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Gallery Night Ithaca

Gallery Night Ithaca

3D exhibitions

  • Gallery Night Ithaca

    Mink Gallery July 2020

    Barbara Mink Artist Biography Barbara Mink was born in Buffalo, New York, started painting in 1998, and studied with Stan Taft, Bill Benson, and the late Bente King and Thomas Buechner. Her latest body of work is on unprimed canvas and linen, balancing exuberant color with a geometrical rigor. “I grew up with art all around me. My father was an abstract painter, and Buffalo featured a wonderful modern art gallery and a lively arts scene. I started painting relatively late, and went through as many styles, subjects, and media as I could, before coming happily to rest in a world of the spare, the muted, and the geometric. Now I am back to color and texture, but incorporating some of the architectonic lines I love.” A Summa cum Laude graduate of SUNY Buffalo, she moved to Ithaca, New York in 1976 where she pursued a PhD in Comparative Literature, was a freelance actor in television and radio commercials, News Director of WHCU radio station, and received an MA degree in History from Cornell University in 1986. In 1989 Mink was elected to the Tompkins County Legislature and served for 12 years. In 2001 she founded the Light in Winter Festival of Science and Art. She has taught oral and written communication for MBAs at Cornell University’s Johnson Graduate School of Management since 1986. Mink is an active member of the Greater Ithaca Art Trail, as well as the Buffalo Society of Artists and the Western New York Artists Group. She is represented by Art Matters Consultants in Washington, DC, Velvenoir Austria for European sales, and Indigo Art Consultants, London England. Her work can be found in collections throughout the United States and Europe. Barbara Mink Artist Statement I am exhilarated by creating and counterbalancing formal oppositions of line and color, form and space, light and dark, organic and architectonic, diffusion and thickening, surface and depth. I struggle to bring out the mysterious and ineffable beyond the mundane. Even when tending toward the monochromatic, color is always an important part of my work: it is energy, emotion, life. Whatever I devise in terms of hue, saturation, and vibrancy must be met with a restraining force or structure, and I increasingly explore processes that set different qualities of color, pigment, and texture against each other. I do believe that beauty affects not only how we feel but how we behave. I think we’re hardwired to appreciate beauty in music, art and literature; as the daughter of an artist, I imbibed the principles of art making and great art at an early age, and am constantly seeking new directions rather than staying with one style or point of view.

  • Gallery Night Ithaca

    Ink Shop Printmakers | 20/20 Hindsight Portfolio

    04 Sep 2020 – 02 Oct 2020

    Following a successful joint project honoring the tenth anniversary of both studios in 2009/10, Ink Shop Printmakers are collaborating once again with Limerick Printmakers on an ambitious print project. Each printmaker created an edition of 21 prints, with both studios receiving a full set of prints from each studio. The theme of ’20 Years of Change’ welcomes a wide set of interpretations and allows for diverse responses from participants. The project features 33 printmakers in total. All work will be exhibited together in both Ireland and the US and will become part of each studio’s permanent archive. Both portfolios are currently on exhibit and can be seen by appointment in the Ink Shop Studio Gallery and in this virtual gallery. Showing Sept 4th through Oct 2nd.

  • Gallery Night Ithaca

    Limerick Printmakers | 20 Years of Change

    04 Sep 2020 – 02 Oct 2020

    Following a successful joint project honoring the tenth anniversary of both studios in 2009/10, Limerick Printmakers are collaborating once again with The Ink Shop on an ambitious print project. Each printmaker created an edition of 21 prints, with both studios receiving a full set of prints from each studio. The theme of ’20 Years of Change’ welcomes a wide set of interpretations and allows for diverse responses from participants. The project will feature up to 36 printmakers in total. All work will be exhibited together in both Ireland and the US in late 2020 and will become part of each studio’s permanent archive. The Limerick prints can be seen by appointment in the Ink Shop Studio Gallery and in a virtual gallery.

  • Gallery Night Ithaca

    The Ithaca College Library presents, Ithaca College in the Downtown Era

    Ithacans may know Ithaca College by its dual towers at the top of South Hill, but that’s just part of the story. In actuality, the South Hill campus has only been the home to Ithaca College for the last 55 years. Prior to 1965, Ithaca College was located in downtown Ithaca. In this exhibit, we’ll explore photographs of some of the buildings that comprised Ithaca College and its previous incarnations. Ithaca College began in 1892 as the Ithaca Conservatory of Music by local musician, W. Grant Egbert. The Conservatory grew during the following decades and was joined by affiliated schools: the Williams School of Expression and Dramatic Art(1898), the Ithaca Institute of Public Music (1910), the Ithaca School of Physical Education (1916), and the Conway Military Band School (1921). In 1926, the Ithaca Conservatory and Affiliated Schools (ICAS) was licensed by New York State to grant baccalaureate degrees, and in 1931 all of the school merged to become Ithaca College.

  • Gallery Night Ithaca

    Sue Brightly: Brightly Visions @ CAP ArtSpace

    Community Arts Partnership Presents: Paintings by Sue Brightly. "A lot of people say my paintings are cute or whimsical. And sometimes they are. But I invite you to look a little closer. A lot of times there's something else going on. When I get an idea for painting it's often because something is troubling me. Sometimes I don't even realize it until I'm deep into the painting. Ideas start falling into place as I layer on the colors; insights take shape along with the painting. I like to paint animals and trees and nature. They just seem to be the frequencies I'm tuned into. I feel viewing our human experiences in the guise of animals can provide a fresh perspective compared to seeing a human in a painting. I hope my paintings give you a pause to think, to imagine, or simply to enjoy." Sue received a BA in Art from UC Santa Barbara and has spent most of her career as a graphic designer. She participates in the Greater Ithaca Art Trail and has shown works in several local group exhibitions." Along the way, she's also worked as a soundperson for TV and documentary projects in Tibet, Nepal, Thailand, and other international travel; wrangled trail horses for dude rides in California, and lived in London, England as a child. Sue lives in Ithaca, NY with her wife, two dogs, a cat, and 16 chickens; and is the proud mom of an adult son and stepdaughter. Please contact Sue directly at suebrightly@yahoo.com for purchasing.

  • Gallery Night Ithaca

    Shared Vision / Separate Vision The sculptures of Gary Weisman and Treacy Ziegler

    In this exhibition, I have created life and over life-size animal sculptures. The sculptures are created from thousands of prisoners’ letters received through the Prisoner Express project where I am a volunteer art director. In this project of the Center for Transformative Action and affiliated with Cornell University, prisoners are invited to receive free newsletters and free courses on various subjects. As a volunteer art director, I create art projects for 9000 prisoners in prisons across the United States. Many of the prisoner artists have participated in these projects for 10 years. The project receives about 20,000 letters annually. Treacy Ziegler and Gary Weisman are artists and a married couple living in Newfield New York for the past 22 years. This exhibition brings together their sculptures. With the shared vision and hope that sculpture can be the aesthetic manifestation of compassion and care, Ziegler creates sculptures of animal imagery, while Weisman uses the human form. Weisman creates his sculpture in bronze. Ziegler creates her sculptures of paper; cast from thousands of letters she receives from prisoners through the Prisoner Express project of the Center For Transformative Action, affiliated with Cornell University. It is her hope that the sculptures reflect the range of emotion evidenced in the letters; hope, regret, sadness, loneliness, and love. Ziegler and Weisman are internationally known artists with galleries representing them in Canada and United States. The 2020 CAP ArtSpace is sponsored by the Tompkins Trust Company.

  • Gallery Night Ithaca

    Johnny Dowd and Jennifer Edmondson, Lockdown 2020

    Johnny Dowd and Jennifer Edmondson, Lockdown 2020. Johnny Dowd: i was born in ft worth texas in 1948. my childhood was normal as was my adulthood. at some point i learned to play guitar. when i tired of that i began drawing. the future is uncertain. Jennifer Edmondson: I've been drawing my whole life. I played music with Johnny for a little while, but this collaboration has more of me in it. I hope lots of these pieces go away because my house is kind of filling up.

  • Gallery Night Ithaca

    Modern Comfort 2020 at CSMA

    05 Jun 2020 – 01 Sep 2020

    Modern Comfort 2020 curated by Kim Stone, President, Ithaca Modern Quilt Guild Extended through August! Curated by the Ithaca Modern Quilt Guild (IMQG), this virtual exhibition reflects the vibrant innovation and creative vitality of the quilters who are part of the modern quilting community in and around Ithaca. The show is organized around four design aesthetics that are common to modern quilting—Modern Traditionalism, Negative Space, Improvisation, and Asymmetry. The quilts range in size from a diminutive piece barely a foot square, to wall hangings and lap quilts, to the bed-size benefit quilt the guild created and generously donated to CSMA for fundraising. The benefit quilt, “The Early Birds Organize Their Stash,” is aptly named for its spring theme, celebrated with gorgeous design and stitchery. This quilt has been installed inside CSMA's main window for up-close viewing from outside the building at 330 E. MLK/State Street, as well as virtual viewing within the exhibition. Silent auction bids may be made at www.32auctions.com/CSMAquilt from June 5 through July 31 to benefit CSMA. In this time of quarantining and social distancing, "normal" or "traditional" ways of living can seem lost to us. We hope this show gets you excited about the power and beauty of innovating in the midst of unfamiliar circumstances. We hope these quilts inspire you to figure out a new normal, by imagining your own interpretations of modern comfort. What is modern quilting? Modern Comfort 2020 is a collection of quilts made by members of the Ithaca Modern Quilt Guild. What is “modern” quilting, you may ask, and how does it differ from traditional quilting? This is a question that we have been exploring in our textile creations. The phrase “traditional quilts” conjures in the mind a familiar image: a set of exquisitely crafted quilt blocks, like the knife-point artistry of a five-pointed star block or the squared off symmetry of a log cabin block, all arranged in a neat grid of repeated rows. In the 21st century, modern quilting respects the rich history of traditional techniques, but is also inspired by the innovative aesthetics of three distinctive American quilting movements. Amish quilt designs and stitching techniques have influenced modern quilting, which is ironic considering that Amish communities eschew modern technologies in their pursuit of a simple spiritual lifestyle. Although Amish quilts have been made by women since the 19th century, they were “discovered” by the rest of America in the 1960s, and soon became treasured collector’s items. Early Amish quilters wove the fabrics themselves and dyed them with natural pigments, which produced bold solid colors with textured variations. Women would gather together in quilting bees to stitch the quilts with distinctive Germanic designs. Quilting circles were an important source of creative community for Amish women, as well as an important learning environment for Amish girls. The clean, graphic design of Amish quilters, their use of solid color fabrics, and their emphasis on community continue to influence modern quilting today. Art quilts—textile expressions of liberating creativity, emerged out of the feminist craft movements of the 1960s and 1970s. Rather than follow the predictable patterns and blocks used in traditional quilting, these female artists based their designs on their own life experiences, images, and concepts. Many were academically trained artists who turned to textiles as their medium of expression. They changed the idea of the quilt from a utilitarian domestic object into contemporary fine art. The first exhibit of art quilts, at the Whitney Museum in 1971, was titled Abstract Design in American Quilts. Instead of being draped over beds or piled up at county fairs like traditional quilt displays, art quilts in the Whitney exhibit were hung, one by one, on gallery walls with explanatory labels, as pieces of fine art in their own right. Reviews of the show compared the quilts to paintings by such abstract expressionists as Mark Rothko and Frank Stella. Art quilts are now regularly collected by museums across America. Today, modern quilters draw on the improvisational techniques of art quilting, and value the feminist emphasis on individual creativity. The African-American quilters of Gee’s Bend, Alabama, are another community of female artists who have influenced the modern quilting movement. Located in a horseshoe bend of the Alabama River, Gee’s Bend was, for most of the 19th and 20th century, very isolated from the rest of the country. Free from the constraints of traditional white American quilting traditions, the women of Gee’s Bend developed their own piecing and quilting style. The Gee’s Bend quilts, utilitarian objects meant to warm the families living in unheated farmhouses, were stitched together from scraps of old clothes and other fabrics. This community of female artists drew on both African and Native American textile patterns learned from their ancestors for their designs. The quilts came to the attention of an American who collected African art in the 1990s, when he was organizing an exhibit of African-American vernacular art for the 1996 Olympics in Atlanta, Georgia. The Gee’s Bend quilts were subsequently exhibited at the Museum of Fine Art in Houston in 2002, and today are considered to be one of the most important contributions of African-American visual art in the United States. Modern quilters today are inspired by the lively improvisational utility as well as the geometric clarity of the quilts of Gee’s Bend. The Modern Quilt Guild movement It seems fitting that our guild’s first show would be virtual because modern quilters first discovered each other online. As the Internet became more accessible in the early part of the 21st century, modern quilters shared ideas through early social media sites like Flickr, and through blog posts and email. Two influential modern quilt books were published in 2005 and became wildly popular. The fabric industry responded to this new interest by producing a wider array of solid color fabrics, as well as print fabrics influenced by mid-century modern design. Modern quilters organized online sewing bees, sending quilt blocks around the world and, in the process, activating a sense of global community. In 2009, two quilters formed the Modern Quilt Guild (the MQG), an organization aimed at fostering the growth of modern quilting through education, art exhibitions, and local community development. Local modern quilting guilds affiliated with the MQG proliferated in the ensuing years. Today, more than 12,000 quilters spread over six continents and 39 countries, continue to connect, both online and in person, at workshops, exhibits, and even a yearly convention—QuiltCon, to share their ideas, techniques, and artistry with one another. The Ithaca Modern Quilt Guild was organized by Pat Merkle in November 2002, at Quilter’s Corner, a locally owned fabric store in town. Our members come from as far away as Binghamton, Penn Yan, Horseheads, and Romulus. Some of us learned traditional quilting from our mothers, some of us began as traditional quilters and switched over to modern quilting, and some of us still create both traditional and modern works. Our guild continually explores concepts of modern quilting in workshops and challenges where we learn new piecing and quilting techniques together. We have “Show and Tell” at all of our meetings because we value each other’s work as sources of inspiration. And, in this Modern Comfort 2020 exhibit, we share our work with you. To purchase works for sale, please contact director@csma-ithaca.org.

    latest works

    • Limerick Studio Printmakers | Twenty Years of Change
      12 x 24 inch (h x w)
    • Ink Shop Printmakers | 20/20 Hindsight Portfolio
      12 x 24 inch (h x w)
    • Pamela Drix

      Theory of Everything
      22 x 15 inch (h x w)
      woodcut, thread
    • Christa Wolf

      Out of the Blue
      22 x 15 inch (h x w)
      Intaglio
    • Jari Poulin

      Wired to Fly
      15 x 22 inch (h x w)
      Photopolymer Gravure
    • Jenny Pope

      Irish Elk and Great Auk
      22 x 15 inch (h x w)
      woodcut
    • Ian McCoy

      Past, Present, Potential
      22 x 15 inch (h x w)
      woodcut
    • Gregory Page

      Ensuring Survivor Mullein Plant
      22 x 15 inch (h x w)
      Lithography
    • Heidi Marschner

      The Long Day
      15 x 22 inch (h x w)
      woodcut
    • Tatiana Malkin

      September
      22 x 15 inch (h x w)
      woodcut
    • Craig Mains

      Enschede Fireworks Factory Explosion
      15 x 22 inch (h x w)
      woodcut
    • Melanie Lopez

      Nightmares
      22 x 15 inch (h x w)
      etching
    • Kumi Korf

      Chrysalis Baby
      15 x 22 inch (h x w)
      Intaglio
    • Patricia Hunsinger

      against all odds
      15 x 22 inch (h x w)
      trace transfer w/ colored pencil
    • Scout Dunbar

      Circus Pony
      22 x 15 inch (h x w)
      woodcut, thread
    • Hunter Buck

      Gangue
      22 x 15 inch (h x w)
      etching
    • Brandy Boden

      Immorphosis
      22 x 15 inch (h x w)
      Cyanotype
    • Judy Barringer

      Beyond The Kármán Line
      22 x 15 inch (h x w)
      etching
    • Verona Stellet

      Vortex - The Perfect Storm
      28 x 19.5 inch (h x w)
      etched linocut
    • Ultan McAvinue

      Reoriented Strands
      28 x 19.5 inch (h x w)
      woodcut, Silkscreen
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