Faulconer Gallery

Jolán Gross-Bettelheim: The American Prints

Year:  2001

Price:  $11

Dimensions:  7 x 8.5 in., 42 pp

Written and organized by Emil Stamey '01, this catalog represents one of the few comprehensive examinations Gross-Bettelheim. The exhibition was held in Grinnell College's Print and Drawing Study Room. Essays include: artist biography, Architectural Images, Social and Political Images, and A Shift in Style. Twelve images accompany the text. 2001.

 

Heavy Has Debt

For Phoebe Washburn's Faulconer Gallery installation in the summer of 2003, she recycled pieces used from a previous installation. Washburn created a 14-foot tall and 95-foot long curved wall using only small cardboard pieces, drywall screws, and the help of volunteers. To Washburn, her art breaks down the elements of construction to the most basic form. In her words, the process and completed object is so dumb - yet hopefully something amazing emerges from it. 2003.

 

African Art at Grinnell College

As part of the Exhibition Seminar course offered at Grinnell College, fourteen students worked with guest curator Victoria Rovine to organize the exhibit and write the catalog. The catalog provides information on sculptures, masks, drums, and other objects from the college's permanent collection that were used for this exhibit.

Every Day Life: Danica Phelps

SOLD OUT This catalog brings together photographs, drawings, and texts from several projects, including a 10-year endeavor in which Phelps' recorded all of her financial transactions; Walking Home, documenting a walk from Massachusetts to Maine; and Writers Trade, in which she exchanged drawings for texts by critics, curators, gallery directors, professors, and other writers inspired by her work.

 

Ukucwebezela: Contemporary Zulu Ceramics

 

Year:  2008
Price:  $20
Dimensions:  10.5 x 8 in., 80 pp
 
Guest Curator Elizabeth Perrill '99 organized an exhibition of contemporary Zulu Ceramics produced between 2004 and 2008. The exhibit provides a snapshot of South African contemporary ceramics that relates to the historical production of Zulu beer vessels and sculpture. Perrill's essay explores both the understated differences between works that might go unnoticed by an untrained eye and the newest divergences in Zulu ceramic aesthetics.

 

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