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Press Release

FOR IMMEDIATE RELEASE


Media Contact

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


Douglas F. Cooley Memorial Art Gallery announces 2004-2005 exhibition schedule

PORTLAND, OR (July 16, 2004) - Early American photographic snapshots, Madame De Pompadour, the Black Panthers, and early trompe l'oeil paintings will all have their place in the 2004-2005 special exhibition schedule of the Douglas F. Cooley Memorial Art Gallery at Reed College in Portland, Oregon.

The schedule includes exhibitions by contemporary artist Ken Aptekar and photographers Ruth-Marion Baruch and Pirkle Jones, the finest single collection of trompe l'oeil and still life paintings from an American museum, and extraordinary rare examples of early American snapshot photograph albums in an exhibition co-organized by the Cooley Gallery and the Contemporary Jewish Museum of San Francisco.

"The diversity of the exhibitions selected for the new season not only support the academic programming of the college," notes Stephanie Snyder, gallery director, "but also provide an opportunity for the general public to experience a wealth of art of the type rarely shown in other venues in Portland."

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August 20-November 18, 2004

KEN APTEKAR: A PERSONAL PUBLIC

Exhibition curator: Stephanie Snyder, director, Douglas F. Cooley Memorial Art Gallery

Ken Aptekar's most recent body of work examines the personal and artistic exploits of Madame de Pompadour 1721-64), Louis XV's mistress, and one of the most prodigious and influential artistic patrons of 18th century Europe. Drawing upon the rich art and history of 18th century France, Aptekar's sensuous, narrative oil paintings consist of faithfully repainted passages from historical portraits of Mme de Pompadour--primarily by François Boucher (1703-70)--that are bolted under thick glass. Each sheet of glass is etched with a story or textual fragment that interacts with the painting's imagery--and the viewer--in enigmatic and temporally discontinuous ways. As described by art historian Mieke Bal, "The performance asked of the viewer/reader is time-consuming, slowed-down by the work's commitment to promote caring, loving and reciprocal attention , promoted by the various elements that slow it down--from glaring glass to the enticing text, from the verbal, visual and verbal/visual puns to the ambiguities of tense and tone." (p. 93, Mieke Bal, "Sticky Images," in Time and the Image , Carolyn Baily Gill, ed.)

Artist Biography
Born in Detroit, Michigan in 1950, Aptekar received his BFA at the University of Michigan, and his MFA at the Pratt Institute. Aptekar has had solo exhibitions at The Victoria & Albert Museum, London; The Corcoran Gallery of Art, Washington, D.C.; The Memorial Art Gallery, Rochester, NY; and The New Museum, New York, New York; the Steinbaum Krauss Gallery, NY; the Jack Shainman Gallery, NY; and the Bess Cutler Gallery, NY. A survey exhibition of his work, Ken Aptekar: Painting Between the Lines, 1990-2000, organized by the Kemper Museum of Contemporary Art in Kansas City, toured the United States in 2001-2. Numerous group exhibitions include: Too Jewish? Challenging Traditional Identities and The Perpetual Well: Contemporary Art from the Collection of The Jewish Museum , The Jewish Museum, NY; Going for Baroque , the Walters Gallery, Baltimore, MD; Bad Girls , UCLA; and The Other Man , The New Museum, NY. Aptekar is the recipient of two NEA Fellowships in Painting, a Mid-Atlantic Arts Foundation Award, a Rockefeller Residency at Bellagio, several Djerassi Resident Artist Program awards, and a Pollock-Krasner Foundation Award. He lives with the writer Eunice Lipton and divides his time between Paris and New York.

Artist Talk: Monday, September 27, 7 pm, in the Reed College psychology auditorium (Psychology 105, adjacent to the east parking lot)

Reception with the artist: Immediately following the Artist Talk, Monday, September 27, 8 pm, at the Cooley Gallery

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January 4-February 20, 2005

BLACK PANTHERS, 1968: PHOTOGRAPHS BY
RUTH-MARION BARUCH AND PIRKLE JONES

Organized by the Berkeley Art Museum, University of California at Berkeley

From July to October of 1968, noted California photographers Baruch and Jones were invited by Eldridge Cleaver to chronicle the Black Panther movement in and around Oakland, California, the headquarters of the organization. The resulting photographs were exhibited at the de Young Museum in San Francisco in the 1968 show "A Photographic Essay on the Black Panthers." This exhibition brings together 45 photographs from the original exhibition.

Ruth-Marion Baruch and Pirkle Jones met as photography students and were married in 1949 at the Yosemite home of Ansel Adams. They were together until Baruch's death in 1997. Their work has been exhibited in museums around the country including the Art Institute of Chicago; The Museum of Modern Art, New York; the International Museum of Photography in Rochester, New York, and the Smithsonian Institution.

This exhibition coincides with Reed College's celebration of Black History Month.

Programming Note: Pirkle Jones will speak on his work at Reed College during the exhibition. Dates TBA.

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March 8-April 24, 2005

FEAST THE EYE, FOOL THE EYE
Still Life and Trompe L'oeil Paintings from the Oscar and Maria Salzer Collection

Organized by the Fresno Metropolitan Museum of Art, Fresno, California

The Fresno Metropolitan Museum contains the finest single collection of trompe l'oeil and still life paintings in the United States. The 43 paintings traveling to Reed exhibit a rich spectrum of the themes and techniques of the genre and include 17th-, 18th-, and 19th-century works by American and European artists such as John Peto (American, 1854-1907); Cornelius Gysbrechts (Flemish, active 1659-1672); and Evert Collier (Dutch, ?-1702).

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May 24-July 3, 2005

SNAPSHOT CHRONICLES: THE RISE OF THE AMERICAN PHOTOGRAPH ALBUM

Curators: Stephanie Snyder, director, Douglas F. Cooley Memorial Art Gallery, Reed College, and Barbara Levine, deputy director, the Contemporary Jewish Museum, San Francisco

Through 40 exceptional examples, this exhibition celebrates the under-recognized creative narratives and material artistry of early snapshot photograph albums. Photography as we know it was developed in the mid-19th century, and by the 1890s, small-scale cameras were available for use by the general public. With the release of Kodak's Brownie camera, a new mode of documentation had reached the American family and was specifically marketed to women (and children) as a means for creating serial representations of both special occasions and daily life.

Rather than focus on the nostalgic aspects of these vintage albums, the exhibition foregrounds their historic significance and contemporary relevance as windows into private life. The exhibition reveals the astonishing constellation of commercial and personal forces that resulted in photographic material that we now understand as a seminal part of our culture's visual history: a critical aspect of the history of photography but also a window into early American consumer culture, class dynamics, and advertising.

After opening at the Cooley Gallery in May 2005, Snapshot Chronicles will travel to the main branch of the San Francisco Public Library in the fall of 2005. A national exhibition tour is being planned for 2006. A 96-page color catalogue will accompany the exhibition, with essays by the curators and invited scholars. For touring information, please contact Stephanie Snyder at 503-777-7251.

About the Cooley Gallery
The gallery was established by a generous 1988 gift from Sue and Edward Cooley and John and Betty Gray "in support of the teaching of art history at Reed College, as part of an interdisciplinary educational experience that strengthens the art history component of Reed's distinctive humanities program." Exhibitions are coordinated in collaboration with Reed faculty members and courses, with attention to the needs and interests of the larger Portland and Northwest arts communities. A schedule of four exhibitions during the academic year brings to Reed and the Portland community work that would not otherwise be seen in the region.

Admission to the Cooley Gallery and its exhibitions is always free and open to the public. For information and hours, please visit http://web.reed.edu/gallery or call the gallery information line at 503/777-7790.

For more information or to receive images from the exhibition, please contact Beth Sorensen, office of communications, at 503/777-7574 or at beth.sorensen@reed.edu .

Reed College, in Portland, Oregon, is an undergraduate institution of the liberal arts and sciences dedicated to sustaining the highest intellectual standards in the country. With an enrollment of about 1,360 students, Reed ranks third in the undergraduate origins of Ph.D.s in the United States and second in the number of Rhodes Scholars from a liberal arts college (31 since 1915). For more information, visit web.reed.edu .

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