On the afternoon of September 11, 2001, Jonathan C. Hyman, an artist and photographer based in upstate New York, embarked on a journey to document responses to the 9/11 terrorist attacks appearing in the landscape around him.
Armed almost daily with his camera, ladder, and car, Hyman captured evidence of the grassroots expressions of everyday citizens spurred by this national catastrophe. His investigations took him from Maine to Florida and west to Illinois, though the majority of photographs were taken closer to New York City. The result is an expansive archive of more than 20,000 film and digital images. Hyman encountered improvised tributes and memorials on public and private property, in urban and rural areas, and on all manner of surfaces from building walls, handball courts, and vehicles to tree trunks, construction fencing, and human skin. He continued for years to document these unofficial memorials, many of which remained long after the emergence of more formal tributes.
Jonathan C. Hyman (American, b. 1960), is a fine artist and freelance photographer, living in Sullivan County, New York. A graduate of Rutgers University and Hunter College of the City University of New York’s MFA program, he documents vernacular art and contemporary American popular culture. Hyman is Associate Director for Conflict and Visual Culture Initiatives at Bryn Mawr College’s Solomon Asch Center for Study of Ethnopolitical Conflict.
This exhibition is drawn from the collection of the 9/11 Memorial Museum.
All photographs © Jonathan C. Hyman
A Sense of Place in Contemporary Encaustic will be juried by renowned artist and teacher Lisa Pressman, curated by Karen Bright, Professor of Art and Design at Monmouth University, and guest curated by Oregon-based artist Kathleen Curtis Cosgrove. A national roster of artists were reviewed for this juried invitational. In the search for artists, the juror and curators sought out work that fit the theme of place, and also met the criteria for level of aesthetic and technical accomplishment using encaustic-based materials.
Artists Exhibiting Include:
Susanne K. Arnold
Diana González Gandolfi
Aurora Robson is a multi-media artist known predominantly for her work intercepting the waste stream. Her practice is about subjugating negativity and shifting trajectories. Her work formally references recurring nightmares that she had as a child. She was born in Toronto in 1972 and grew up in Maui, HI. After over 2 decades living and working in NYC she recently moved to the Hudson Valley. Robson holds a double major (B.A.) in visual arts and art history from Columbia University.
A public, participatory installation by Karen Bright featuring a collaborative work with Assistant Professor of Communication, Amanda Stojanov, will feature placed-based work related to the legacy of Hurricane Sandy.
For Just Beachy/After Sandy, the public is invited to share their Sandy story
by email, send your Sandy story to: email@example.com
or by mail to:
Professor Karen Bright
Department of Art and Design
400 Cedar Avenue
West Long Branch, NJ 07764
An exhibit of photographs by artist/photographer, Mike Frankel that capture many of the historic milestones in rock history including; the first ever appearance of Led Zeppelin in New York City and the Who’s first New York City performance of Tommy, along with photographs from the stage at Woodstock. The images have been scanned and printed directly from the 35 mm transparencies. The finished 35 mm slides were composed and exposed with up to 10 images on one frame of film while the action never stopped. There are some compelling single image photographs in the exhibition, but the multiple image photographs vividly demonstrate the power and dynamism of the rock ‘n’ roll experience.
Featuring the work of Monmouth University graduating seniors who will receive their degrees in Graphic and Interactive Design.
Showing at Rotary Ice House & Dimattio Galleries.
Featuring the select works by Monmouth University students in Photography, Graphic Design, Animation and Studio Art.
Overtly political, deeply emotional, and subtly humorous, Julia Dzikiewicz weaves feminist parables into immense encaustic wax paintings. Monumental like an altarpiece, they inflame the spirit; illuminated like a tapestry, they give shape to immortal stories. Yet, Dzikiewicz’s work refuses a singular order. Using ancient wax techniques to explore present-day topics, Dzikiewicz is unflinching. She strikes hot, skewering the heart of the difficult issues she addresses, including themes of violence, racism, and misogyny. As a resident of the Workhouse Arts Center, the grief and triumph of the once imprisoned Suffragists serve as the inspiration for her contemporary tales of women who fight for change or the issues that inspire modern activists.
Karen Bright: Throughline is an exhibition spanning 40 years of visual work by Karen Bright, Professor from the Department of Art and Design. Bright’s environmentally focused themes serve as the main thread over the 30 year span with consistent narratives on global warming, and climate change. Additional themes in Bright’s work relate to the MeToo movement, prevalent social and cultural issues, and current politics—all rendered as sculptures and paintings using encaustic-based materials.
Featuring the work of Monmouth University graduating seniors who will receive their degrees in Fine Art and Animation.