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Here's how the curators decided on their artists

Thursday, February 10, 2000

Following is a listing of the "curators," the artist selected and an excerpt from the curator's statement:

Charlie Humphrey, executive director, Pittsburgh Filmmakers. Joanna Michaelides, Pittsburgh. "On the surface, these are very good fashion photographs. But scratch just below the emulsion and you'll find, ironically, images of loneliness and isolation. In these images, we common folk get a rare glimpse at the true meaning of objectification and the ultimate consequence of pure desire." (V.W.H. Campbell Jr., Post-Gazette) 

Elisabeth Agro, assistant curator of Decorative Arts, Carnegie Museum of Art.

Masami Koda, Seattle. "By skillfully blending glass and metal, Koda successfully achieves strong juxtapositions in her work, such as minimal yet detailed, strong yet fragile, alive yet inert."

Alyson Baker, curatorial assistant, Department of Contemporary Art, Carnegie Museum of Art.

Jim Dugas, Pittsburgh. "His crisp, colorful paintings, which evolved from an interest in gameboards, gain force through molded acrylic forms that extend their expressive reach to connect with the viewer."

Linda Batis, associate curator of Fine Arts, Carnegie Museum of Art.

Craig McPherson, New York. "McPherson has mastered his technique to produce compelling works that are a marriage of traditional printmaking and modern subject matter."

Vicky A. Clark, curator, Pittsburgh Center for the Arts.

Dennis Childers, Pittsburgh. "Using a relatively new medium [digital imagery], he balances technique, content and aesthetics to produce provocative and enticing images."

Fran Frederick, executive director, Associated Artists of Pittsburgh.

Malcolm Christhilf, Edinboro, Pa. "His surreal compositions are small jewels which continue to intrigue and surprise me after multiple viewings. The puzzle-like quality of his compositions and the sheer beauty of the painted surface draw me into the work again and again, providing inescapable delight."

Michael Olijnyk, curator of exhibitions, Mattress Factory, along with its executive/artistic director, Barbara Luderowski.Kathleen Montgomery, Pittsburgh. "Mark making. Erosion. Velvety black. Daily use. Shoulder. Puddle. Contained form. Abrasion. Buried color. Polish. Repetition. Paper. Deep layer. Scraping." ((V.W.H. Campbell Jr., Post-Gazette) 

Ann Sutherland Harris, professor of Art History, University of Pittsburgh.

Diane Samuels, Pittsburgh. "I admire her artistic intelligence, her versatility, her technical mastery of a wide range of media and her stamina as she pushes herself further in every phase to new work that is more layered with meaning, more subtle, more disciplined and more profound."

Murray Horne, director, Wood Street Gallery.

Kate Bazis, Pittsburgh. "Her paintings indulge the retinal with a vengeance and offer us anything but austerity."

Elaine A. King, independent curator, free-lance critic and professor of Art History, CMU.

Martin Beck, Jersey City, N.J. "His intelligent [paintings] are filled with wry commentary about our Postmodern era. His use of recognizable imagery is comforting and inviting to the viewer, despite the bizarre content of the dramas enacted in his compositions."

Margery King, associate curator, The Andy Warhol Museum.

Patty Gallagher, Pittsburgh. "Her work is both eye candy and over-the-top weird, Garden of Eden and suburban back yard run amok. Her unsettling concoctions -- real and fake, innocent and decadent -- entice and provoke us."

David Lewis, architect, free-lance curator, author and artist.

Thaddeus Mosley; Pittsburgh. "In sculpture he traverses his African-American heritage of cultures and creates his three-dimensional poetry with an ease comparable to Isamu Noguchi, our great Asian-American artist."

Barbara Luderowski, executive/artistic director, and Michael Olijnyk, curator of exhibitions, Mattress Factory.

Kathleen Montgomery, Pittsburgh. "Mark making. Erosion. Velvety black. Daily use. Shoulder. Puddle. Contained form. Abrasion. Buried color. Polish. Repetition. Paper. Deep layer. Scraping."

Kate Lydon, assistant director, The Society for Contemporary Craft.

Carol Kumata, Pittsburgh. "Kumata combines assortments of found objects and, using the same decorative arts technique originally used to fashion the object, applies words that alter the original meaning. Both a denial and an homage, this process reflects her contemporary response to dining, politeness and the society of manners."

Steven Mendelson, director, Mendelson Gallery.

David Lewis, Pittsburgh. "David's imaginary menagerie of creatures on brown paper bags, striding atop heads of dreamers or nudes as landscapes, ask many questions, including 'Why are we here? Where are we going? How can we help one another?' "

Donald Miller, senior editor and former art and architecture critic of the Post-Gazette, author.

Ken Phillips, Pittsburgh. "Ken designs unforgettable windows and lamps for patrons' dreams. His workmanship is indistinguishable from the Tiffany Studios artisans."

Amy Morgan, director, Morgan Contemporary Glass.

Lucartha Kohler, Philadelphia. "I connect with the powerful female imagery which her work projects -- the roughness and strength of her cast techniques, juxtaposed with the potential fragility of glass. Her sculptures' beauty is contained in both their forms and their material."

Sarah Nichols, chief curator and curator of Decorative Arts, Carnegie Museum of Art.

ROY, Pittsburgh. "Skillfully and intelligently executed pieces that express ideas that embody the aesthetic or even beliefs of the wearer. They are so powerful that they exist as sculpture above and beyond mere jewelry."

Judith O'Toole, director and CEO, Westmoreland Museum of American Art.

Earl Lehman, Scranton. "Though he has traversed the Pennsylvania landscape to collect the inspiration for his art, he does not record what his eye sees but rather manipulates nature in an expressionistic manner to reflect moods, psychologies and emotional states of mind."

Elvira Peake, director, The Clay Place.

Hannah Niswonger, Atlanta. "Her ceramic sculpture combines the 'feel of clay' with the gesture of the subject. Her glazed and colored surfaces complete the composition."

Thomas Smart, director of Museum Programs, The Frick Art & Historical Center.

Diana Thorneycroft, Winnipeg, Canada. "Through her densely constructed [photography] she creates a dark theatrical drama that is personal, social, sensual and grotesque. Her project is the honest, direct investigation of the layered histories that, in their totality, characterize and camouflage a person living at the turn of the millennium."

Thomas Sokolowski, director, The Andy Warhol Museum.

Richard Hawkins, Los Angeles. "Using popular imagery as his source, the artist clips pictures of his heroes/objects of desire, and joins to the viewer an insight into the recesses of his soul."

Michael M. Strueber, former director, Southern Alleghenies Museum of Art, Loretto, Pa.

Kevin Kutz, Bedford, Pa. "He continues to perpetuate Pennsylvania's rich artistic heritage through his exemplary landscape paintings. He has come to know his subject intimately and has made a direct commitment to the land he obviously loves."

Michael Tomor, director, Southern Alleghenies Museum of Art, Loretto.

Adrienne Heinrich, Murrysville. "Her creative achievements in two and three dimensions are the result of a dedication to quality of product and clarity of expression that so rarely finds its way into post-modernism. Heinrich has created structures with a unique vocabulary that convey the struggle to understand the role of women in a universal community."

Harley Trice, free-lance curator.

Aaron Harry Gorson (1872-1933). "Born in Lithuania, Gorson painted industrial landscapes and some portraits between 1903 and 1921. He has long fascinated me because of his ability to transform Pittsburgh's steel industry into visual poetry."

James White, curator of Art, Hunt Institute for Botanical Documentation, CMU.

Damodar Lal Gurjar, Jaipur, India. "One of India's leading artists of natural-history themes, I especially admire the way he handles textures in his subjects -- whether petals, onion skins, pine needles, ceramic pots or feathers. Gurjar is influenced by the traditional school of painting from the desert state of Rajasthan, but his technique is a blend of the traditional and contemporary."

David G. Wilkins, professor and chair of History of Art and Architecture, University of Pittsburgh.

Louise Bourgeois, New York. "Her works fascinate me because of their diversity: They offer mystery, surprise, sexuality, unexpected materials, sly humor, multiple associations and layers of meaning."

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