Really Cool Artists We Thought You’d Like to See Again!

Featured Artists

Monica Bock, Julia Fish, Mike Gamis, David Hodges, David Jackson, Joseph Litzenberger, Darrel Morris, John Pakosta, John Ploof, Karen Reimer, Stephen Reynolds, Gail Simpson, Tom Skims, and Sonny Venice & Sandy Beech.

  • March 8, 1992 – April 25, 1992
  • The Del Prado

Curated by Mike Lash and Charles Thurow, this invitational exhibition featured current work by fifteen artists who showed at the Center during the late eighties and early nineties. The exhibition featured sculpture, painting and mixed media works. Artist Gail Simpson exhibited two untitled sculptures. Both pieces were primarily made from cast aluminum and incorporated mixed media elements. Simpson juxtaposed a familiar sculptural material and egg shells were to represent a human nervous system. Numinal Garden: Counting Angels was a mixed media sculpture by artist John Pakosta. The sculpture was constructed from flowers, plaster, wood, and miscellaneous electrical components, evoking a sense of a personal collective memory.

The Princess and the Pea by Karen Reimer incorporated folded feminize undergarments, a window shade, pinned-up images of garments in the process of being folded, and bright green peas. Reimer’s installation pushed systems to excess and used unfamiliar systems on familiar contents. Reimer’s found object installations also examined mixed systems that are usually considered unrelated or separate. Artist Julia Fish‘s chalk and pastel on paper drawing titled Study for Lawn #4, incorporated varying shade and hues of greens that played with perspective. Artist David Jackson work offered the opportunity for the viewer to measure the authenticity and meaning in the objects that he created. Monica Bock‘s piece titled Peliquiae Alimentari referenced the traditional language of the Church and of Medical Science. Beyond its anatomical reference (alimentary canal), the title Peliquiae Alimentari extended into the realm of the domestic, the realm of personal need and nourishment. Reproducing diagrams of dental anatomy, Reliquiae Alimentari displayed a full set of thirty teeth arranged in two straight rows of sixteen. The piece played with the metaphor of cannibalism to the process of exchange and consumption that constrains our relation to objects and to each other.