Queens College Art Center Calendar of Events

Exhibition Hours :

Benjamin S. Rosenthal Library, 6th Floor Art Center exhibits are open during Art Library Hours
2nd and 3rd floor display cases can be viewed during scheduled Rosenthal Library Hours

For more information, call 718 997-3770. Or, for programs, hours and directions, the ARTS hotline at 718 997-ARTS.

2002-2003 Art Center Exhibitions
2001-2002 Art Center Exhibitions
2000-2001 Art Center Exhibitions
1999-2000 Art Center Exhibitions
1988-1989 to 1998-1999 Art Center Exhibitions

2003 - 2004 Art Center Exhibitions
Sponsored, in part, by the Queens College Office of Research and Graduate Studies

Traces on the Wall: Works on Paper by Metka Krašovec

September 9 - October 22, 2003

Gallery talk and reception: Tuesday, September 9, 2003, 5:00 - 8:00 pm

Sponsored, in part, by the Consulate General of Slovenia, New York

Untitled by Metka Krašovec Lineup (detail) by Metka Krašovec Untitled by Metka Krašovec
Watercolor on scroll
14 x 158 in.
Lineup (detail)
Watercolor on scroll
14 x 197 in.
Watercolor on scroll
14 x 158 in.

The exhibition presents watercolor and mixed media work by a widely exhibited artist. Metka Krašovec, who lives and works in Ljubljana, Slovenia, is the recipient of the 1983 Jakopiè Award, the highest national award for painting.

Included is a series of scrolls stretching most of the length of the gallery, which creatively use white, empty space and bits of color for a powerful effect. According to the art critic Tanja Mastnak, Krašovec's scrolls "are not merely a series on a particular theme, but a story that unravels before our eyes. The scrolls connect the entire story into a single form, creating a rhythm, a movement and an activity in time... The artist visually presents this fragility of experience through drawings and watercolors that appear to be sketchy, fast and accidental. The figures are often unfinished, and seem tiny and fragile on the white vastness of the paper. Interventions of color preserve the sense of intimacy, of insight into a hidden world of inner poetry."

Of her own work the artist says, "My painting is a constant search against the tide. What I am looking for is the right form to express the inner sound I can hear and the light I can sense . . . When I came to a dead end in my painting around 1979, I started drawing and drew for two years, not understanding what was happening. All that was pent up inside me burst out-the collective past, the future, feelings, hopes, history, culture. These drawings generated a new cycle in my painting, and I still resort to drawing in moments of silence. They help me to open up and find contact with the creative stream. They materialize directly on paper without my will and without any previous idea or visualization. For me, they are akin to poetry, but without words. Through them I travel to the past and future in search of myself."

Krašovec has studied in the U.S.A. as well as in London and Slovenia. She obtained two Master of Fine Arts degrees, one in painting and the other in printmaking, at the Academy of Fine Arts in Ljubljana. In 1999, she spent a month at the MacDowell Colony in Petersborough, New Hampshire. Since 1977 Krašovec has been teaching at the Academy of Fine Arts in Ljubljana. Her work is represented in several public and private collections, including the Museum of Modern Art in Ljubljana.

Ciphers in Time:
Recent Italian Mixed-Media Art
Angela Biancofiore, Luisella Carretta, Gian Carlo Pagliasso

October 28 - December 23, 2003

Gallery talk and reception: Thursday, October 30, 2003, 5:00 - 8:00 pm

Curated by Professor Peter Carravetta, Queens College

Sponsored, in part, by the Department of European Languages and Literatures

In the House and Elsewhere (detail) by Luisella Carretta Union/Divoration by Angela Biancofiore Untitled by Gian Carlo Pagliasso
Luisella Carretta
In the House and Elsewhere (detail)
Ink and watercolor drawing
Angela Biancofiore
Union/Divoration, from the series Nomad Signs
Ink Drawing
Gian Carlo Pagliasso
Stitched fabric

The three artists presented in ciphers in time are individually very different and original, each with a distinguished track record. The visual arts are normally a two or a three-dimensional means of expression, yet these artists are doing something that involves various ways of perceiving and understanding the fourth dimension, namely time. The reference to time is crucial in seeing the symbolic links among the three.

Angela Biancofiore has been working on a collapsing of chronometric time by recapturing the painterly gesture of the earliest human images-for instance, as you would find in stone-age caves. And yet, her colorful signs seem somewhere between a child’s unconscious first experience of paint on a surface, and the more aggressive graffiti of a post-conceptual artist. In Biancofiore, the artwork is itself the cipher that unites ancient and mythic icons, with a-temporal preconscious relations to the visual field. For more information, please go to www.angela-biancofiore.net

Luisella Carretta, on the other hand, works with the different media as they developed through historical time. She unhinges any chronometric sequence one might spontaneously seek in the artwork, while recapturing a lateral or, better, transversal resonance among established genres. Carretta also harks to the common origin of sign and image, but allows for shards of concrete semantic referents to dance and dialogue, while forcing the viewer to hypothesize countless possibilities of signification.

Giancarlo Pagliasso chooses a more accessible temporality, that of personal-social memory. He presents a composite, unpredictable yet recognizable quilt of textile patterns which are both familiar-some remind us of what our grandmothers used to sew, stitch and wear around the house-and yet constantly new-for instance, as we are beginning to see in the most daring patchwork designs from the fashion industry.

All three artists, therefore, are bringing into the very material, spatial world of art the elusive "nothings", the traces and echoes and allusions that can exist only in time, indeed as experiences of time. This alerts us to the fact that signification and indeed symbols-visual, graphic, mediatic-are pervasive in any understanding of temporality, and by extension of existence itself.

Discomfiture of Presence:
A Multiple Piece by Olga Alexander

February 5 - April 1, 2004

Gallery talk and reception: Thursday, February 5, 2004, 5:00 - 8:00 pm

Discomfiture of Presence by Olga Alexander Olga Alexander
Discomfiture of Presence
reprotographed photo (detail).

Discomfiture of Presence, an ongoing artwork, consists of more than 55 found photographs that Alexander has rephotographed and recontextualized. In On Photography, writer Susan Sontag referred to old photographs as getting better with time, but Olga Alexander stops this process and forces us to look outside the frame.

Alexander reinforces the artifice of the pictures’ surface by adding text that invites our interpretation. For example, the photographs’ seemingly ideal images of relationships speak of the presence of love, but the text underscores its absence. The photographs are arranged in arbitrary and non-linear manner, hung from bows as though they were mementos. However, these mementos do not exist in the past but in the internal present.

According to the gallery director and critic Terrie Sultan, this complex work "invites us to mine our own history in order to interpret the artist’s imagistic intention."

Olga Alexander, a native New Yorker, holds a BA from the University of California at Berkeley and an MFA in painting from the University of Tennessee. She has taught painting and served as art director of A-1/Lab Art Space, a non-profit multimedia art gallery in Knoxville, Tennessee. A widely exhibited painter, Alexander has most recently been working with photo-based installations, in which she photo silk-screens her photographs onto Plexiglas.

A prolific artist, she frequently works on several pieces at a time, a process that sometimes changes her thinking about her original intent. At that point, she says, "she can play." Alexander draws her inspiration from disparate sources and often uses industrial materials that reference mass culture. A conceptualist at heart, she values and welcomes the accidental and believes that what is left out of a work may be as interesting as what stays in.

Art Libraries Society of North America:
Members' Exhibition

April 15 - July 15, 2004

Gallery talk and reception: Sunday, April 18, 2004, 1:00 - 5:00 pm

Sponsored, in part, by the Art Libraries Society of North America

QCAC Gallery

The exhibition presents the work by members of ARLIS/NA, "architecture and art librarians, visual resources professionals, curators, educators, publishers, and others interested in visual arts information" who are also artists. It was inspired by the first display of the Society’s members’ artwork, at the 1998 conference in Philadelphia. A diversity of media will be featured-paintings in oil, acrylic, watercolor and Chinese ink, drawings, prints, collages and assemblages, glass and fiber sculpture, mixed media, artists’ books and bookworks, photographs, textiles. The artists include Margaret Boylan, Laurie Whitehill Chong, Yvette Cortes, Mary Jane Cuneo, Deirdre Donohue, Kay Downey, Sheila D. Fox, Tom Grieves, Annette Haines, Elizabeth Hylen, B. J. Kish Irvine, Miguel Juarez, Joy Kestenbaum, Robert Lobe, Jae Rossman, Janette Rozene, Marilyn Russell, Nina Stephenson, Carol S. Terry, Shannon Van Kirk, William B. Walker, Tony White, Tammy Wofsey.

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Last Updated January 2004