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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
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
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
marked) by each photographer, the start toward an informational binder
for each member, the very climate in the place. (And the bowl of
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
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
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,
director, expands: "The images may be slightly or heavily
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
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
means, and has more recently been admitted to the pantheon of
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
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
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
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
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,
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
causing an effect that can be quite beautiful. It creates a
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
Ansel Adams. Connors calls the large format camera a "more
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
Goodkind’s close-up image of a fern, vividly green with precise
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
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
with an 8×10 view camera, a huge, accordion-like box; scans his work
into a computer; and makes giclee prints. An ardent Francophile,
shows an image of an 11th-century Gallic bench set against a building
wall artfully covered with vines. His territorial range also
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
His scenes of faraway places range from the giant carved Buddha
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
Princeton’s dear departed Mercer Oak, often from unusual angles.
he has long used swing lens cameras and a 35mm with wide negatives,
Miller also enjoys manipulating the surface of Polaroid pictures
can be done for up to 24 hours or after reheating the image), and
he recently began exploring digital photography. It must come with
"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
Open Saturdays, noon to 6 p.m.; and Sundays, 1 to 5 p.m. Website:
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.
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.
Paintings by Calvin Cobb Hart. Born into a family of recognized
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.
"Modernism, Mr. Magoo, and More," featuring new and other
works by master animator, artist, and filmmaker Jules Engel.
Studios, and was part of the team that created 1950s cartoon favorites
that include Mr. Magoo, also created lithographs at the Tamarind
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
among others. Gallery hours are Tuesday to Saturday, 11 a.m. to 5
p.m., and by appointment. To October 20.
732-524-6957. "Wounds," a collection of artworks by Anne
Dobek designed to evoke the emotional turmoil of psychic and bodily
pain. To September 27. By appointment only.
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.
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.
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.
Road, 609-921-3272. In the main gallery: a solo show featuring
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.
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
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
609-896-5168. "Moments of Seeing" featuring the black and
white ink paintings and drawings of artist and medical doctor
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."
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.
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,
tintypes, stereographs, and cartes-de-visites are featured, together
with cutting-edge contemporary works in Cibachrome, Polaroid and
formats. To November 11.
Sunday 1 to 5 p.m. Free tours of the collection are every Saturday
at 2 p.m.
"The Light of Ancient Athens: A Photographic Journey by Felix
Bonfils, 1868-1887," an historic series of 42 large-format
taken in Beirut by the 19th-century French photographer. Open
9 a.m. to 5 p.m.; Wednesday evenings to 8 p.m.; and weekends, noon
to 5 p.m. To October 7.
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.
609-771-2198. Works in all media by faculty members Bruce Rigby,
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
609-620-6026. Two photographic projects: "Ed Greenblat,
featuring images of the Trenton Educational Dance Institute. Also
"Myself, My Camera, My World: The Ennis Beley Project." Both
shows to September 29.
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.
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.
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.
"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
"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.
James T. Lang, lithographs, colographs, and mixed-media works on
in the Artworks Building. Open noon to 9 p.m.
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.
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
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.
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
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.
Recent works by Gyuri Hollosy. In his latest series, "Never At
Rest," Hollosy turns his attention to the kinetic rhythm and
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 —
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
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
609-292-6464. "The Garden State: A History of Farming in New
through October 7. "The Farming Landscape," through November
11, "Natural Selections: Sculpture by Elaine Lorenz," to
30. "Art by African-Americans: A Selection from the
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
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
Street, Trenton, 609-394-9535. In the Cafe Gallery,
an exhibition of watercolors by Jane Garvey Adriance. All proceeds
benefit museum publications and acquisitions.
908-735-8415. "Compelled," a multidisciplinary exhibition
of sculpture, painting, fiber, and ceramics by artists including
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.
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.
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
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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