News Center

News from the Reed College public affairs office

Search: or

Press Release

FOR IMMEDIATE RELEASE


Media Contact

Beth Sorensen
Office of Communications
503/777-7574
beth.sorensen@reed.edu


ONDRIZEK INSTALLATION OPENS NEW SEASON AT COOLEY GALLERY

Libri, an installation by Geraldine Ondrizek, assistant professor of art at Reed College, will be on display at Reed's Douglas F. Cooley Memorial Art Gallery from August 27 through October 12. Libri, a play on the Latin word for planks of wood, takes as its subjects plant materials, tree trunks, botanical systems of classification, and the quirky data of memory. There will be a special opening on Wednesday, August 27, from 6:30 to 9 p.m.

The artist will conduct several special tours during the run of the exhibition. Please call 777-7790 for information about dates and times and general gallery information. The Douglas F. Cooley Memorial Art Gallery, located in the Reed College library, is open from noon to 5 p.m. every day except Monday.

A catalogue, with essays by Ondrizek and Patricia Failing, associate professor and chair, department of art history, University of Washington, will be available at the gallery.

Geraldine Ondrizek, a member of Reed College's studio art faculty since 1994, has exhibited her work nationally -- at the Mattress Factory, in Pittsburgh, Pennsylvania; at the Matrix Gallery, Sacramento; and at the Anderson Ranch Art Center, Colorado -- and in the Northwest at Marylhurst College and the Maryhill Museum. Her work has also been exhibited abroad, most recently at the Frauenkirche Modernische Kunst Galerie, in Munich.

Ondrizek writes of her work: "It is a library of organic forms and their ghost images. The organizational system I have adopted refers back to a herbarium in which organic material has traditionally been catalogued...renderings were generated from rubbings of the living forms."

Many of the pieces, which combine actual botanical materials with drawing and other markings, are sandwiched between pieces of glass or plexiglass, like the glass slides and cover slips used to preserve biological specimens. These are densely packed into a small room constructed within the exhibition, evoking a Renaissance collector's chamber. Elsewhere in the installation, a sliced tree, cast skins of the tree trunk, and rubbings compound memory with the elusive sensuality of touch. As Patricia Failing has written in her catalogue essay for the exhibition: "Ondrizek tries to suspend the process of decay, an incremental form of loss like forgetting, its psychic twin. In the end, her kunstkammer is really a collection of disappearances."