Josh Quigley
Karolina Karlic - "Dear Diary"
September 19th – November 8th, 2008
The lush large scale prints of Josh Quigley and Karolina Karlic radiate a sensuality revealing everyday lives longing for meaning and connection.
Josh studies what he calls the contemporary domestic, staging moments of family experience utilizing the styles and techniques of cinema, neorealism and commercial photography. The resulting images show an amplified intensity of everyday domestic events energized with an undercurrent of sexuality and desire.
Intrigued by the motivations of those that post Internet classifieds through “Missed Connections” on Craig’s List, Karolina Karlic sought out the posters to create her images. Perhaps by helping to complete their need for connection she was able to draw them into collaboration to make photographs of vulnerability and longing in our contemporary world of impersonal Internet communication.
Opening Reception: Friday September 19th, 2008 from 5:30 pm to 8:00 pm
Exhibition: September 19th – November 8th, 2008
2008/09/17
Eero Saarinen: Shaping the Future
Exhibition
September 13, 2008 - January 4, 2009
Target Gallery
The Walker Art Center and the Minneapolis Institute of Arts jointly present this first major museum retrospective of architect Eero Saarinen’s short but prolific career. Saarinen was one of the most celebrated, unorthodox, and controversial masters of 20th-century architecture. In many ways he was the architect of what has been dubbed “the American century,” the post-World War II era when the United States emerged as an influential world superpower.
Although Saarinen’s most iconic and publicly recognizable design is the soaring Gateway Arch in St. Louis, his work spanned many different areas of architectural practice, including the design of airports, corporate and academic campuses, churches and private residences, and furniture. Although criticized by his peers at the time for having a different style for each project, Saarinen rejected the dogma of an orthodox modernism and instead adopted a varied approach to architectural design, letting the subject and site guide his inventive solutions. His resulting body of work includes such masterpieces as the sweeping concrete curves of the TWA Terminal (1956–1962) at New York’s JFK Airport; the grandeur of General Motors Technical Center (1948–1956), dubbed an “industrial Versailles” by the media; and the iconic Womb Chair and Ottoman (1946–1948) or the innovative Pedestal (1954–1957) series of tables and chairs, both for Knoll and all classics of mid-century modernism.
Featured in the exhibition are never-before-seen sketches, working drawings, models, photographs, furnishings, films, and other ephemera from various archives and private collections. . . .
view full text
The Walker Art Center and the Minneapolis Institute of Arts jointly present this first major museum retrospective of architect Eero Saarinen’s short but prolific career. Saarinen was one of the most celebrated, unorthodox, and controversial masters of 20th-century architecture. In many ways he was the architect of what has been dubbed “the American century,” the post-World War II era when the United States emerged as an influential world superpower.
Although Saarinen’s most iconic and publicly recognizable design is the soaring Gateway Arch in St. Louis, his work spanned many different areas of architectural practice, including the design of airports, corporate and academic campuses, churches and private residences, and furniture. Although criticized by his peers at the time for having a different style for each project, Saarinen rejected the dogma of an orthodox modernism and instead adopted a varied approach to architectural design, letting the subject and site guide his inventive solutions. His resulting body of work includes such masterpieces as the sweeping concrete curves of the TWA Terminal (1956–1962) at New York’s JFK Airport; the grandeur of General Motors Technical Center (1948–1956), dubbed an “industrial Versailles” by the media; and the iconic Womb Chair and Ottoman (1946–1948) or the innovative Pedestal (1954–1957) series of tables and chairs, both for Knoll and all classics of mid-century modernism.
Featured in the exhibition are never-before-seen sketches, working drawings, models, photographs, furnishings, films, and other ephemera from various archives and private collections. Exploring his entire output of more than 50 built and unbuilt projects, it provides a unique opportunity to consider Saarinen’s innovations in the use of new materials, technologies, and construction techniques within the larger context of postwar modern architecture.
In this collaborative presentation, the Walker Art Center will feature Saarinen’s furnishings and residences as well as his designs for churches and academic and corporate campuses, while the Minneapolis Institute of Arts will present his designs for airports, memorials, and embassies, as well as his early work within the context of its modernist design collection.
September 13, 2008 - January 4, 2009
Target Gallery
The Walker Art Center and the Minneapolis Institute of Arts jointly present this first major museum retrospective of architect Eero Saarinen’s short but prolific career. Saarinen was one of the most celebrated, unorthodox, and controversial masters of 20th-century architecture. In many ways he was the architect of what has been dubbed “the American century,” the post-World War II era when the United States emerged as an influential world superpower.
Although Saarinen’s most iconic and publicly recognizable design is the soaring Gateway Arch in St. Louis, his work spanned many different areas of architectural practice, including the design of airports, corporate and academic campuses, churches and private residences, and furniture. Although criticized by his peers at the time for having a different style for each project, Saarinen rejected the dogma of an orthodox modernism and instead adopted a varied approach to architectural design, letting the subject and site guide his inventive solutions. His resulting body of work includes such masterpieces as the sweeping concrete curves of the TWA Terminal (1956–1962) at New York’s JFK Airport; the grandeur of General Motors Technical Center (1948–1956), dubbed an “industrial Versailles” by the media; and the iconic Womb Chair and Ottoman (1946–1948) or the innovative Pedestal (1954–1957) series of tables and chairs, both for Knoll and all classics of mid-century modernism.
Featured in the exhibition are never-before-seen sketches, working drawings, models, photographs, furnishings, films, and other ephemera from various archives and private collections. . . .
view full text
The Walker Art Center and the Minneapolis Institute of Arts jointly present this first major museum retrospective of architect Eero Saarinen’s short but prolific career. Saarinen was one of the most celebrated, unorthodox, and controversial masters of 20th-century architecture. In many ways he was the architect of what has been dubbed “the American century,” the post-World War II era when the United States emerged as an influential world superpower.
Although Saarinen’s most iconic and publicly recognizable design is the soaring Gateway Arch in St. Louis, his work spanned many different areas of architectural practice, including the design of airports, corporate and academic campuses, churches and private residences, and furniture. Although criticized by his peers at the time for having a different style for each project, Saarinen rejected the dogma of an orthodox modernism and instead adopted a varied approach to architectural design, letting the subject and site guide his inventive solutions. His resulting body of work includes such masterpieces as the sweeping concrete curves of the TWA Terminal (1956–1962) at New York’s JFK Airport; the grandeur of General Motors Technical Center (1948–1956), dubbed an “industrial Versailles” by the media; and the iconic Womb Chair and Ottoman (1946–1948) or the innovative Pedestal (1954–1957) series of tables and chairs, both for Knoll and all classics of mid-century modernism.
Featured in the exhibition are never-before-seen sketches, working drawings, models, photographs, furnishings, films, and other ephemera from various archives and private collections. Exploring his entire output of more than 50 built and unbuilt projects, it provides a unique opportunity to consider Saarinen’s innovations in the use of new materials, technologies, and construction techniques within the larger context of postwar modern architecture.
In this collaborative presentation, the Walker Art Center will feature Saarinen’s furnishings and residences as well as his designs for churches and academic and corporate campuses, while the Minneapolis Institute of Arts will present his designs for airports, memorials, and embassies, as well as his early work within the context of its modernist design collection.
The Soap Factory Presents...
Pay Attention: Greater Minneapolis 08
Opening Reception Saturday, September 13, 2008 7-11 PM // Exhibition Runs: Sep 13 - Oct 26, 2008
Produced by : Christopher Pole, Patricia Healy McMeans -- Advisors: Yasmil Raymond, Dave Salmela.
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In 1974, Gordon Matta-Clark wrote “the only difference between expectation and surprise is authorship.” This observation framed his artistic process; he regarded the bisection of buildings and houses as a “releasing of architecture.” His own hand on the chainsaw simply became a utilitarian tool to release inherent energies already existing within the structure. Clearly Matta-Clark’s engagement is crucial to the experiment, but for him the art remains separate from himself in a phenomenological sense. He surrenders the idea of the artist author, and in doing so, the result of his experiment begins to shift away from expectation to the unknown. The distinction between expectation and surprise informs the timbre of the exhibition Pay Attention: GM08, on view at the Soap Factory from September 13- October 26.
What began as a survey of emerging contemporary artists based out of the Twin Cities area has focused itself into a group show of experimental new work by 22 artists and collaboratives. Critically engaging social and psychological examination, these artists use varied processes and time- and object-based mediums: performance, sound, new media, painting, printmaking, photography, film, and sculpture. All participating artists were asked to make new work specifically for this show. As producers, and viewers, we don’t know exactly what we’re going to get in September, a condition which further shifts our expectation.
Participating artists: Christopher Baker, David A. Bradberry, Eric William Carroll, Jan Estep, Chris Hill, Julia Kouneski, Kristine Heykants, Ali Momeni, Pete McLarnan, Christian Nielsen, Christopher Pancoe, Kirsten Peterson, Drew Peterson, Heidi Prenevost, Stevie Rexroth, Jenny Schmid, Andrew Schroeder, Tony Sunder, Tectonic Industries, Megan Vossler, Jonathan Gomez Whitney, and Marcus Young.
Please visit the Pay Attention: GM08 website for more information on inidividual artists.
Ongoing throughout the season in Project Room 2
History Room: 20 Years of No Name and The Soap Factory
April 19-October 26, 2008
Opening reception: 7 – 11pm, April 19, 2008 / Closing reception: October 3, 2008
In October of 1988, a new art space calling itself No Name Gallery opened its doors in the Warehouse District of downtown Minneapolis. That gallery would eventually become the Soap Factory, one of the longest-lived contemporary art spaces in the Twin Cities. To celebrate the 20th anniversary of The Soap Factory, curator Andy Sturdevant has created The History Room, a gallery dedicated to telling the saga of Soap from the depths of 20 years of archives. Including photographs, artwork, promotional posters, historic documents, personal recollections and video, the History Room gives visitors an opportunity to learn more about the gallery famed for its raw space, its brutal lack of heat, and its remarkable following of artists who have tirelessly transformed it over the years. The Soap Factory is one of the largest spaces for contemporary art in the Twin Cities, and the exhibition History Room charts not only the story of No Name and The Soap Factory, but also the story of the thriving, exciting, and ever-evolving art scene for which Minneapolis is so renowned.
In addition to a thoughtful sampling of Soap's 20 year paper trail, History Room also features over a dozen artists who have been invited back to show new work and share their experiences at No Name and the Soap. Beginning April 19 with work from Mark Nielsen and Ilene Krug Mojsilov, the first two artists shown at No Name, the History Room will rotate new work on a monthly basis. Some artists featured on the roster include Modern Man, Mark Wojahn, David Wyrick, Jen Bervin, David Lowe, David Lefkowitz, Emily Lutzker, Tamara Albaitas and many others.
Opening Reception Saturday, September 13, 2008 7-11 PM // Exhibition Runs: Sep 13 - Oct 26, 2008
Produced by : Christopher Pole, Patricia Healy McMeans -- Advisors: Yasmil Raymond, Dave Salmela.
previous image
image 1 of 2
next image
#
In 1974, Gordon Matta-Clark wrote “the only difference between expectation and surprise is authorship.” This observation framed his artistic process; he regarded the bisection of buildings and houses as a “releasing of architecture.” His own hand on the chainsaw simply became a utilitarian tool to release inherent energies already existing within the structure. Clearly Matta-Clark’s engagement is crucial to the experiment, but for him the art remains separate from himself in a phenomenological sense. He surrenders the idea of the artist author, and in doing so, the result of his experiment begins to shift away from expectation to the unknown. The distinction between expectation and surprise informs the timbre of the exhibition Pay Attention: GM08, on view at the Soap Factory from September 13- October 26.
What began as a survey of emerging contemporary artists based out of the Twin Cities area has focused itself into a group show of experimental new work by 22 artists and collaboratives. Critically engaging social and psychological examination, these artists use varied processes and time- and object-based mediums: performance, sound, new media, painting, printmaking, photography, film, and sculpture. All participating artists were asked to make new work specifically for this show. As producers, and viewers, we don’t know exactly what we’re going to get in September, a condition which further shifts our expectation.
Participating artists: Christopher Baker, David A. Bradberry, Eric William Carroll, Jan Estep, Chris Hill, Julia Kouneski, Kristine Heykants, Ali Momeni, Pete McLarnan, Christian Nielsen, Christopher Pancoe, Kirsten Peterson, Drew Peterson, Heidi Prenevost, Stevie Rexroth, Jenny Schmid, Andrew Schroeder, Tony Sunder, Tectonic Industries, Megan Vossler, Jonathan Gomez Whitney, and Marcus Young.
Please visit the Pay Attention: GM08 website for more information on inidividual artists.
Ongoing throughout the season in Project Room 2
History Room: 20 Years of No Name and The Soap Factory
April 19-October 26, 2008
Opening reception: 7 – 11pm, April 19, 2008 / Closing reception: October 3, 2008
In October of 1988, a new art space calling itself No Name Gallery opened its doors in the Warehouse District of downtown Minneapolis. That gallery would eventually become the Soap Factory, one of the longest-lived contemporary art spaces in the Twin Cities. To celebrate the 20th anniversary of The Soap Factory, curator Andy Sturdevant has created The History Room, a gallery dedicated to telling the saga of Soap from the depths of 20 years of archives. Including photographs, artwork, promotional posters, historic documents, personal recollections and video, the History Room gives visitors an opportunity to learn more about the gallery famed for its raw space, its brutal lack of heat, and its remarkable following of artists who have tirelessly transformed it over the years. The Soap Factory is one of the largest spaces for contemporary art in the Twin Cities, and the exhibition History Room charts not only the story of No Name and The Soap Factory, but also the story of the thriving, exciting, and ever-evolving art scene for which Minneapolis is so renowned.
In addition to a thoughtful sampling of Soap's 20 year paper trail, History Room also features over a dozen artists who have been invited back to show new work and share their experiences at No Name and the Soap. Beginning April 19 with work from Mark Nielsen and Ilene Krug Mojsilov, the first two artists shown at No Name, the History Room will rotate new work on a monthly basis. Some artists featured on the roster include Modern Man, Mark Wojahn, David Wyrick, Jen Bervin, David Lowe, David Lefkowitz, Emily Lutzker, Tamara Albaitas and many others.
PAPER TIGER
Works by John Vogt
September 1- October 26, 2008
Reception: September 5, 2008, 6-9pm
John Vogt will delve into the consequences of misguided ambition and other human follies through his new works in Paper Tiger. Vogt pulls imagery from a variety of sources ranging from pop culture to theology, confronting his audience with symbols of power and permanence while revealing their inevitable path to self-destruction.
Influenced stylistically by the world of design, Vogt creates stark stripped down icons emblematic of human greed and excess, whether it is the Tower of Babel, the mighty German U-boats of WWII or the latest in reality T.V programming they are all doomed to the same fate. Paper Tiger dissects our culture both past and present with drawings, mixed media and sculpture to reveal the darker side of humanity’s drive to succeed.
John Vogt is a previous recipient of the Jerome Fellowship and was a McKnight Fellowship finalist. Paper Tiger will be his first solo exhibition.
2008/07/29
Nothing at The End of The Lane
July 19 – August 31
Opening Reception: July 19, 7 – 11 pm
Curated by Ben Heywood
Artists: Neil Beloufa, Jennifer Danos, Lisa Fraker, Elaine Gan, Timothy Hutchings, Jonathan Laustsen, Jacque Lui, David Packer, Amy Toscani, Jeff Williams
CLOSR AND PRETTIER THAN EVER August 22nd at 8pm
TalkingImageConnection reading and dance performance where Paul Dickinson, Melanie Hoffert, Haley Lasché and Three Dances, Beth Mayer, and Jeff Smieding respond to "“Nothing at the End of the Lane."
Unique among many art galleries, The Soap Factory curates its shows almost completely from work submitted to us by artists. Forming exhibitions from artists’ submissions is a distinct, but largely unrecognized curatorial skill that favors organizing principles over any sort of pre-conceived curatorial thesis. The selection process therefore becomes an exercise in detecting hidden patterns within these random, self-selected items of visual culture.
For Nothing at The End of The Lane the organizing principle is that of fantasy. The artists in this show explore the gallery as a laboratory, a vehicle for fantastic environments, where the imaginings of artist and audience can be played out in full. Nothing at The End of The Lane suggests that the gallery is a place in which the conceivable, is the creatable; where idealized worlds, falsified through their creation, can be critiqued by their very existence. Fittingly, the title itself, Nothing at the End of The Lane is a found phrase, evoking nothing more than ‘title-ness,’ as well as a disarming sense of childlike dislocation. It poses the question: how do we react to a fairytale that does not conclude with a happy ending, or does not conclude at all, but merely continues with the mild sense of disappointment with which we all live our lives?
At the same time, Nothing at The End of The Lane reveals The Soap Factory as an architectural fantasy that is itself mutable, flexible, and malleable. While The Soap Factory has always been a factory space, its adaptability and capacity to respond directly to artists’ needs is part of the essential character of the building. Hence, as an industrial space designed for the fabrication of material culture, it is also a space that responds, over time, to the needs of its successive functions. As a gallery we call for it to be the playground of our childish actions, and the repository of our dreams; a life-lived model of the subconscious.
ONGOING in Project Room 2:
History Room: 20 Years of No Name and The Soap Factory
April 19-October 26, 2008
Opening reception: 7 – 11pm, April 19, 2008 / Closing reception: October 4, 2008
In October of 1988, a new art space calling itself No Name Gallery opened its doors in the Warehouse District of downtown Minneapolis. That gallery would eventually become the Soap Factory, one of the longest-lived contemporary art spaces in the Twin Cities. To celebrate the 20th anniversary of The Soap Factory, curator Andy Sturdevant has created The History Room, a gallery dedicated to telling the saga of Soap from the depths of 20 years of archives. Including photographs, artwork, promotional posters, historic documents, personal recollections and video, the History Room gives visitors an opportunity to learn more about the gallery famed for its raw space, its brutal lack of heat, and its remarkable following of artists who have tirelessly transformed it over the years. The Soap Factory is one of the largest spaces for contemporary art in the Twin Cities, and the exhibition History Room charts not only the story of No Name and The Soap Factory, but also the story of the thriving, exciting, and ever-evolving art scene for which Minneapolis is so renowned.
In addition to a thoughtful sampling of Soap's 20 year paper trail, History Room also features over a dozen artists who have been invited back to show new work and share their experiences at No Name and the Soap. Beginning April 19 with work from Mark Nielsen and Ilene Krug Mojsilov, the first two artists shown at No Name, the History Room will rotate new work on a monthly basis. Some artists featured on the roster include Modern Man, Mark Wojahn, David Wyrick, Jen Bervin, David Lowe, David Lefkowitz, Emily Lutzker, Tamara Albaitas and many others.
Opening Reception: July 19, 7 – 11 pm
Curated by Ben Heywood
Artists: Neil Beloufa, Jennifer Danos, Lisa Fraker, Elaine Gan, Timothy Hutchings, Jonathan Laustsen, Jacque Lui, David Packer, Amy Toscani, Jeff Williams
CLOSR AND PRETTIER THAN EVER August 22nd at 8pm
TalkingImageConnection reading and dance performance where Paul Dickinson, Melanie Hoffert, Haley Lasché and Three Dances, Beth Mayer, and Jeff Smieding respond to "“Nothing at the End of the Lane."
Unique among many art galleries, The Soap Factory curates its shows almost completely from work submitted to us by artists. Forming exhibitions from artists’ submissions is a distinct, but largely unrecognized curatorial skill that favors organizing principles over any sort of pre-conceived curatorial thesis. The selection process therefore becomes an exercise in detecting hidden patterns within these random, self-selected items of visual culture.
For Nothing at The End of The Lane the organizing principle is that of fantasy. The artists in this show explore the gallery as a laboratory, a vehicle for fantastic environments, where the imaginings of artist and audience can be played out in full. Nothing at The End of The Lane suggests that the gallery is a place in which the conceivable, is the creatable; where idealized worlds, falsified through their creation, can be critiqued by their very existence. Fittingly, the title itself, Nothing at the End of The Lane is a found phrase, evoking nothing more than ‘title-ness,’ as well as a disarming sense of childlike dislocation. It poses the question: how do we react to a fairytale that does not conclude with a happy ending, or does not conclude at all, but merely continues with the mild sense of disappointment with which we all live our lives?
At the same time, Nothing at The End of The Lane reveals The Soap Factory as an architectural fantasy that is itself mutable, flexible, and malleable. While The Soap Factory has always been a factory space, its adaptability and capacity to respond directly to artists’ needs is part of the essential character of the building. Hence, as an industrial space designed for the fabrication of material culture, it is also a space that responds, over time, to the needs of its successive functions. As a gallery we call for it to be the playground of our childish actions, and the repository of our dreams; a life-lived model of the subconscious.
ONGOING in Project Room 2:
History Room: 20 Years of No Name and The Soap Factory
April 19-October 26, 2008
Opening reception: 7 – 11pm, April 19, 2008 / Closing reception: October 4, 2008
In October of 1988, a new art space calling itself No Name Gallery opened its doors in the Warehouse District of downtown Minneapolis. That gallery would eventually become the Soap Factory, one of the longest-lived contemporary art spaces in the Twin Cities. To celebrate the 20th anniversary of The Soap Factory, curator Andy Sturdevant has created The History Room, a gallery dedicated to telling the saga of Soap from the depths of 20 years of archives. Including photographs, artwork, promotional posters, historic documents, personal recollections and video, the History Room gives visitors an opportunity to learn more about the gallery famed for its raw space, its brutal lack of heat, and its remarkable following of artists who have tirelessly transformed it over the years. The Soap Factory is one of the largest spaces for contemporary art in the Twin Cities, and the exhibition History Room charts not only the story of No Name and The Soap Factory, but also the story of the thriving, exciting, and ever-evolving art scene for which Minneapolis is so renowned.
In addition to a thoughtful sampling of Soap's 20 year paper trail, History Room also features over a dozen artists who have been invited back to show new work and share their experiences at No Name and the Soap. Beginning April 19 with work from Mark Nielsen and Ilene Krug Mojsilov, the first two artists shown at No Name, the History Room will rotate new work on a monthly basis. Some artists featured on the roster include Modern Man, Mark Wojahn, David Wyrick, Jen Bervin, David Lowe, David Lefkowitz, Emily Lutzker, Tamara Albaitas and many others.
2008/07/22
The Alice Project
Join Alice-philes & art lovers on Saturday, July 26th, from 7-11pm at the Stevens Square Center for the Arts for the premier of The Alice Project; an Installation of Curious Proportions. The show runs until August 17th, but there are some enticing reasons for joining us on opening night:
• Free fun flavoured iced-tea, sweet and savory treats, and gourmet pizza from Eden Pizza!
• Alice films and memorabilia available for your viewing pleasure
• Costumed characters to bring your favorite story to life
• Wander through the maze of giant props and admire Alice inspired art from over a dozen artists
• Grab a friend (or foe) and indulge in a game of chess-croquet!
• Souvenir ticket to remind you of your surrealistic journey into Wonderland.
• Cash bar available
It’s totally worth the suggested $3 donation, but to gain free access to the Mad Tea-Party opening show, come dressed as your favorite Wonderland character. SSCA is located at 1905 3rd Ave S, on the 2nd Floor, above the 3rd Avenue Market. See you there!
I will have a print in this exhibition, as well.
2008/07/21
The Overlooked Landscape
Buck Holzemer and Colin Kopp
July 18th – September 13th, 2008
The Overlooked Landscape brings together two photographers, each for his first extended exhibition. Their distinctive views of the landscape reflect the individual aesthetic each brings to the genre.
Buck Holzemer, with more than 25 years of commercial photography and video production experience, finds himself compelled to pursue his personal images on the road. In his first exhibition he presents spare but elegant compositions, devoid of people, that evoke the quiet solitude of travel. They also reveal the loneliness of the road, mitigated in Buck’s images by the photographer's contemplation and click of the shutter. Recent MCAD BFA graduate Colin Kopp found his new digs in Northeast Minneapolis reminiscent of his hometown Milwaukee. His portraits resemble peopled landscapes giving a feeling of distance and transience from brief encounters that are often part of the settling-in process.
Opening Reception: Friday July 18, 2008 from 5:30 pm to 8:00 pm
Exhibition: Friday, July 18 – Saturday, September 13
July 18th – September 13th, 2008
The Overlooked Landscape brings together two photographers, each for his first extended exhibition. Their distinctive views of the landscape reflect the individual aesthetic each brings to the genre.
Buck Holzemer, with more than 25 years of commercial photography and video production experience, finds himself compelled to pursue his personal images on the road. In his first exhibition he presents spare but elegant compositions, devoid of people, that evoke the quiet solitude of travel. They also reveal the loneliness of the road, mitigated in Buck’s images by the photographer's contemplation and click of the shutter. Recent MCAD BFA graduate Colin Kopp found his new digs in Northeast Minneapolis reminiscent of his hometown Milwaukee. His portraits resemble peopled landscapes giving a feeling of distance and transience from brief encounters that are often part of the settling-in process.
Opening Reception: Friday July 18, 2008 from 5:30 pm to 8:00 pm
Exhibition: Friday, July 18 – Saturday, September 13
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