fall 1992 - summer 1993 exhibition program

The Mirror, the Hammer, and the Stage
September 3 – September 27, 1992
This installation by Montreal photographer Donigan Cumming, reflected the artists' concern with personal identity, mortality and the play between truth and fantasy. The series of 250 starkly lit portraits were mounted together in an array 14 feet wide, called The Stage. A soundtrack recording of a recitation of Cecil B DeMille's film The Ten Commandments accompanied the exhibition.

Consuming Landscapes: Robin Lasser
September 3 – September 27, 1992
In this exhibition Robin Lasser placed site-specific sculpture in a natural setting created from the landscape and natural resources of the site. The sculptures commented on the cycle of consumption and raised questions about the relationship between man and nature.

The River's Green Margins
October 29 – December 19, 1993
In this exhibition, Allen Hess examined how we romanticize and industrialize rivers. Hess showed that despite man's needs to see and utilize rivers in specific ways, they are still uncontrollable forces of nature. This work traced his evolving vision from photographs of steamboats, through images of industry and architecture along the shores, to his current aerial shots of floods and drought.

Message Carriers
October 7 – November 8, 1992
Message Carriers was an exhibition by contemporary Native American artists who explored issues of identity, community responsibility and the relationship between tribal, historical, and individual vision. The show, curated by Theresa Harlan, former Director of Exhibitions and installations for American Indian Contemporary Arts in San Francisco, featured the work of Hulleah J.Tsinhnahjinnie, Patricia Deadman, Zig Jackson, James Luna, Jolene Rickard, Richard Ray Whitman, Carm Little Turtle, and Larry McNeil.

People of First Light
October 7 – November 8, 1992
Curated by Russell Peters of the Indian Spiritual and Cultural Council and author of Wampanoags of Mashpee, An Indian Perspective on American History, People of First Light, was an exhibition that presented historical photographs of and by New England area Native Americans.

Camera as Weapon: Worker Photography Between the Wars

November 20, 1992 – January 26, 1993
This was a traveling exhibition organized by the Museum of Photographic Arts, San Diego. With the introduction of the held camera in the 1920s, the Association of German Worker Photographers, with branches all over Germany and Europe, were able to document the dismal living and working conditions of millions of their countrymen. Through their photography, they were able to heighten public consciousness and influence mainstream press to step up its coverage of social issues.

From the Fallen Ash: Landscapes of Hawaii, Iceland, and Costa Rica

November 20 – December 20, 1992
Laura McPhee and Virginia Beahan collaboratively photographed Iceland, Hawaii, and Costa Rica for over six years. Their photographs on display embodied the tenuous relationship between people and their environments.

Olivia McCullough: Landscape Blues
January 5 – February 7, 1993
Working exclusively with antique emulsions, Olivia McCullough strove to achieve a delicate balance between process and content. Landscape Blues was a series of cyanotype photographs of Berlin that dealt with ambiguity and contradiction. The emotionally charged color of the prints correlated with the elements of air and water as well as a shared sensibility with “the blues.”

Albert Winn: My Life Until Now

January 5 – February 7, 1993
The exhibition presented a series of photographs and stories pertaining to Albert Winn's homosexuality and his illness due to AIDS. The work focused on coming to terms with the disease as well as reaching out to an audience that was able to identify with his experiences. Winn's work was exhibited together with Olivia McCullough's Landscape Blues.

Leopold Godowsky, Jr. Color Photography Awards

February 11 – March 21, 1993
In this color photography award exhibition, administered by the PRC, five outstanding color photographers were recognized. They were chosen from a field of 58 artists nominated by photography professionals in Europe and the Commonwealth of Independent States, the five Godowsky honorees were Olivier Richon of Switzerland; Paul Seawright of Belfast, Northern Ireland; Jem Southam of Bristol, England; Giannantonio Battistella of Italy; and Knut-Wulfgang Maron of Bonn, Germany. Please click here to view the special Godowsky online site and for more information about the Godowsky Awards.

Hilary French and Spencer Ladd
February 11 – March 21, 1993
In this exhibition both Hilary French and Spencer Ladd used everyday objects to undermine and question their viewers' sense of reality. French utilized images of clothing that refer to humans through their absence while Ladd took diagrammatic photographs that appear denotational and rational, but have a bizarre narrative subtext.

Striking Images
April 2 – May 30, 1993
Striking Images was an exhibition of four photographers who focused on the subject of baseball. David Spindel, Danielle Weil, Slobodan Dimitrov, and Jim Kiernan share the same passion, but maintained their own distinct styles and goals. Spindel used collected baseball memorabilia to create dimensional photographic collages. Weil photographed the patterns of the stadiums themselves and Dimitrov's images depicted unique baseball mitts throughout the history of baseball. Jim Kiernan's platinum palladium prints captured players from the old Negro leagues.

The Face of Baseball: Photographs by John Weiss
April 2 – June 30, 1993
The Face of Baseball was a traveling exhibition that made its first stop that the PRC. The work consisted of images of major league baseball players both in formal portraits and candid shots. The exhibition accompanied Striking Images.