Associated Artists of Pittsburgh 107th Annual Exhibition
Westmoreland Museum of American Art | Greensburg, Pennsylvania
The Associated Artists of Pittsburgh’s 107th Annual Exhibition features the work of 49 regional artists, revealing a breadth of talent creating art in Pittsburgh and surrounding areas. The theme of the 107th focuses on curiosity, our innate ability to connect to and find meaning in visual expressions of creativity, and the subconscious effect of artwork on our own psyche.Whether positive or negative, conscious or subconscious, the natural spirit of inquiry dictates connections between viewers and artists, through the mode of visual artwork. Considering the current cultural climate of our country, the whimsical, openly curious visual theme of the exhibition allows a bit of a respite from the complexities of our society. Yet, human nature reflects our natural inclination toward understanding and representation. As we navigate through our own experiences, we create narratives that rely on understanding the world around us and our place in it. Through this process we create multiple perspectives of artwork and bridge the gap between artist and viewer. Thus, conceptually digging deeper into the work reveals the theory that art both influences society and is influenced by society.
Ranging from a brilliant melding of various colors in an abstract painting, to eerily suggested mysteries in a mounted sculpture, the connection between the works lies in the complexity of each piece. The variety of materials encroach on space, climb walls, blur lines, abstract figures, and visually complicate representative images to conceptually bridge the gap between artists’ and viewers’ psyches. In each work, there is an interesting aspect that is not obviously understood, either visually, thematically, or materially, encouraging the viewer to consider multiple perspectives. Focusing on viewing art as an experiential understanding, the works themselves may elicit many different viewpoints; however, the artists collectively promote curiosity and questioning.
Participating Artists
Atticus Adams, Theresa Antonellis, Pati Beachley, Cory Bonnet, Sheila Cuellar-Shaffer, Kathleen DePasse, Margot Dermody, Ron Donoughe, Dan Droz, Haylee Ebersole, Tom Ferraro, Carolyn Frischling, Tyler Gaston, Rebecca Harmon, Richard Harydzak, Heather Heitzenrater, Joshua Hogan, Tazim Jaffer, Alejandro Jimenez, Adam Linn, Cara Livorio, Scott Lloyd, Stephanie Martin, Nancy McNary-Smith, Joan Milsom, Sandra Moore, Ellen Chisdes Neuberg, Ronald Nigro, Katie Ott, Susan Palmisano, Mark Panza, Brian Pardini, Leah Patgorski, Garry Pyles, Katie Rearick, Dafna Rehavia, Christopher Ruane, Nicole Renee Ryan, Rachel Saul Rearick, Patrick Schmidt, Jeff Schwarz, Phiris Kathryn Sickels, Louise Silk, Nellie Lou Slagle, Randie Snow, Marc Snyder, Mia Tarducci, Benjamin Thomas, and Eva Trout
Associated Artists of Pittsburgh 107th Annual Exhibition
Seton Hill University | Greensburgh, Pennsylvania
The four installations at Seton Hill are completely separate works, visually and thematically. Each work offers a complex view of humanity through the lens of the artist, with multiple layers of meaning.
While Jason Boone’s “Double Philotes” is visually fascinating, the connection to the Greek goddess Philotes creates another layer of complexity. Many sources agree on the significance of her role during the creation of humankind and her personification of friendship. Considering stories regarding Philotes with the visual elements of the sculpture, ideas of human nature are revealed. The connection between the two balls perhaps reflects human connection, while each spike represents the interconnection between relationships, understandings, and specific moments.
Terrence Boyd’s performance from the “Bower Bird/ Perhaps She is Frightened at Being Dead” series literally activates the space through performance, and results in a work that brings forth an unconventionally produce fiber-based sculpture. Boyd breaks away from the traditionally-held idea that fiber work is delicate and inherently feminine. Instead, Boyd adamantly persuades the viewer of the violence that may be imbued into the work, thus opposing many long-held beliefs regarding fiber work.
With “It is the greatest of all mistakes to do nothing because you can only do so little” Sarika Goulatia contends with issues regarding climate change. The large-scale, site-responsive installation features multiple handmade orbs, varying in size and texture, playing on ideas of permanence and ephemerality. The orbs, in a sense, feel as if they are made of the earth--stone-like, yet reminiscent of fragility, and deterioration. The visual grittiness of the orbs juxtaposes the pristine visuality of the gallery, unearthing elements of the damage we cause, and often prefer to remain hidden. These human-made spheres are representative of the human-made destruction of the earth.
Grant McFarland’s “Three’s a Crowd” is the only installation, of the four, that invites viewer participation. Three swings fill the space and evoke adult memories of childhood past, yet subtle manufactured differences render the piece inaccessible in terms of usability. Viewers find the traditional plastic seats replaced with luxurious leather, yet rather uncomfortable seats. The three seats also swing toward each other, rendering them useless if all occupied at once. McFarland’s work not only focuses on functionality of furniture, but also questions how many factors, including age of the viewer and context of the work, play a role in giving meaning to a piece. Subsequently, McFarland examines ways in which furniture implies different meanings in our culture.
Participating Artists
Jason Boone, Terrence Boyd, Sarika Goulatia, and Grant McFarland
