BlackRock Celebrates 15 Years of Exhibitions With “Recollection”
As part of a year-long celebration commemorating the 15th anniversary of BlackRock Center for the Arts, the nonprofit arts center is presenting “Recollection,” an exhibition featuring a selection of artists who have shown their work in the Germantown arts center’s galleries during the past 15 years.
On display in both the Kay Gallery and the Terrace Gallery, the “Recollection” exhibit includes pieces by 47 artists in a range of media from drawing, painting, collage, photography, and printmaking to works of sculpture, assemblage, glass, fiber, clay and wood.
The exhibiting artists are Fran Abrams, Christian Benefiel, Ronald Beverly, Sabine Carlson, Eric Celarier, Chris Chernow, Chayo de Chevez, Lesley Clarke, Bobby Coleman, Jacqui Crocetta, Joel D’Orazio, Catherine Day, Oletha DeVane, Lisa Egeli, Ric Garcia, Mark Giaimo, Aziza Claudia Gibson-Hunter, Carol Brown Goldberg, Lee Goodwin, Pat Goslee, Matthew Grimes, Sean Hennessey, Ellen Hill, Scott Hutchison, Melanie Kehoss, Kit-Keung Kan, Zofie King, Chee Kung, Renee Lachman, Amy Lin, Tamryn McDermott, Anne Marchand, Greg Minah, Lincoln Mudd, Cory Oberndorfer, Beverly Ryan, Deanna Schwartzberg, Mike Shaffer, Bobbi Shulman, Ellen Sinel, Michael Enn Sirvet, Diane Szczepaniak, Marsha Staiger, Renee Van der Stelt, Sharon Wolpoff, Jenny Wu and Joyce Zipperer.
Drawings in the exhibit have often been developed through a stream-of-consciousness process where dense imagined foliage is outlined by black paint pen in “What We Cannot Touch” by Carol Brown Goldberg, improvisational ink lines define a space between gravity and weightlessness in “Riff I” by Chee Kung, delicate linked circles frame or are obscured beneath holes cut in the multi-layered “Melpomenia’s Edge” by Amy Lin, or graphite drawings of black rocks allow viewers a live comparison with the actual subjects in “Point, Line & Stone I & II” by Renee Van der Stelt.
Paintings on display include those that freeze the action as when artists pour, spin and tilt the canvas to put paint in motion in “the very outset” by Greg Minah and “Lumen Naturae” by Anne Marchand, gentle brushstrokes of ink and watercolor on rice paper manage to momentarily halt the powerful flow of waterfalls in “Falling Water CXVII” by Kit-Keung Kan, and transparent glazes of oil paint capture the sequential motion of shifting glances in the portrait “The Decision” by Scott Hutchison.
Traditional brushwork dances across the reflective surface of a sublime waterscape in “Revisiting” by Lisa Egeli, or highlights the unexpected beauty found at the rear of a building in “Alley Back of Second Street” by Sharon Wolpoff, but bursts of spray paint en