•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
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Current Exhibitions - FORM + CONTENT GALLERY

Trace Elements
INAUGURAL EXHIBITION AT FORM + CONTENT GALLERY
March 1 – April 5, 2007
WORKS FOR THE EXHIBITION SELECTED BY DORYUN CHONG,
ASSISTANT CURATOR OF VISUAL ART AT WALKER ART CENTER
Opening Reception
Saturday, March 3 5:00 – 9:00 pm
Trace Elements, the inaugural exhibition at Form + Content Gallery opens to the
public on March 1, 2007. The opening reception will be on Saturday, March 3,
from 5:00 – 9:00 pm. Doryun Chong, Assistant Curator of Visual Art at Walker
Art Center in Minneapolis, has selected the works for the exhibition.
The exhibition includes the founding members of Form + Content Gallery:
Christine Baeumler, Jim Dryden, Jil Evans, Camille J. Gage, Leah Golberstein, Jay
Isenberg, Joyce Lyon, Lynda Monick-Isenberg, Howard Oransky, Robyn Stoller,
and Jeff Wetzig and special guests Arlene Burke-Morgan and Clarence Morgan.
Nature and the Natural Environment
Nature and the natural environment inspire and inform the work of Baeumler,
Evans, Lyon, and Monick-Isenberg. Morning in the Daintree, a large painting by
Christine Baeumler, explores the diminishment of an ecosystem and with it a part of
human understanding. A bouquet of snapdragons has been transformed into a
visceral fusion of gesture and color that evokes bodily experiences by Jil Evans in
her abstract painting Natural Parable Number 4. In works such as Contessa’s
Garden III, Joyce Lyon translates her experience of living near historic gardens in
Italy into a language of introspection and pictorial space. Lynda Monick-Isenberg,
in a series of small, delicate drawings, has unraveled the mystery of a bird’s nest
and then re-coded the information into a grid.
The Inner Self
The matrix of one’s inner self gives shape to the works by Burke-Morgan, Dryden,
Golberstein, and Stoller. The unfolding of spiritual awareness provides the light of
Beyond, an acrylic on watercolor paper by Arlene Burke-Morgan. Jim Dryden
presents the human mind as a chaotic room, crowded with a jumbled swirl of
shapes, objects, thoughts, and memories in his painting Beautiful Room. An
installation of lightweight torso-like fiber sculptures, entitled Witness by Leah
Golberstein, symbolically represents the inner feelings of three individuals bound
together by shared experience. Robyn Stoller’s elegant letterpress prints reference
the biological and cultural identities of the self by combining the Hebrew alphabet,
cellular imagery, and strands of D.N.A.
Repetition and Variation
Repetition and variation – the building blocks of visual discourse – are at the heart
of works seen here by Morgan and Wetzig. Clarence Morgan’s New Science is a
deceptively small abstract painting on notebook paper that expands in the viewer’s
mind and gently opens a door into uncharted territory. Physical scale is given its
due in ‘tis the season, a humorous woodblock print by Jeff Wetzig depicting a fence
that spans the gallery’s mezzanine level and is crowned with actual holiday lights.
Politics and Memory
A political landscape littered with the artifacts of memory finds expression in the
vision of Gage, Isenberg, and Oransky. War, Redacted is an arresting image by
Camille J. Gage in which the carnage in Iraq has been distilled down to a stunning
detail: the built-in handles observed at the bottom of a flag-draped military casket.
Niche for a Charity Box by Jay Isenberg is a small, yet paradoxically, architectural
mixed-media construction that suggests a monument in miniature to the Holocaust.
This subject is echoed in the little Shards of glass, stone and image fragments on
transparent fabric by Howard Oransky that feel like relics of an archeological dig.
About Doryun Chong
Doryun Chong, guest selector for the gallery’s opening exhibition, was curator
with Philippe Vergne of the exhibition House of Oracles, A Huang Yong Ping
Retrospective and co-edited the exhibition catalogue. Doryun Chong’s other
recent projects at Walker Art Center include Ordinary Culture:
Heikes/Helms/McMillian and OPEN-ENDED (the art of engagement).


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