Art Libraries Society of North America: Members' Exhibition

April 15 - July 15, 2004

 

 

MARGARET BOYLAN
Untitled, 2003 Color photograph using a digital camera 54 x 36 in.
Untitled, 2003
Color photograph using a digital camera
54 x 36 in.

Margaret Boylan is Arts and Humanities Librarian at the Virginia Commonwealth University. She holds an MA in Library and Information Resources from the University of Arizona, an MA in Art History from Syracuse University, where she was a Florence Fellow in Italian Renaissance Art History, MFA in Ceramic Sculpture from the University of Colorado, and a BFA in Ceramic Sculpture from New York State College of Ceramics, Alfred University. Boylan’s art training has been in ceramics, sculpture, drawing and painting, and black-and-white photography. She has exhibited in the United States and Italy.

Including formal artistic elements within a landscape composition is my goal when photographing. For example, I've executed a series on shadows, in which I utilized shadows within compositions as strict compositional devices (the darker and blacker the shadow the better). Perhaps I could say that a common denominator within my work, regardless of medium, is a strong compositional quality that incorporates formal artistic elements, as well as evidence of an overriding sculptural sensibility that governs the whole.”

 

 

 

 

LAURIE WHITEHILL CHONG
River Dream, 2001 Watercolor, gouache, and collage 11 x 13 in.
River Dream, 2001
Watercolor, gouache, and collage
11 x 13 in.

Laurie Whitehill Chong has been Readers’ Services Librarian and Curator of Artists’ Books at the Rhode Island School of Design Library since 1989.  She holds a BFA in Illustration from the Rhode Island School of Design and an MLS from the University of Rhode Island.  Whitehill Chong specializes in the book and paper arts, painting, and fiber arts, including lacemaking and felting. She is also instructor and lecturer on book and paper arts, and has exhibited her work at RISD and other venues.

“I have always had a passion for observing the details of nature; all of its textures and colors and patterns are my inspiration. Natural fibers and paper are my tools. My work in the book and paper arts, as well as my work in fiber arts, often go hand in hand. Whether it is the design of a colorful patterned paste paper for book binding, a collage incorporating found and painted objects from nature, a handmade paper bowl with twigs intertwined, a felted wool book cover, or an artist's book about slugs, there is always a reverence for the natural world.”

 

 

 

YVETTE CORTES

Untitled, 2001 C-print 8 x 12 in.
Untitled, 2001
C-print
8 x 12 in.

Yvette Cortes is a Reference Librarian at the Parsons School of Design in Manhattan; previously, she was Art and Architecture Librarian at Pratt Institute in Brooklyn.  She holds an MS in Art History from Pratt Institute, an MLS from Simmons College, Boston, and a BA in Art and Psychology from Drew University. Cortes makes art in her spare time. At first, she painted on canvas; at present, she is primarily interested in color photography and panel painting, mixing her own pigments.

"Growing up in a Spanish-Italian family and having two religious grandmothers, I was exposed to Catholic imagery at a young age. Though not religious myself, I have always loved Catholic iconography in painting and sculpture as well as in church architecture. While travelling through Spain and Puerto Rico, I was drawn to the sculptures of saints and documented them through photography. Later, I immersed myself in the subject even more when I wrote my art history thesis on virgin martyrs in Spanish art.

In photographing saints, I like to take their ‘portrait,’ capturing the emotion and personality in their faces and gestures."

 

 

 

MARY JANE CUNEO
Skylight, ca. 1980 Gelatin silver print 10 x 9 7/8 in.
Skylight, ca. 1980
Gelatin silver print
10 x 9 7/8 in.

Mary Jane Cuneo is a librarian by profession but early on, photography was her passion.  An MSLS from Simmons College, she has worked in the Fine Arts Library at Harvard University since 1976. However, she has been an amateur photographer even longer. Most of her photographs were taken in South Carolina, where she grew up, and in New England.

"With my mother an artist and my father a chemical engineer, it was inevitable that I would pick up a camera at some point. Throughout the 70's and into the 80's, I spent every moment I could spare (and some I couldn't) running around looking for some magic to photograph. Most of my pictures were taken in New England and South Carolina. For a time I considered making a career in artistic photography, but I also wanted to have a family, so librarianship seemed more practical. In recent years, photography has changed a lot. The Zone System, silver salts, and trays of chemicals in the dim red air of a darkroom – these now seem quaint. But the gray scale has not lost its expressive power. I used a 2 ¼ x 2 ¼ camera and minutes-long exposures on very slow film to photograph the third floor of Harvard's Widener Library. It has been nearly a quarter century since these images were made.. Since that time, the library has been thoroughly renovated, with many areas completely transformed. Thankfully, this quiet mysterious space remains untouched, and still looks just as it did then."

 

 

 

DEIRDRE DONOHUE
Cisalpino Prayer Flag, 2003 Cotton embroidery 8 meters long
Cisalpino Prayer Flag, 2003
Cotton embroidery
8 meters long

Deirdre Donohue is Librarian at the International Center of Photography in New York. Previously, she was Librarian at the Solomon R. Guggenheim Museum and the Irene Lewisohn Costume Reference Library of The Costume Institute, Metropolitan Museum of Art in New York.  She holds an MS in Library and Information Science from Pratt Institute and a BA in Art History/Fine Arts, with Theater Arts minor, from SUNY New Paltz, where she concentrated in painting, printmaking, photography, and bookbinding. Donohue is active as an independent exhibition and display artist, a researcher/research consultant, and instructor, lecturer and author in the fields of costume and fashion design. Her work has been exhibited at New Paltz, the annual Metropolitan Museum of Art staff exhibitions (1985-2000), and in a September 2003 exhibition at The Knitting Factory in New York curated by the Arts Collective called Aviate.

“Everything I do relates in one way or another to books. Drawings, embroidered projects, photographs and digital works are all either components of books or studies for book projects. Prayer flags are the book projects I have pursued since traveling through the Alps three times in 2003.“

 

 

 

KAY DOWNEY
Hydrangea, 1999 Chalk pastel 12 x 18 in.
Hydrangea, 1999
Chalk pastel
12 x 18 in.

Kay Downey lives in Kent, Ohio. A BFA and an MLS from Kent State University, she has worked at the Akron Art Museum and currently is Serials Librarian at the Ingalls Library of the Cleveland Museum of Art.

"Most of my recent drawings are of still life arrangements and local landscape. ‘Hydrangeas’ were drawn on site at a cemetery close to my home. I prefer working from life rather than sketches or photos since it is easier for me to discern spatial and color relationships. I am not so concerned with accuracy in depicting the image as I am with depicting movement through line and composition."

 

 

 

SHEILA D. FOX
Off Primary Flexagon, 1991 Fiber sculpture (solid plaiting - nylon and polypropylene webbing) 7 x 14 x 6 ½ in. (variable)
Off Primary Flexagon, 1991
Fiber sculpture (solid plaiting - nylon and polypropylene webbing)
7 x 14 x 6 ½ in. (variable)

Sheila Fox is a reference librarian at the Huntington Library of Suffolk County Community College. She has been a fiber artist since the late 1970s and has since developed a unique form of freestanding, textile-based sculpture that she calls "solid plaiting." She has an MFA in Fiber from the Tyler School of Art, a BA in fine arts/art history from City College of CUNY, and an MSLIS degree in art librarianship from C.W. Post, Long Island University.  She studied also at the Art Students League of New York and the Haystack Mountain School of Crafts, Deer Isle, Maine.

"I build objects from industrially manufactured webbings, tapes and non-wovens of various fibers such as cotton, nylon, dacron and polypropylene. After selecting either commercially-dyed or home-dyed webbings and tapes of different widths and weights, I proceed with the additive sculptural process of interlacing these bands using the textile-based structure called plaiting. The resulting soft sculptures, which stand freely without armatures, relate to images of the figure as well as architecture. Because of the material’s pliability and elasticity, the sculptures can be tilted, twisted and turned to suggest the posture, gesture and the stance of the human figure. At the same time, the layer-upon-layer process, the brick-like folds and the systematic, vertical construction all suggest architecture. I am inspired by the non-traditional architecture of Buckminster Fuller and Otto Frei. There are references in my work to walls, wall fissures, columns, and windows, but unlike the architectural associations of strength and rigidity, my plaited sculptures often appear on the verge of collapse. I am also inspired by the work of modern sculptors such as Claes Oldenburg, Jackie Ferrara, Alexandra Kasuba, Eduardo Chillida and Isamu Noguchi who have explored issues such as the contradictions of object and material (Oldenburg), the visually compelling nature of additive, modular form (Ferrara) and the strength, beauty and elegance of the simple forms (Chillida, Noguchi, Kasuba).

Despite the traditional classification of the basic structure that I use as a ‘braid’ or, more recently, a ‘fold braid’ [Jack L. Larsen & B. Freudenheim, ‘Interlacing: The Elemental Fabric,’ 1986], I perceive this structure as clearly a form of plaiting. Each row of webbing is two sets of elements, under-over interlacing of flat bands (like weaving), a structure readily found in the flat band interlacing of plaited floor mats and chair caning, and the three-dimensional plaiting of basket and lanyard forms. Several contemporary artists, such as Neda Al-Hilali, John McQueen, Sherrie Smith and Carol Westfall, have explored the nature of the traditional plaited structure as an expressive medium with a focus on flat, container or relief forms. Unlike these works, my sculpture is volumetric and therefore, as a result of this distinction, I have, since 1977, applied the term ‘solid plaiting’ to this category of form. Beyond this technical understanding, there is also the level of imagery and content. My plaited sculptures explore

(1)     solid forms that are independent of the wall and create a free-standing presence

(2)     the idea that objects can be displayed in multiple ways using the same piece

(3)     the idea of fusing the qualities of the geometric and the organic, and

(4)     the nature of form that fuses the systematic and the unpredictable."

 

 

 

TOM GREIVES
Monument Valley 11, 2002 Watercolor on paper 7 x 5.125 in.
Mountain Valley # 11, 2002
Watercolor on paper
7 x 5.125 in.
Monument Valley 12, 2002 Watercolor on paper 7 x 5.125 in.
Mountain Valley # 12, 2002
Watercolor on paper
7 x 5.125 in.

Tom Greives resides in Tempe, Arizona, where he draws, paints and is Reference Librarian and Fine Arts Bibliographer at Arizona State University. He holds an MLS degree from Indiana University, an MA from University of Southern California, and a BA from Purdue University.  He has done doctoral work in East Asian art history at the University of Chicago and studied art also at University of California at Los Angeles, Adams State College in Colorado and Arizona State University.  

"I am interested in composition. That is, the formal arrangement of line, form, value, color, texture and etcetera on the two dimensional surface as it may or may not interplay with the illusion of the third dimension and as these elements refer to representations of land, sky and other organic and inorganic forms in nature.

I paint for my personal discovery and pleasure. It is an additional pleasure if an emotional response is invoked in another viewer."

 

 

 

ANNETTE HAINES
Still Life with Garlic, 2003 Acrylic on canvas 24 x 32 in.
Still Life with Garlic, 2003
Acrylic on canvas
24 x 32 in.

Annette Haines lives in Plymouth, Michigan where she works as Art and Design Field Librarian at the University of Michigan's School of Art. She holds an Associate degree in Commercial Illustration from Lansing Community College and a Master’s degree in Library and Information Science from Wayne State University.

"Painting helps me appreciate my connection with life. I tune out the chatter, preconceptions and judgment in my head and just look. If I feel doubts rising I acknowledge them and then gently set them aside. My goal is to commune with my subject through direct observation. I want people to see this dialogue in my work: The essence of the subject in conversation with the hand of the artist. My subjects and materials have practical reasons. Because I work a full-time job during the day, most of my artwork is done in short evening segments in my basement studio. For this reason I prefer painting still life as the subjects can be easily set up and left up for as long as necessary. I use water-based paints because they do not require special ventilation. As an art school librarian I am fortunate to be surrounded and stimulated by vast information resources as well as the direct inspiration from faculty, students and staff. Between 1996 and 2002 I did very little artwork as I was grieving the death of my husband, raising my baby daughter, and starting a new career. Recently I have been compelled to work again. My current work is strongly influenced by my spiritual path of meditation and awareness."

 

 

 

BETH HYLEN
Branching, 2001 Borosilicate glass on velvet dress
Branching, 2001
Borosilicate glass on velvet dress

Beth Hylen has an MLS degree from the University of North Carolina, Chapel Hill, with concentration in art librarianship. Working in reference and acquisitions at the Rakow Research Library, Corning Museum of Glass, in Corning, New York, since 1978, she is immersed in the art and history of glass. Hylen’s glass art has been presented in numerous exhibits and publications. She has published on glass and has facilitated classes at the glassmaking schools Urban Glass, Pilchuck, the Pittsburgh Glass Center and Penland School of Crafts. Familiar with her medium since childhood when she observed her father supervise an optical glass factory, Hylen uses different techniques, primarily lampworking, to create glass jewelry, which she sees as "wearable sculpture." 

"I'm intrigued with glass. It was part of my childhood: I watched with my father as glowing gobs of optical glass shot through a massive machine; entered the elegant, sparkling Steuben Shop with Aunt Tillie; and observed lamp workers creating fanciful animals.

Recently, I have been exploring line and gesture as wearable sculpture. I am fascinated by sinuous Art Nouveau lines; tree branches silhouetted against the sky; icicles; and diagrams of old Masters paintings where gesture can carry your eye through a painting.

My work conveys movement – flowing, organic. I enjoy the moment when glass is between being molten and frozen into shape, when it responds to my touch and the heat of the torch."

 

 

 

B. J. KISH IRVINE
Evening Pine Branches, 1995 Ink painting 13 7/8 x 8 5/8 in.
Evening Pine Branches, 1995
Ink painting
13 7/8 x 8 5/8 in.

Betty Jo Kish Irvine is Head of the Fine Arts Library at Indiana University in Bloomington, Indiana, and Associate Professor in its Henry R. Hope School of Fine Arts and the School of Library and Information Science. A PhD from the School of Library and Information Science at Indiana University, she is a prolific author (her publications include Facilities Standards for Art Libraries and Visual Resources Collections, Sex Segregation in Librarianship, Slide Libraries), and her scholarship and service have been recognized with numerous awards and honors. She served as President of Art Libraries Society of North America in 1992 and received its Distinguished Service Award in 2002. Irvine is a member and Acting Director of Bellevue Gallery in Bloomington, and has exhibited as well curated exhibitions. In 1999, she was Visiting Scholar at Nanjing Arts Institute in China.

“My interest in Chinese painting stems from my nearly life-long love of watercolor painting. Fascinated by Chinese painting, I had the extraordinary opportunity to begin studying this technique in 1990 when Zhiyuan Cong, Professor, Department of Chinese Painting, Nanjing Arts Institute, Nanjing, P.R.C., came to Indiana University to expand his graduate studies. As his student, I studied from a traditional vantage point, which included Chinese calligraphy, ink painting, and seal carving. This style of art allows me to freely express my love for the rhythm and elegance of Chinese calligraphic forms, the play of negative and positive spaces, and the joy of traditional Chinese brushwork, ink, and handmade paper.”

 

 

 

MIGUEL JUAREZ
Weekend Warriors: Wolfie and ZaZa, Phoenix, Arizona, 2003 Color photograph from a disposable camera 8 x 12 in.
Weekend Warriors: Wolfie and ZaZa, Phoenix, Arizona, 2003
Color photograph from a disposable camera
8 x 12 in.

Miguel Juarez is Art and Photography Librarian at the Prototype Fine Arts Library and Center for Creative Photography Library at the University of Arizona in Tucson. He holds a BA in journalism from the University of Texas at El Paso and an MLS from the State University of New York at Buffalo. Juarez’s creative works have been featured in galleries and spaces in El Paso, Texas, Las Cruces, New Mexico and New York City. His photographs have been published in Low Rider Magazine, El Paso Times, El Paso Herald Post and El Sol Newspaper.

“As a photographer, I'm inspired by Nan Goldin, whose work is poignant, and at the same time very real. I strive to capture casual contemporary portraits of people in the worlds they play in. The exhibit image was taken at the Annual Southwest Leather Sir & Leather Boy Contest in Phoenix, Arizona that draws leather men and women involved in the Leather and BDSM community in the region. The photograph, taken with a disposable camera and digitally printed, captures the regalia associated with leather lifestyle that fetishes masculinity, yet that at the same time is playful and familial and speaks to the bonds between men.”

 

 

 

JOY KESTENBAUM
Untitled, Environs of Angoulême, 1991 Color photograph, printed from an inter-negative from the original slide format 9 x 13 ¼ in.
Untitled, Environs of Angoulême, 1991
Color photograph, printed from an inter-negative from the original slide format
9 x 13 ¼ in.

Joy Kestenbaum, born in Brooklyn and raised in Westchester County, has lived in Greenwich Village since 1975. She has degrees from McGill University (CEGEP), Sarah Lawrence College (BA), New York University's Institute of Fine Arts (MA and ABD) and Long Island University's Palmer School of Library and Information Science (MS). She is an art and architectural historian and librarian and archivist and has worked as a library faculty member at Queens College, Pratt Institute and Purchase College, SUNY, where she is currently Art Librarian. She has taught art and architectural history at Adelphi University, Yeshiva University, New York Institute of Technology, Fashion Institute of Technology and Pratt Institute, and art librarianship at Pratt Institute and Queens College.  She has also worked as a consultant in historic preservation to architects, landscape architects, and public agencies and private organizations, documenting historic parks and buildings in award-winning projects. She is currently working on several research projects in American architectural history and art librarianship. 

“I have been taking photographs since I was a child, initially with a Kodak "Hawkeye" Instamatic Camera. My earliest photographs were of members of my extended family. I documented family gatherings and, as the youngest of my generation, photographed my older cousins' children – eleven in total. In college I took a photography class, doing my own printing. Later, I became interested in photographing buildings. I have taken many slides and photographs connected with my consulting work and teaching and lecturing in art, architectural and landscape history. I continue to take photographs as a hobby. Several of them have been included in the ARLIS/NY Newsletter. Recently I purchased my first digital camera. I have also had a longstanding interest in the history of photography and collect late nineteenth- and twentieth-century photographs.

The photographs in this exhibit were taken during a trip to France in 1991. They were previously shown in the faculty exhibition at the School of Architecture and Design of New York Institute of Technology.”

 

 

 

ROBERT LOBE
Red Porch, Astoria, 2001 Chromogenic print 14 5/8 x 22 in.
Red Porch, Astoria, 2001
Chromogenic print
14 5/8 x 22 in.

Robert Lobe is a photographer with an MA in Art History from Brown University, Rhode Island. He also studied at Print Space in New York, the International Center of Photography and the New York Studio School, and at the Provincetown Summer Workshop of the Rhode Island School of Design. His art has been seen in solo and group exhibitions.  In “civilian life,” Lobe directs the Visual Library of the School of Visual Arts in New York.

"These color photographs result from my exploration of New York City, specifically Lower Manhattan and Western Queens. I don't concentrate on landmarks or tourist destinations. Rather, my focus is on places that most people would pass through quickly. My photographs are about all that they are missing. When one slows down and observes carefully, the beauty, mystery and meaning of our everyday surroundings becomes much more apparent.

New York City presents the photographer with a fascinating and challenging visual complexity. No scene is as simple as it appears, often containing many layers of meaning and considerable ambiguity. At times I bring my lens in close, filling the frame with a fragment. In other cases I step back and provide more of a context. An observant eye finds unexpected juxtapositions and strange transformations of the commonplace. My compositions are a kind of urban still life, filled with the dynamic city rhythms of graffiti and signage, the patterning of shadows, and the vivid colors of walls and cars.

Although actual figures are included only occasionally in my photographs, and then as a detail within the compositional fabric, these images often imply a human presence. The city's inhabitants are never far away, their commerce and entertainment evoked by the images and language of signs, their energy evident in the gesture of graffiti, their everyday lives suggested by cars, buildings, houses and parks.

There is, finally, an aspect of time in all of this. My photographs capture a specific instant in the life of the city's streets. Time passes, and things change. One car moves from its parking space and is replaced by another. Weather erodes graffiti and posters. Walls get covered over and repainted. Always, the light changes. Nonetheless, I hope that something of the beauty and meaning I've experienced has been captured in these images."

 

 

 

JAE JENNIFER ROSSMAN
Tapestry, 2003 Silkscreen 4 x 3 in.
Tapestry, 2003
Silkscreen
4 x 3 in.

Jae Jennifer Rossman is Special Collections Librarian in the Arts Library of Yale University. She holds an MSLIS from Simmons College, a Post-Baccalaureate certificate in Studio Art from Brandeis University, and a BA from St. Mary’s College of Maryland.  She also studied at the Studio Art Center International in Florence, Italy, the Chautauqua Institution School of Art in Chautauqua, New York, and at the Vermont Studio Center in Johnson, Vermont. Rossman works in painting, drawing, printmaking, and book arts.

"My work is the physical record of visual stimuli filtered through my perception. My impetus to create stems from the excitement and wonder I have for everything I see. I take in those images and somehow they meld together. Each piece I create is a conversation between things I have seen and explores the interconnections between all parts of my life."

 

 

 

JANETTE ROZENE
The Elegant Tree, 2003 Oil on paper 14 ¼ x 8 ¼ in.
The Elegant Tree, 2003
Oil on paper
14 ¼ x 8 ¼ in.
Hudson River View from Nyack, 2003 Oil on paper 10 x 14 in.
Hudson River View from Nyack, 2003
Oil on paper
10 x 14 in.

Janette Rozene lives in Dobbs Ferry, New York and works in New York City as Head of Cataloging at the Fashion Institute of Technology Library. She holds an MA in Art History from Hunter College of CUNY, a BA in Art History from Boston University, and an MLS from Columbia University. Rozene has exhibited widely and her work is in many art collections around the country.

“I am interested in interpreting nature in such a way as to inspire the viewer. I admire George Inness who wrote ‘A work of art does not appeal to the intellect. Its aim is not to instruct, not to edify, but to awaken an emotion.’

As a student of the master painter Frank Mason at the Art Students’ League of New York, I was trained in the use of light, form and atmosphere to depict nature. I enjoy plein air landscape painting as well as portrait and still life work."

 

 

 

MARILYN RUSSELL
Spirit of Fire [n.d.] Watercolor 20 x 26 in.
Spirit of Fire [n.d.]
Watercolor
20 x 26 in.
Window of the Soul [n.d.] Mixed media collage 20 x 26 in.
Window of the Soul [n.d.]
Mixed media collage
20 x 26 in.

Marilyn Russell is Director of Library Programs at the Institute of American Indian Arts in Santa Fe, New Mexico, and worked as Fine Arts librarian in Minnesota for nearly twenty years. She has a BFA in graphic design and a PhD in Visual Arts and Education from the University of Kansas, and an MLS from the Emporia State University, and has taught art at the universities of Minnesota and Kansas. Her publications focus on Native American art and culture and in art librarianship. Russell is an enrolled member of the Minnesota Chippewa Tribe at Leech Lake Indian Reservation, Cass Lake, Minnesota.

"For many years I have painted in watercolor and more recently have added collage to my watercolor paintings. As an artist, many of the images I use in my art are reflective of the symbols and spiritual meanings found in the Native American culture. My spirituality and my Native American heritage have a profound influence upon the images I use in my artwork. Some of my work is about the search for self, about healing, and about the empowering of the spirit to communicate. I am telling a story in my art; I am looking for images to express my story. For me, painting also involves my emotions and feelings. I respond to certain places and events. I would call myself a colorist and my most recent work is in collage and mixed media. I am an artist who loves the Southwest and the Native American people. The landscape and the people speak to me with great power. Thus, I try to capture the beauty, the magic, the spirit, and the mystery of the Southwest."

 

 

 

NINA STEPHENSON
For Maya, 2003 Artist’s book (paper and photography collage, gold ribbon) 3 ½ x 2 ½ x ½ in.
For Maya, 2003
Artist’s book (paper and photography collage, gold ribbon)
3 ½ x 2 ½ x ½ in.

Nina Stephenson has been the art and photography librarian at the Fine Arts Library of the University of New Mexico since 1999. She has also held library positions at University of California at Los Angeles and Berkeley. She holds an MA in the history of photography from the University of New Mexico, a BFA in textiles from California College of Arts and Crafts, and an MLIS from the University of California at Berkeley. She studied traditional textiles in Java (Indonesia) on a Fulbright grant in 1985-1986. 

"My art has spanned a variety of media and formats over the years including printmaking, photography, collage, textiles and book arts. I am inspired by textile arts, cartography, and other cultures, and the dynamic force of my own personal experience. An underlying longing to integrate and synthesize the different realms of my life is evident in most of my art. As an art librarian, the artist's book format is a perfect medium for this exploration. A love of textiles, passed on by my mother, also offers fertile ground due to that medium's evocation of home, family and folk life.

My current work is inspired by my experience as an adoptive parent of a child from China. My artist's book ‘For Maya’ is a tangible expression of my love for my daughter, and of my bittersweet feelings about her origins. The quilt-inspired collage ‘One Hundred Good Wishes’ stems from the 'Bai Jia Bei' tradition with roots in Northern China. Based on what I have heard, a mother asks one hundred people to contribute a piece of cloth to make a quilt for a new baby. The resulting quilt embodies the sentiments and good wishes of the contributors. Adoptive families have embraced this practice to create loving quilted tributes for their Chinese-born children. Many families also create scrapbooks full of the written wishes sent by family members and friends. This collage incorporates cloth collected from adoptive families and friends living in three countries."

 

 

 

CAROL S. TERRY
Serra in St. Louis II IKodachrome print 8 x 12 in.
Serra in St. Louis II
IKodachrome print
8 x 12 in.

Carol Terry has been Director of Library Services at the Rhode Island School of Design since 1987. She holds an MA in Library Science from the University of Minnesota and a BA in the Humanities from Macalester College, St. Paul, Minnesota. 

"I enjoy taking pictures, although I don't consider myself a photographer. I am particularly intrigued with interesting shapes in the built environment. I took the photographs exhibited here at the Pulitzer Foundation in St. Louis during the ARLIS/NA tour, 2002."

 

 

 

SHANNON VAN KIRK
Untitled I, Watercolor on paper 14 x 12 in.
Untitled I
Watercolor on paper
14 x 12 in.

Shannon Van Kirk has spent most of her life in Los Angeles and considers herself most at home in urban areas with a rich mix of cultures and a huge store of racial memory. She holds an MLIS from the University of Alabama, earned while she lived in Nashville, Tennessee, and a BA in Art from Immaculate Heart College in Los Angeles. Van Kirk is Head of the Wertz Art and Architecture Library at Miami University, in Oxford, Ohio.

"My handweaving, painting, and drawing reflect my life and often include implied or explicit social and political content. Often passionately verbal, I appreciate the demand that art places on me to move beyond language toward more universally accessible expressions."

 

 

 

WILLIAM BOND WALKER
Hemlock at Lakeside, no. 2, 1997 Acrylic on board on paper 20 x 26 ½ in.
Hemlock at Lakeside, no. 2, 1997
Acrylic on board
20 x 26 ½ in.

William B. Walker holds an MA in Library Science from Rutgers University and a BA in Art/Art History from the University of Iowa. He also studied at the Bisttram School of Fine Arts in Taos, New Mexico and Los Angeles, California, and at Pratt Graphic Arts Center in New York.  Between 1959 and 1994, he was Library Director at the Brooklyn Museum, the National Collection of Fine Arts and National Portrait Gallery of the Smithsonian Institution, Washington, DC, and the Metropolitan Museum of Art in New York. He is a charter member of Art Libraries Society of North America, served as its third President in 1975, and received its Distinguished Service Award in 1992. Walker has exhibited widely and his work is in private art collections across the United States.

"The painting-as-a-window is an old convention in art, usually a window on some part of the world. Many of my paintings are done from that viewpoint: the picture plane frames a scene that I am looking at, or remember.

However, I also hold as valid the idea that the painting is a window into the unknown, the created abstract space without outside referent. Both treatments appear in my work, not always mutually exclusively. The ‘representational’ paintings often manifest some degree of abstraction, and the paintings begun as abstractions may embody elements of landscape, architecture, still life, etc., in their final state."

 

 

 

TONY WHITE
Group Portrait: Mark, Kym, Amy and Tony, 2003 Color photographs, packing tape 36 x 33 in.
Group Portrait: Mark, Kym, Amy and Tony, 2003
Color photographs, packing tape
36 x 33 in.

Tony White is Assistant Instructor at Indiana University, in Bloomington, Indiana.  He has worked in conservation and preservation of documents and in printmaking. He holds an MLS with specialization in Art Librarianship and Special Collections from Indiana University, an MFA with concentration in Photography, Print Media, and Book Arts from the School of the Art Institute of Chicago, and BA’s from The Evergreen State College, Olympia, Washington (concentration in digital imaging and letterpress printing) and Whitman College, Walla Walla, Washington (concentration in liberal arts and studio art).  White uses the photographic medium in a unique way, often making collages of photo-fragments. He has exhibited widely and his work is in public and private art collections around the country.

"My current photo-work ‘Portrait as Intimate Object’ exists in the liminal space between the ephemeral and the concrete. Snapshot photographs are cut into smaller fragments and taped together randomly, frustrating the representational specificity that accompanies a photographic image. This work is an examination of the internal tension between destroying an image so often fraught with nostalgic meaning and a desire to preserve the act of taking the picture."

 

 

 

TAMMY WOFSEY
Gone, 2002 Oil on canvas 32 x 36 in.
Gone, 2002
Oil on canvas
32 x 36 in.
Invisible, 2002 Oil on canvas 32 x 36 in.
Invisible, 2002
Oil on canvas
32 x 36 in.

Tammy Wofsey is Reference Librarian at Marymount Manhattan College; previously, she was Reference Librarian at Teachers College of Columbia University in New York. She holds an MLS from Queens College, CUNY, and a BFA in Visual Arts from Purchase College, SUNY, and has taught at College of New Rochelle. Wofsey is a painter and a printmaker and has created artist’s books. Her artwork has been seen in group exhibitions, reproduced, and is represented in several public collections.

"When I was a girl, I often watched my dad block himself behind a huge sheet of stretched out newspaper. Occasionally, he broke the silence of the living room by blurting out a fact or catastrophe from that evening's edition of the Denver Post. He never read every article, but instead selected a few headlines that interested him.

This is how I approach my paintings. I select images from memory that become part of my art. I cut up, rearrange and distort newspaper clippings, which I then recreate with paint and canvas.

The newspaper's stories on which my paintings focus are typically technological and environmental change. Instead of recreating the newspaper's pictures though, I use images that convey the feelings of trying to find one's way out of a lost situation.

The text creates a screen for the images, which keep the viewer from seeing everything at once. The painting unfolds with texture, perspective and color.What makes a newspaper article different from many books is that only a small piece of the whole story makes it to print. This makes newspaper stories seem half-real, with an uncertainty that underlies the text. I want to take these words from the newspaper and change them. This new context allows the viewer to rethink and question what they would normally read over their morning coffee."