkroom in

six months," he says. "That’s another benefit of the digital

darkroom: you’re not down in a dark darkroom with your hands wet."

So, he has no traditional silver prints in the show. Instead, he

shoots

with an 8×10 view camera, a huge, accordion-like box; scans his work

into a computer; and makes giclee prints. An ardent Francophile,

Connors

shows an image of an 11th-century Gallic bench set against a building

wall artfully covered with vines. His territorial range also

encompasses

Barnegat Bay, and his favorite times to shoot are early and late in

the day, "when landscape comes alive."

Formerly an international banker, David Miller has lived all over

the globe and used his camera as a travel journal during that time,

often making wide-angle panoramic images ("I like the

distortion").

His scenes of faraway places range from the giant carved Buddha

destroyed

not long ago in Afghanistan, to the classic London umbrella store,

to street photography in Russia. His images of tattoos sprang from

a series he made on Seaside (Heights), and for some time, Miller

photographed

Princeton’s dear departed Mercer Oak, often from unusual angles.

Though

he has long used swing lens cameras and a 35mm with wide negatives,

Miller also enjoys manipulating the surface of Polaroid pictures

(which

can be done for up to 24 hours or after reheating the image), and

he recently began exploring digital photography. It must come with

the territory.

"Lenses and Light: 10 Photographic Visions" is described as

"the first annual fall group show." Together with monthly

shows of members’ work, two at a time, that’s a very nice prospect.

Welcome to the neighborhood, Gallery 14.

— Pat Summers

Gallery 14, 14 Mercer Street, Hopewell, 609-333-8511.

Open Saturdays, noon to 6 p.m.; and Sundays, 1 to 5 p.m. Website:

www.photogallery14.com

Top Of Page
Art in Town

Chapin School , 4101 Princeton Pike, 609-924-7206. New

works by Abe Liebmann. The West Orange artist’s intricate abstracts

are created in enamel gloss housepaint on Luan wood. On view during

school hours. To October 4.

Marsha Child Contemporary , 220 Alexander Street,

609-497-7330.

Solo show of new paintings by Belarussian-born artist Igo Tishin,

his first U.S. exhibit. Gallery hours are Tuesday to Saturday, 10:30

a.m. to 5:30 p.m. To October 14.

Medical Center at Princeton , 253 Witherspoon Street,

609-497-4192.

Paintings by Calvin Cobb Hart. Born into a family of recognized

painters,

Hart studied art at Boise State University and California College

of Arts and Crafts. Part of sales benefit the Medical Center. On view

in the dining room daily from 8 a.m. to 7 p.m. To November 21.

Williams Gallery , 16-1/2 Witherspoon Street, 609-921-1142.

"Modernism, Mr. Magoo, and More," featuring new and other

works by master animator, artist, and filmmaker Jules Engel.

The Hungarian-born artist, who began his career at Walt Disney

Studios, and was part of the team that created 1950s cartoon favorites

that include Mr. Magoo, also created lithographs at the Tamarind

Workshop

and Tyler Graphics. His prints are in the collection of the Museum

of Modern Art, and has been shown at the Whitney Museum and the

Hirschorn,

among others. Gallery hours are Tuesday to Saturday, 11 a.m. to 5

p.m., and by appointment. To October 20.

Top Of Page
Art in the Workplace

Johnson & Johnson World Headquarters Gallery , New

Brunswick,

732-524-6957. "Wounds," a collection of artworks by Anne

Dushanko

Dobek designed to evoke the emotional turmoil of psychic and bodily

pain. To September 27. By appointment only.

Robert Wood Johnson University Hospital at Hamilton , Lower

Conference Area, 1 Hamilton Health Place, Hamilton, 609-584-6427.

A solo exhibit of watercolors and oils by Maxwell Nimeck, part of

the hospital’s "Art and Soul Program." To October 3.

Stark & Stark , 993 Lenox Drive, Building Two,

Lawrenceville,

609-895-7386. Works by two photographers: Paul Kallich, showing his

Ellis Island Series, and Leo Ward. Gallery hours are Monday to Friday,

9 a.m. to 5 p.m. To October 12.

Area Galleries

Hopewell Frame Shop , 24 West Broad Street, Hopewell,

609-466-0817.

Show by nine artists of The Art Group, formed in 1992. Members are

J.N. Betz, Judith Koppel, Nadine Berkowsky, Liz Adams, Seow-Chu See,

Helen Post, Stephanie Mandelbaum, Edith Kogan, Gloria Weirnik, and

Edith Hodge Pletzner. Shop hours are Tuesday to Friday, 10 a.m. to

5 p.m.; Saturday, 9 a.m. to 3 p.m. To November 10.

Montgomery Cultural Center , 1860 House, 124 Montgomery

Road, 609-921-3272. In the main gallery: a solo show featuring

paintings

by Gail Bracegirdle, member of the Philadelphia Watercolor Society,

to October 30. Upstairs: "Perceptions IV," with colorful,

water-based works by Connie Gray and new travel paintings by Diana

Patton, to October 14. Gallery hours are Tuesday to Friday, 10 a.m.to

3 p.m.; Sunday, 1 to 4 p.m.

Morpeth Gallery , 43 West Broad Street, Hopewell,

609-333-9393.

Michael McGinley’s exhibit of recent paintings that explores issues

of faith and spirituality in contemporary industrial society. Open

Wednesday to Saturday, 10 a.m. to 6 p.m.; Sunday, noon to 5 p.m. To

October 13.

Peddie School , Mariboe Gallery, Peddie School, Hightstown,

609-490-7550. Annual faculty exhibit featuring recent works by Tim

Trelease, Catherine Robohm Watkins, Joan Krejcar Sharma, and Michael

Maxwell. The gallery is open Monday to Friday, 9 a.m. to 3 p.m. To

October 12.

Rider University Art Gallery , Route 206, Lawrenceville,

609-896-5168. "Moments of Seeing" featuring the black and

white ink paintings and drawings of artist and medical doctor

Frederick

Franck. Now age 92, Franck’s subjects have included Albert Schweitzer,

Pope John XXIII, and Japanese Buddhist sage Daisetz Tsuzuki. Gallery

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

5 p.m. To October 28.

"Frederick Franck is an extraordinary individual," says Harry

Naar, director of the gallery. "He is an outstanding recorder

of events. His paintings and sculptures often convey sacred and, at

times, mysterious overtones."

Stony Brook-Millstone Watershed , 31 Titus Mill Road,

Pennington,

609-737-7592. "Sense of Place," an exhibition featuring the

fine art and illustrative photography of Phil Moylan, Andy Chen, Marc

Stempel, and George Vogel. To November 10.

Top Of Page
Campus Arts

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

Photographs Look Like," the annual teaching show for Art History

248, featuring recent and historic gems from the permanent collection.

Daguerreotypes dating back to photography’s inception in 1839,

ambrotypes,

tintypes, stereographs, and cartes-de-visites are featured, together

with cutting-edge contemporary works in Cibachrome, Polaroid and

digital

formats. To November 11.

The museum is open Tuesday through Saturday, 10 a.m. to 5 p.m.;

Sunday 1 to 5 p.m. Free tours of the collection are every Saturday

at 2 p.m.

Firestone Library , Princeton University, 609-258-3184.

"The Light of Ancient Athens: A Photographic Journey by Felix

Bonfils, 1868-1887," an historic series of 42 large-format

photographs

taken in Beirut by the 19th-century French photographer. Open

weekdays

9 a.m. to 5 p.m.; Wednesday evenings to 8 p.m.; and weekends, noon

to 5 p.m. To October 7.

Milberg Gallery , Firestone Library, Princeton

University,

609-258-3197. "For the Love of Books and Prints: Elmer Adler and

the Graphic Arts Collection at Princeton University Library,"

celebrating the 1940 founding of a unique collection. Gallery is open

Monday through Friday, 9 a.m. to 4:30 p.m.; weekends noon to 5 p.m.

To October 7.

College of New Jersey , Art Gallery, Holman Hall, Ewing,

609-771-2198. Works in all media by faculty members Bruce Rigby,

Elizabeth

Mackie, and Anita Allyn. Gallery hours are Monday through Friday,

noon to 3 p.m.; Thursday 7 to 9 p.m.; and Sunday, 1 to 5 p.m. To

October

3.

Lawrenceville School , Gruss Center of Visual Arts,

Lawrenceville,

609-620-6026. Two photographic projects: "Ed Greenblat,

Photographs,"

featuring images of the Trenton Educational Dance Institute. Also

"Myself, My Camera, My World: The Ennis Beley Project." Both

shows to September 29.

Gallery at Mercer County College , Communications Center,

West Windsor, 609-586-4800, ext. 3589. "Liminal Spirits,"

a shared show featuring paintings on paper by Rachel Bliss and Barbara

Bullock. Gallery hours are Tuesday to Thursday, 11 a.m. to 3 p.m.;

Wednesday evenings from 6 to 8 p.m; and Thursday evenings from 7 to

9 p.m. To September 27.

Princeton Theological Seminary , Erdman Hall Gallery, 20

Library Place, 609-497-7990. "Spirit States," an exhibition

of paintings by Ben Frank Moss. Gallery hours are Monday to Friday,

8:30 a.m. to 9:30 p.m.; Saturday to 4:30 p.m.; Sunday 2 to 9:30 p.m.

Top Of Page
Art by the River

Artsbridge Gallery , Prallsville Mills, Route 29, Stockton,

609-773-0881. Members show features Anne Marie Belli, Damon Cramer,

Marion Robertson Frey, John Hylton, Michael Iskra, Edward Marston,

Gale Scotch, Ferol Smith, and Anna Zambelli. Gallery is open Thursday

through Sunday, noon to 6 p.m. To September 30.

Atelier Gallery , 108 Harrison Street, Frenchtown,

908-996-9992.

"Sweet Summer," a solo exhibition of recent paintings by Lisa

Mahan. Gallery is open Thursday to Sunday, 11 a.m. to 5 p.m. To

October

15.

Gratz Gallery , 30 West Bridge Street, New Hope,

215-862-4300.

"Rena Segal on Her Own" featuring mixed-media still lifes

and recent landscapes on paper painted with oil stick. Gallery hours

are Wednesday to Saturday, 10 a.m. to 6 p.m.; Sunday, noon to 6 p.m.

To September 30.

Hanga , 12 West Mechanic Street, New Hope, 215-862-7044.

James T. Lang, lithographs, colographs, and mixed-media works on

exhibit

in the Artworks Building. Open noon to 9 p.m.

Lee Harper Gallery , 12 West Mechanic Street, New Hope.

Etchings and paintings by Patricia Ann Griffin. A graduate of Moore

College of Art and Design, her work has been exhibited in 30 galleries

across the nation. Gallery is open Tuesday to Saturday, 10 a.m. to

5 p.m., and by appointment. To September 30.

Tin Man Alley , 12 West Mechanic Street, New Hope,

215-862-1110.

Exhibition features the unconventional graphics imagery of Shepard

Fairey, creator of the "Andre the Giant Has a Posse" sticker

campaign, designed to reawaken a sense of wonder about the urban

landscape.

His San Diego graphic design firm, Black Market, helps clients access

his guerrilla style of marketing to consumers. Curated by Jonathan

Levine. Gallery hours are Friday through Tuesday, 11 a.m. to 7 p.m.

To September 30.

Top Of Page
Art In Trenton

Artworks , 19 Everett Alley, Trenton, 609-394-9436. Faculty

exhibit features Sarah Grove Antin, Helen Bayley, Lisa Fuellemann,

Charles Viera, M.A. Zullinger and others. Gallery hours are Monday

through Thursday 11 a.m. to 4 p.m.; Sunday 1 to 4 p.m. To October

22.

Ellarslie, Trenton City Museum , Cadwalader Park,

609-989-3632.

The 32nd annual juried show of the Garden State Watercolor Society.

Jurors are Bruce Currie and Joanne M. Kuebler. Tuesday to Saturday,

11 a.m. to 3 p.m.; Sunday, 1 to 4 p.m. Opening reception is Saturday,

September 29, from 6 to 9 p.m. To November 4.

Extension Gallery , 60 Ward Avenue, Mercerville,

609-890-7777.

Recent works by Gyuri Hollosy. In his latest series, "Never At

Rest," Hollosy turns his attention to the kinetic rhythm and

energy

of abstract figures in space. Recalling the Baroque sculptures of

Bernini, Hollosy unpacks the subtle, expressive gesture to show how

figures move — through water, air, across the ground —

yielding

to gravity or emotion. Gallery hours are Monday to Thursday, 10 a.m.

to 4 p.m. To October 5.

Hollosy has earned a national reputation for his powerful, elegant,

often haunting figurative works cast in bronze and iron. His

commissions

include large-scale memorial sculptures for Liberty Square in Boston

and the Martin Luther King Municipal Center in Lafayette, Louisiana.

He most recently designed and completed the National Hungarian War

Memorial near Cleveland, Ohio. His work can be viewed at

www.hollosy.com

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

609-292-6464. "The Garden State: A History of Farming in New

Jersey,"

through October 7. "The Farming Landscape," through November

11, "Natural Selections: Sculpture by Elaine Lorenz," to

December

30. "Art by African-Americans: A Selection from the

Collection,"

to August 18, 2002. Museum hours are Tuesday through Saturday, 9 a.m.

to 4:45 p.m.; Sunday noon to 5 p.m. Website: www.njstatemuseum.org.

On extended view: "New Jersey’s Native Americans: The

Archaeological

Record"; "Delaware Indians of New Jersey"; "The Sisler

Collection of North American Mammals"; "Of Rock and Fire";

"Neptune’s Architects"; "The Modernists"; "New

Jersey Ceramics, Silver, Glass and Iron"; "Washington Crossing

the Delaware."

New Jersey State Museum , Cafe Gallery, 205 West State

Street, Trenton, 609-394-9535. In the Cafe Gallery,

"Waterflowers,"

an exhibition of watercolors by Jane Garvey Adriance. All proceeds

benefit museum publications and acquisitions.

Top Of Page
Area Museums

Hunterdon Museum of Art , Lower Center Street, Clinton,

908-735-8415. "Compelled," a multidisciplinary exhibition

of sculpture, painting, fiber, and ceramics by artists including

Chakaia

Booker, Ruth Borgenicht, Giovanna Cecchetti, Paul Edlin, Jacob El

Hanani, Jane Fine, Gary Gissler, and Seong Chun. Museum hours are

Tuesday to Sunday, 11 a.m. to 5 p.m. To November 4.

Printmaking Council of New Jersey , 440 River Road, North

Branch Station, 908-725-2110. "Small Impressions," a national

juried exhibition featuring printmaking, photography, and alternative

media selected by printmaker Zarina Hashmi. Reception is Saturday,

October 6, 2 to 4 p.m., for the show that runs to October 27. Open

Wednesday through Friday, 11 a.m. to 4 p.m.; Saturday, 1 to 4 p.m.

Zimmerli Art Museum , George and Hamilton streets, New

Brunswick, 732-932-7237. Exhibitions include: "Peeling Potatoes,

Painting Pictures: Women Artists from the Dodge Collection," to

November 4. "From Whistler to Warhol: A Century of American

Printmaking,"

to November 25. "Robert Motherwell: Abstraction as Emphasis,"

to December 9. "Boxed In: Plane, Frame, Surface," to December

2. "Mother Goose’s Children: Original Illustrations for Children’s

Books from the Rutgers Collection," to December 9. Museum hours

are Tuesday through Friday, 10 a.m. to 4:30 p.m.; Saturday and Sunday,

noon to 5 p.m. Admission $3 adults; under 18 free; museum is open

free to the public on the first Sunday of every month. Spotlight tours

every Sunday at 2 and 3 p.m.

Continuing exhibitions include: "The Uncommon Vision of Sergei

Konenkov (1874-1971)," to November 14. "Japonisme: Highlights

and Themes from the Collection," ongoing.


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