Along the Way & Visual Poetry in Artists' Books
Central Library, 2nd floor Balcony Cases
Along the Way
by Barbara Barnes Allen
One doesn't usually have the same thoughts over and over, so why should one's art be repeated? I keep a running diary of my journey and all the avenues I've traveled. My books, usually 40 to 50 pages, and their sculptural bases are a link to what I've seen and felt around me. They are a composite of reaction, if you like. In first grade I was given my first book, Along the Way. I still have it, and I still document all the subsequent things along the way.
This exhibition is a reflection-in book and sculptural form-of everyday thoughts and musings common to most people, moving from travel and civilization to questions and excuses. The contents of the books and components of the sculptural bases relate to one another, merging to form the theme of each work.
Barbara Barnes Allen exhibited her work at The Center for Book Arts in New York as its Featured Artist Project. Her work has been shown extensively in museums, art centers, galleries and universities across the United States, as well as in Europe. She also currently has an exhibition in the United Kingdom and a two-year show traveling throughout Poland. She earned a B.F.A. from the Ringling College of Art and Design in Sarasota, Florida.
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by Marilyn R. Rosenberg
I often work with visual poetry made with stencils, found type, found images, calligraphy, handwriting, gouache, ink, photos and computer images. Some of my collages are found and created through the computer; others are hand-pasted on the actual drawing board.
In this exhibition, I use a process I call "interfolds," which involves folding conceptual ideas with physical forms like images, fables, languages/words, symbols, allegory and metaphor. The pages in all of these works make the viewer question whether they are drawings or visual poems. The result is playful, with an underlying seriousness.
Daily experiences are presented in altered states, as recorded in these disguised journals. At least 8 of the 18 titles are filled with indecipherable language. Calligraphic marks and letters recount one side of abstract conversations. Calligraphic drawings record birth and/or death events. Other works can be read in more than one direction. Seeing is forward, backward, up, down and around. When there are holes, we can see through to the past and future.
Marilyn R. Rosenberg has been a part of more than 200 group exhibitions since 1977, including ones at Brooklyn College Library, the Museum of Fine Arts in Budapest and Everson Museum of Art in Syracuse, New York. Her last solo exhibition was in 2007 at Chappaqua Library Gallery. Her work is also featured in many collections, including international ones in Paris, England and Australia. She earned a M.A. in liberal studies from New York University and a B.S. in studio arts from Empire State College, State University of New York.
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