Project Gallery Expansion into Gallery425

“Learning to See,” Photography by Susquehanna University Students

Opening Friday, March 3rd, 2017, 6pm-9pm

Located at Gallery425, the Project Gallery will be a joint effort that allows Lycoming Arts to add to it’s current 3 educational gallery experiences. Presently, there are three student galleries: one at Plankenhorns for elementary students, one at the Genetti for High school students and one at the CAC lobby for College students.

Gallery425 will launch its new Project Gallery with a collection of photographs by Susquehanna University students on First Friday March 3rd.  The exhibition entitled “Learning to See” will feature original works by more than fifteen students produced for assignments during the past several semesters.

“Creating an exceptional photograph is more than just understanding the technical workings of a camera,” said Adjunct Professor Gordon Wenzel, a fine art / commercial photographer who teaches the photography program at Susquehanna University in Selinsgrove.  “It is about seeing the world from a unique vantage point and being able to express that visually.  We all make assumptions about what things look like in the world around us.  But in order to create a truly compelling image, we must really learn to see differently, looking beyond our assumptions.  Just like someone who is drawing an object must break down the form into its basic components, a photographer must open their eyes and minds, and breakdown a scene to what is not just obvious or familiar.  Then using compositional tools, they can construct an image so that it informs the viewer of something truly unique.”

Regarding the Project Gallery, gallery owner Judy Olinsky said: “in partnership with Lycoming Arts, this new space can be used for special art projects done by the regional art professors, public school art teachers and non-profit groups.  The gallery has a special hanging system that can display matted only works—which is important since it is usually too expensive for students to frame their works.  I am very excited to be able to host such exhibitions in our downtown gallery.”

There will be an opening reception on First Friday March 3rd from 6-9pm which is free and open to the public.  The exhibition will continue on display until April 5th.

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For more information:

Gordon Wenzel 570-490-0778  wenzelg@susqu.edu

 

There is going to be a “Battle” at Gallery 425 in March! Photography by Arissa Dickison

“Battle” by Arissa Dickison

Opening Friday, March 3rd, 2017
6pm-9pm

BIOGRAPHY

Dickison was Born in 1993 in a small town in New Jersey. It was her father that inspired her to start to study art at a young age. It all started when she won the fourth grade art award just like her father, brother, aunts and cousins had done before her. When it came to high school, she fell in love with the art of graphic design. Arissa then went off to Lycoming College to study commercial design and photography. Arissa graduated from Lycoming College in May of 2016 with a B.A  of Photography and Commercial Design and stayed in the area to work on her photography. 

While at Lycoming College, Arissa found what style of photography and art she liked to create. Most of her work shows the issues and stereotypes everyone deals with on an every day basis. Her work is created with hope to over come these issues in society. 

ARTIST STATEMENT

Battle is a body of work that focuses on the constant inner struggle within oneself against society. Men and women are going through challenges in their everyday lives to overcome their self-conscious issues of not being good enough. Each day, people strive to be confident and be the best version of themselves.

The models are painted in different colors to express their own struggle and then photographed. The smoke manipulations are intended to create an illusion of the models overcoming their issues of the past.

The audience should leave understanding the fight against the past to become confident. The past is not defining, but strengthening and using the past to motivate oneself can help build inner confidence. Due to society and the media, we have become adapted to trusting someone else’s opinion, rather than our own. We are all trying to believe in and love ourselves. Men and women are learning how to become confident within themselves and finally breaking societal norms. In order to feel truly confident, we must be able to handle every part of our selves.

independent    Independent (Pictured Left)

http://arissaphotography.wixsite.com/battle

Curator Gallery Opening: Judith Meyers Olinsky featured at Gallery425 in February

A statement from the artist:

I am a self-taught painter, which I think accounts for the oddity/uniqueness of my style. I wish I knew why I want to paint. Since I am always wanting to have more talent or magic, painting becomes such a difficult process for me. It seems I’m mostly a portrait painter with a still evolving style.  The way I want to paint is somewhere between Alice Neel and Larry Rivers, with a touch of Francesco Clemente and I keep pushing forward in hopes of developing a consistent style of my own.

I have a friend who paints the Goddess and the Earth Mother. When I looked at my friend’s work about feminine strength, I realized that part of what I have been painting is the soft vulnerable under belly of the feminine principle. Most of my work seems to be exploring the boundaries and the demands of the role of being a woman; from the beginning of time, from my grandmother’s generation to my own. I don’t have a daughter so I can only speak of the current generation from the vantage point of my experience. I am seeking to a have a clear sense of the lines between being a woman and a self.

I come out of the I950’s ethnic, working-class, patriarchal definitions of gender roles. I didn’t start out thinking about feminist issues, but it seems to me as a woman who lived through the second wave of feminism, I didn’t have much choice. I lived through a time that  questioned gender identity. Gender role confusion was what was on my mind. Without realizing it at first, I have been using art  to explore the issue of identity and of gender.

In addition to trying to find out what it means to be a self, I am trying to fit that self into the body of a woman. Or, maybe, I have been trying to find out what it means to become a self in the body of a woman.

I do agree with Picasso, when he said “Painting isn’t an aesthetic operation; it’s a form of magic designed as a mediation between this strange hostile world and us, a way of giving form to our terrors as well as our desires.”

As to the themes of my overall subject matter, it appears part of what I am doing is I am creating a visual diary in the tradition of Frieda Kahlo and Joan Brown.  For me, all time exists at the same time, and I keep moving back and forth in time from now to childhood, to the previous generations, to the ancient world, trying to see or to make sense of life…of my life.   I like what Faulkner says about time when he says “the past isn’t dead, it isn’t even past.” When I paint, time doesn’t matter. Space doesn’t seem to matter to me either. For me sometimes the inside, is outside, and the outside is inside. The outer world and my inner world bleed back and forth. On my canvases, matter, psyche and spirit all exist at the same time, in varying ratios and on shifting planes. In painting and in life I find that it is always hard to find a place to put things, even parts of myself.

What keeps me going is the hope that my painting will someday come close to what Clement Greenberg expressed about Milton Avery when he said, “His paintings show once again how relatively indifferent the means of art becomes when force of feeling takes over.”

LinkedIn – Website

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Baby Girl Chair Dancing to the Grateful Dead

Dual Opening in January: Photography by Lorena Beniquez

LORENA BENIQUEZ // Abandoned Coal
Opening Friday, January 6th 2016 @ 6pm

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When Lorena Beniquez started photographing Abandoned Coal, she didn’t know it would turn into a lifelong pursuit.  For over twenty years, the photographer has documented a fading history that defined not only northeastern Pennsylvania, but the United States as well.  It also happens to be a part of Beniquez’s family history.  Her great-grandfather, Stefano Pantano, was a coal miner who succumbed to black lung disease.

The Huber Breaker in Ashley, just outside Wilkes-Barre, was Beniquez’s first subject.  In 2014, the breaker was demolished just months after Beniquez last photographed it.

With the Huber gone, there is now only one breaker left in the commonwealth.  The St. Nicholas in Mahanoy City is currently being dismantled for its impending demolition.  Beniquez reached out to the breaker’s owner, Reading Anthracite Corporation, who granted her access to document the breaker’s demise. 

Images of the Huber and St. Nicholas collieries are the centerpiece of Gallery425’s exhibition of Beniquez’s work.  The photographer’s aim is to document historical relics that will soon disappear completely from Pennsylvania’s landscape.

The images exhibited at Gallery425 will also be included in an upcoming book, written by Beniquez.  Published by Arcadia Books, Lost Coal Country of Northeastern Pennsylvania is slated for national release in spring 2017.  In addition, the images will be exhibited at King’s College in September 2017, at their Anthracite Gallery in Wilkes-Barre, PA.

 

 

Cracked, by Lorena Beniquez, pictured above.

 

Dual Opening in January: Painting’s by Nik Olajuwon

NIK OLAJUWON // Dichotomy
Opening Friday, January 6th 2016 @ 6pm
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Nik Olajuwon was very creative at a  young age. The things and situations he has seen, from California to Florida, and everything in between has shaped his view on this world. This includes being a victim of the Kids for Cash scandal, where a Wilkes-Barre judge was incarcerating kids on menial offenses. Olajuwon loved art class in elementary school, and there is where he said he felt the most free.

Olajuwon attended L.C.C.C. art school, as well as earned an art certification in Glen Mills. He furthered his education in art and knowledge of social issues by self-teaching, especially when dealing with his paintings subjects.

Olajuwon loves dichotomies in nature. He hasn’t pursued much in terms of schooling as he doesn’t want to have any influences in his style of painting that may stray him from what he really enjoys. Olajuwon is quoted as saying “if I can move someone in any way, my job has been completed”.

Olajuwon is influenced by numerous artists including Francisco Goya, Francis Bacon, Jean Michel Basquiat, Pablo Picasso, and George Condo. His goal when creating art is to open the eyes of the viewer, to make the feel something, whether it be sad, enlightened, angry, happy, or disturbed.

He has showed in galleries such as Art on Main, in Pittston, PA, as well as Barrel 135 in Williamsport, PA.

www.nikolajuwonart.com
www.facebook.com/nikolajuwon1

 

 

Dichotomy, by Nik Olajuwon, pictured above.

Mostly Present by Richard Karp, Coming Soon to Gallery425

Join us at the gallery opening, Friday, December 2nd, 2016 @ 6pm.

Mostly Present, a sampling of regional Williamsport by Richard Karp, is a display of recent photographs from the area hosted by Gallery 425. Topics range among nature, cityscapes, portraits, and editorial photographs.

ARTIST STATEMENT

I MAKE NO CLAIM TO UNDERSTANDING ART. Rather, I shoot what I see and that is that. An early love of cameras and photography was nurtured by viewing the works of others. When I see something great, it is internalized and then informs how I see.  Some who have made an impression: Arnold Newman, Henri Cartier-Bresson, Brassai, Edward Weston, Ansel Adams, Bert Stern, Emett Gowen, Diane Arbus, Helmut Newton, and so many more covering a variety of genres.  I love looking at photographs.   I love shooting in the moment.  I love magic time when the light is low and shimmering.  I love beauty, in people and nature and buildings.  I love telling a story, revealing feeling or character.   I love recording a moment that can be recalled years later. I’m sentimental that way.

A particular fascination is witnessing the effects of time, seeing a person or place or event in various stages.  Eventually the subject is no longer there which makes the shot poignant, or at least historical.  A shot from inside the old Ace Locksmith is such a photo. The building was on Third Street, approximately across from the current Wegman’s.   Nothing in the photo is there anymore.  I’ve been carrying a camera around for many years. Pictures like this are not planned but become part of the record, that particular moment.

BIOGRAPHY

RICHARD KARP grew up in Williamsport, PA and attended public schools. After adventures in New York, California, West Virginia and Washington state, he settled back in Williamsport around 1976. He has worked as a factory and construction laborer, forklift operator, school teacher, apple picker, tree planter, computer programmer, systems analyst and administrator, and restaurant operator. He has degrees from Penn State and W.A.C.C., and is retired from a computer career and involvement with the family business. A photographer since his teens, retirement has enabled deeper immersion into this passion. He has lived for the past 28+ years on Bastress Mountain.

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Tree Planters by Richard Karp

Wynn Yarrow Brings Transitioning Landscapes to Gallery425 in November

Opening Friday, November 4th, 2016 @ 6pm

Yarrow’s work is landscape as metaphor for the inner life.  It exists in the shadowland between technique and vision; emotion and intellect; the physical realm and the spiritual one.  The colors, light and design elements of her landscapes reflect the mystery and wonder of the natural world.

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Yarrow is the artist-in-residence of The Rockwell Museum, Corning, NY, an affiliate of Smithsonian Institution.  Her work has been exhibited in national and international exhibits, including Re-Presenting Representation, Arnot Art Museum, Elmira, NY; Night Visions, Coconino Cultural Center, Flagstaff, AZ; and Unfolding a solo show on four floors at Northwestern Seminary, Roberts Wesleyan University, Rochester, NY.  Yarrow’s work is in the collections of Penn State Milton Hershey Medical Center, Hershey, PA and Gettysburg College, Gettysburg, PA.   She is a recipient of a Pennsylvania Council on the Arts individual creative arts fellowship, an ARTS Council of the Southern Finger Lakes Artist Crossroads fellowship, and art residencies at Soaring Gardens Artist Retreat, Laceyville, PA; Sunny Point Artist Residency, on Keuka Lake, NY; and Bloedel Reserve, Bainbridge Island, Washington.

 “Transitions are meaningful and emotionally charged times in human life; so I tend to paint times of transition in nature.  My best known work explores transition in the night sky, where change occurs swiftly,” says Yarrow.“Transitions are meaningful and emotionally charged times in human life; so I tend to paint times of transition in nature.  My best known work explores transition in the night sky, where change occurs swiftly,” says Yarrow.

Lynn Estomin brings Vietnam/Cambodia to Gallery425 in October

Opens Friday, October 7th, 2016 @ 6pm

Honoring the people, culture and landscape of Southeast Asia

 

ABOUT THE ARTIST

Lynn Estomin is a videographer, photographer and interactive media artist who creates art that speaks to social issues. As an artist dealing with political subjects, she is interested in human stories and what they tell us about society. Her latest installation project, Shame, includes the video Fashion To Die For, and website A Stitch In Time (www.lycoming.edu/textile), photographs and sculpture and draws on her own experience as a garment worker and organizer. This exhibit of b/w, color and hand-colored images honors the people, culture and landscape of Southeast Asia.

Estomin’s award-winning video documentaries have screened at film festivals internationally and broadcast nationally on PBS. Her web art won awards from Adobe Corporation, The Webby Awards, Canadian Web Association, Golden Globe Awards and Cool Site of the Day. Her photography has been exhibited nationally and internationally in solo and group exhibitions. Estomin’s work is part of 65 public and private collections. She has received grants and fellowships from the Ohio Arts Council, Pennsylvania Council on the Arts, Art Matters Inc., Cincinnati Commission on the Arts, Kodak Corporation, Ilford Corporation, Sony Corporation, SIGGRAPH, the Luce Foundation and the Women’s Film Project.

Lynn Estomin is also currently a Professor of Art at Lycoming College in PA, where she teaches digital art and design.

 
Photos provided courtesy of Lynn Estomin (www.lynnestomin.com)

 

“battery223” by Gordon Wenzel Coming to Gallery 425 in September

Behind “battery 223”

Built as part of the Harbor Defense Project by the Army Corp of Engineers during the early months of the Second World War, Battery 223 served as a gun emplacement strategically located to protect the Delaware Bay from possible invasion.

Completed in 1942 and located in Cape May NJ, the bunker was once 900 feet inland, surrounded by earth and sod so that it would appear to look merely like a hill from the sea or air. Built of reinforced concrete, with roof walls 6 foot thick, it was intended to be a bulwark against tyranny, containing 4-155mm heavy artillery guns and manned by naval gunnery crews who spent hours on end scanning the horizon for enemy surface ships and submarines.

This place connects Wenzel in a very tangible way to the conflict that engulfed his grandfather who fought in the European Theater of Operations (ETO) as part of the 3rd Battalion 358 Infantry—known as the Tough ‘Ombres.  Since his passing in January 2014, Wenzel has been confronted with a history of a seldom discussed aspect of his grandfather’s life through a series of letters written during the war to his brother who he no doubt felt more comfortable disclosing his ordeal to than to his beloved wife.

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The images of Battery 223 were created five months before his death and have become an ideal canvas for his hand-written sentiments that Wenzel has superimposed on the crumbling bunker walls like haunting graffiti.

Here etched into the surfaces of a fortified structure designed to defend against the same enemy forces he was fighting overseas, his thoughts echo a forgotten past hinting at deeds of valor and sacrifice in an unromanticized tone, epitomizing the feelings of many combat soldiers whose dreadful memories remain despite the erosion of the passing of time.  For example, he writes from a “foxhole somewhere in France,” under constant shelling and often remarks that he “shan’t ever be able to erase from [his] mind” what he had witnessed.  Perhaps this is why upon returning home, he never spoke of the heroic deeds that won him a Bronze Star.

At the same time, in these letters he repeatedly expresses a longing for the war to end and the peaceful comforts of home. Throughout his letters, he is always curious to learn what people back home think of the war.  And rather than dwelling on what he has experienced, he is eager to learn of his loved ones’ daily affairs, with his commentary focusing on the hope of being reunited with his family where he might someday be able to take his son (my father) to a carnival.  Here too can be discerned the depravation of the march by his repeated reference and request of comfort food.

But his sentiments transcend the individual and remind us that although freedom is often forged from conflict, the sacrifice is anything but abstract; rather it is very personal because the marks, scars and PTSD always remain.  Moreover, what is revealed here is difficult for Wenzel to reconcile with the peace-loving, kind and generous man who was his hero through life.

Finally, as this concrete bunker quite literally is being swallowed up by the sands of time, these images serve as a monument to the futility of the fact that history only repeats itself.  While human tragedy is often self-inflicted, no one should ever have to endure such unspeakable horrors.

About the Artist

Photographer Gordon R. Wenzel has had his work published and exhibited throughout the United States and Canada.   He currently serves as an Adjunct Professor in the Art Department of Susquehanna University teaching four credited photography courses.

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Last year, Wenzel’s work was exhibited at both the Art Association of Harrisburg and the Blough Weis Library at Susquehanna University.   In 2012, his series “globanomics” was featured in the Invitational Exhibition at the Art Association of Harrisburg.  Wenzel was selected as the featured artist for the 2011 Lewisburg Arts Festival.  And in 2009, Wenzel’s photography was exhibited in Susquehanna University’s Lore Degenstein Gallery in the show Transformations.  In addition, a piece from the series Destiny Manifest was selected for the juried show Images 2009 at Penn State University’s Robeson Gallery and was awarded Honorable Mention.  In June 2010, Wenzel collaborated with artists Marshall Harris and Chad Andrews to create an audio-visual installation­­­ piece in Williamsport entitled “Industriata.”  Also in 2010, Wenzel’s series cArt 37 was exhibited in Williamsport’s Pajama Factory show “Photographers at Work.”

His work appeared in the book Photos that Inspire, published by Photoworkshop and found in bookstores across the country.  In 2005, one of the images from the series Destiny Manifest, was featured in Direct Art magazine in connection with an exhibit at the Limnar Gallery in New York City.  In 2002, Polaroid Inc. feature Wenzel’s work in the anniversary edition of P Magazine—which was the corporation’s international showcase of creative uses of their films, published in five languages and sent to 50,000 professionals, creative and art directors worldwide.

Wenzel’s work was shown at Toronto’s Gallery Arcturus in conjunction with the 2007 Contact International Photography Festival.  This was his third exhibition in Toronto for the Contact Festivals.  In 2002 his series gyroKinetic and in 1999 Spatial Relationships were exhibited in Toronto galleries.  In 2004, Wenzel received First Place Award for Gridlock in the 76th Juried Exhibition of the Art Association of Harrisburg.

His work is included in the permanent collections of both the Lore Degenstein Gallery, Selinsgrove PA and the Sherman Hines Museum of Photography, Liverpool, Nova Scotia.   His images from the series globanomics were recently purchased as a part of a permanent art installation in the new Susquehanna Health tower at the Williamsport Regional Medical Center.

Gordon R. Wenzel holds a Masters of Photography degree from the Professional Photographers of America.  He is owner of Impressions Photographic Studio + Gallery in Lewisburg specializing in commercial, advertising and annual report photography for the region’s largest corporations.

Holly Patton Shull “Sight Unseen” Coming to Gallery 425 in August

A letter from the artist:

I knew from the time that I was twelve years old when I walked into my uncle’s painting studio, that I loved oils. I did not have the courage to pick up the brush until my early forties and have not been able to put it down since. Maybe I had to wait that long before I had something to say that suited this very old art form. People often ask what I like to paint. I am driven to paint of humanity…the human condition. the face, the body, emotions and spirituality. It turns me on to explore, through the beautiful colors, what goes on around and inside of us. I surrender to each new painting completely —the mystical process never ceases to amaze and thrill me.

I grew up in an artistic family. My father was an animator for Disney and Warner Brothers in the late 30’s and 40’s. His oldest brother, Bernard, was the painter. My sister, Deane Patton, is an amazing illustrator and photographer. And I have a cousin, Jenieve, in St. Petersburg who is also a painter. I was primarily an illustrator until my first oil painting. I moved my studio from my home to the Pajama Factory in 2012. Beginning in October, I will be painting and promoting my artwork full time!

The Stairwell

I am honored to be asked by Judy and Stu to represent the woman artist for Gallery 425, August 2016 First Friday. For this exhibit, the Olinsky’s asked that I bring paintings that had not been shown in the area. I have gathered back a few favorite commissions, some recent works not seen outside my studio, and have also painted seven new paintings specifically for this gallery and space that is dedicated to women artists. For the most part my new paintings focus on the marginalized—that, of course, includes the feminine. I am a woman’s woman—meaning, I need my girls and they need me. I come from a long line of strong women. I have two sisters—one child, my daughter, Cydne, and her child, Asta, my granddaughter. I have an exceptional circle of women that nourish my heart and soul daily. We all fight for justice, peace and endeavor to live the purposeful life, along with our loving brothers, in sustaining and nurturing our mother Earth. I hope this collection provokes some feelings for the viewer, somehow—if so, I will consider it a success.