The Art Gallery at UNH
Autumn Ushers in Three New Exhibits at UNH Art Gallery
Memorial to September 11th victims is among featured works
By Lori Gula
August 19, 2002
DURHAM, N.H. -- The Art Gallery at the University New Hampshire will open three new exhibits Tuesday, Sept. 10, including a September 11th Memorial work.
The three exhibits, Each One: The Button Project/A September 11th Memorial, Time and Motion: Paintings by Caren Canier and the 2002 Art Faculty Review, run Sept. 10 to Oct. 20. A preview reception, open to the public, will be held Monday, Sept. 9, from 5 to 7 p.m.
In the year since the worst terrorist attacks in U.S. history, Americans
have sought to move on from the horrible events of that day. To help heal
the wounds and better understand the changes in our lives, many artists
have created moving works of art.
In Each One: The Button Project/A September 11th Memorial, weaver Sarah Haskell of York, Maine, has represented the towers of the World Trade Center on a 10-foot piece of hand-dyed and woven black linen. Two columns of thousands of white buttons sent to her from people nationwide in memory of the more than 3,100 victims of the attack create the towers. Community members assisted the artist in sewing the buttons onto the linen. This powerful piece is a tribute to the nation's resiliency and resolve.
On Wednesday, Sept. 11, Haskell will discuss her response to the attacks
and the process of creating the memorial work. She will share some of
the poignant letters and notes she received from Americans around the
country. The talk begins at noon in The Art Gallery.
In her exhibition, Time and Motion: Paintings by Caren Canier, the artist looks at the role time plays within our lives. She combines the old world and the new in complex yet serene compositions that evoke archetypal memories while reflecting issues of modern, everyday life.
"There is no coherence if you approach it only with logic and linear thinking. But if you allow yourself to receive the painting in the intuitive spirit with which it was made, it comes together as an allegory," says Gillian Pederson-Krag, a well-known painter and one of Canier's first teachers at Cornell University.
While studying in Rome, Canier developed an interest in Italian painting, and the influence of artists Piero della Francesca and Lorenzetti is evident in her palette and composition. Another major influence is Eadweard Muybridge, the 19th century photographer who studied motion in horses and human beings through his series of photographs taken in quick succession. Canier utilizes the same stop-action elements featuring men and women running, leaping, and climbing in perpetual stillness -- her method of further slowing down time in order to look at it more closely.
Canier, a painter and associate professor of drawing, painting and design
at Rensselaer Polytechnic Institute in Troy, N.Y., received her Bachelor
of Fine Arts from Cornell in 1974. She received her Master of Fine Arts
from Boston University, and has received numerous awards and grants, including
the Rome Prize in Painting at the American Academy in Rome. The exhibition
was organized by the School of Visual Arts at Boston University and curated
by Katherine French.
Each year, the Art Faculty Review showcases the recent work of studio faculty members in the Department of Art and Art History. This year's exhibition features paintings by Prof. Grant Drumheller, sculptures by Asst. Prof. Benjamin Cariens, and paintings by lecturer Shiao-Ping Wang.
Drumheller paints from observation, with his family a common subject. In a poignant painting, he captures his two daughters asleep on a couch with the family dog. "I often look for subjects to find themselves in my paintings," he says. "A mysterious arrangement of elements can arise that has underlying connections. I like to think that my subconscious recognizes the painting before I do."
Similarly, painter Shiao-Ping Wang relies on observation. Her recent works focus on human hands, their gestures and expression. Her use of light and shadow give the hands she creates depth and a life of their own. The real hands she represents contrast sharply with the mannequin hands that occupy the same space. "I am intrigued with the visual ambiguity in the appearances between human and artificial hands, and to paint this ambiguity has created a parallel sense of being or existence for me, on the edge of manipulating and relinquishing, of resisting and acceptance," she said.
Benjamin Cariens' mixed-media sculptural pieces speak about his life experience and observations of the world based on Christianity, Judaism and Hinduism. His works possess both a stillness and a surprising dynamism. "Life is a mediated experience, constituted of radically separated but not irreconcilable dimensions: the sacred and the profane, the ideal and the actual, the past and the present, the distant and the immediate," Cariens says. "Religions, civilizations and individuals have aspired to mend the breach between these dimensions through cultivation of symbols and stories that bear witness and give expression to our hopes, fears, and memoriesăboth individual and collective."
The following programs are part of the ArtBreak Series, which runs Wednesdays, noon to 1 p.m. in The Art Gallery, unless otherwise noted:
The UNH Art Gallery is at the Paul Creative Arts Center, 30 College Road, Durham. Hours are Monday through Wednesday, 10 a.m. to 4 p.m., Thursday, 10 a.m. to 8 p.m., and Saturday and Sunday, 1 to 5 p.m. The Art Gallery is closed Fridays, University holidays, and during exhibition changes. Admission is free. School and other groups are welcome. Tours are free with advance reservation. Call 862-3713 to schedule.
Editors, News Directors: Color slides are available upon request from Amanda Tappan, education and publicity coordinator, The Art Gallery, at (603) 862-3712 or email: email@example.com.