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News Release

September 5, 2003

Smith Faculty Art on Exhibit

NORTHAMPTON, Mass. -- Sixteen faculty members of the Smith College Department of Art are exhibiting their work through September 29 at the Janotta Gallery on the first floor of Hillyer Hall, Brown Fine Arts Center. The exhibit, which is free and open to the public, is open Monday through Friday, 8:30 a.m. to 11 p.m., and Saturday and Sunday, 10 a.m. to 11 p.m. For more information, call (413) 585-3100 or e-mail

On exhibit will be a remarkably diverse group of two-dimensional, three-dimensional and time-based media artworks. Sophisticated viewers and art newcomers alike will find something in which to delight in this accomplished collection of artworks by Smith College's own faculty.

Below, in reverse alphabetical order, are brief descriptions of the 16 artists who make up the exhibition.

Lynn Yamamoto, the newest member of the art faculty, contributes paradoxically lyrical visual elements from her installation tableaus, the subjects of which obliquely address the human consequences of war and colonization.

Katherine Schneider, a painter of considerable gifts, offers intimately scaled alla-prima still lifes that afford an expansive sense of horizon -- creating an atmosphere typically associated with that of landscape painting.

In "Making Time Visible," Gretchen Schneider, who heads up Smith's architecture program, photo-documents the Boston City Hall Project, a temporary public art piece she created in 2002 in which a team of chalk artists outlined the old Scollay Square to scale on the existing Boston City Hall Plaza.

Using the Iris printing process whereby an image is captured on camera and manipulated digitally, the photographer Meridel Rubenstein produces large-format prints on mica-coated tree bark paper. Appropriately enough, Rubenstein's subjects are culturally and historically significant tree specimens she photographed during her global travels.

Dwight Pogue, a widely respected master printer, renders technically brilliant and optically arresting polychrome prints of flowering cacti in all of their otherworldly flamboyance.

Elliot Offner, the art department's senior sculptor, creates pedestal bronzes drawing upon the natural world for his stylized forms.

Gary Niswonger revels in the lubricious slur of oil paint as he transcribes the wild and domesticated pattern, hue and chimeral visual play of his gardens in Florence, Mass.

The internationally acclaimed Barry Moser displays real graphic genius in a sample leaf extracted from his celebrated Hebrew Bible project.

Chester Michalik's surreal-looking, large-format photographs of Japan and Las Vegas are made all the more preternatural by Michalik's discerning eye for uncanny detail and composition. The simple fact that his photo-tableaus are not the product of a feverish imagination but an unblinking record of man-made hyper-reality makes them all the more haunting.

Elizabeth Meyersohn's atmospheric panorama sensitively subordinates landscape beneath a voluminous billowing sky made palpable by skillfully manipulated oil washes.

Barbara Lattanzi's "Original software applied to 5 videos" is a video-projected work
(located in the downstairs Oresman Gallery) that employs software for algorithmic improvisation. The result is the stuttering visual equivalent of hip-hop's "scratching" iteration.

Oil painter Susan Heidemann's frequent travels to the teeming undersea worlds of the Great Barrier Reef of Australia have supplied visual raw material for her series of incandescent biomorphic abstract paintings on canvas that deftly reference art historical luminaries as well.

Susan Greenspan slyly interjects with a miniature set of photographic digital prints that enigmatically highlight a Lilliputian figure bobbing forlornly in a homemade cardboard bathtub.

Carl Caivano extends the investigation of painting into three dimensions. His sweeping expressionist brushstrokes and linear notation launch aggressively outward from the exhibition wall's white plane and well into the space of the viewer.

A. Lee Burns' small but powerful caged stones -- one a real river rock, the other a cast bronze duplicate -- rely on weight, density and compositional concentration to do the job. The work's understated humor reveals itself upon extended viewing.

Roger Boyce's technically intriguing works on linen -- which leave much of the surface unpainted -- are obliquely derived from lineage charts encountered in the monasteries of Ladakh and Bhutan, an area researched by Boyce on an extended trip to the Himalayan Plateau.


Office of College Relations
Smith College
Garrison Hall
Northampton, Massachusetts 01063

Marti Hobbes
News Assistant
T (413) 585-2190
F (413) 585-2174

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