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Celebrating the Art Faculty/Works on Exhibit
TONY CAPPARELLI Artist’s Statement I have tried in these works to capture our modern sporting life from beyond the camera angle, to that seen literally by personal attendance of these events. The spaces occupied by these venues have long intrigued me especially those located in our major cities. It's intriguing -- the changing influence and interaction between sports and society today. You see the obvious manifestations in the contours of baseball stadiums through the years. Years ago, the ballparks fit into an existing neighborhood. You can see it in the odd dimensions of the outfield fence. But the opposite is true today. Just as the ballparks were once defined by their neighborhood, it is now the neighborhood, even a city that is defined by the structure housing the local team. And what does this say about us? n the case of earlier stadia (Yankee Stadium pre-'76), we see clearly that the parameters of the stadium are dictated by the layout of the neighboring environs. In fact this surrounding dictated the style of team play throughout the years of the New York Yankees. Had the right field fences been longer, we may not have seen the full impact of Babe Ruth and the resurgence of baseball on American culture. The increasing immigrant flow through New York City only helped to spread this participation into the emerging American culture. In the case of "Big Blue Afternoon" (Giants Stadium), we see clearly the newer luxuries afforded these venues moving into our suburban areas. Several things may be noted here: first the uniformity of line and construction; second the increasing color brought into the venues by new construction (plastic seats, artificial grass); and third the political furor and competition between neighboring states attempting to woo the local team. In the 70's the suburbs won out. As a painter, I have noticed my color palette simplified when rendering the crowd, as mass marketing has filled the stands with increasingly "uniform" licensed apparel. A correct rendering of the team logos becomes more frequent throughout as television broadcasts these events on a massive scale. The teams and municipalities constructing these venues have found these events to be the modern "billboard by the highway", a new form of mass advertising. The venues have increasingly reflected this. Hockey venues grudgingly have given in to this trend. The advertisements seen along the boards were always seen as a "European Thing". But after the historic '72 Summit Series between Canada and the Soviet Union, changes bigger than anticipated ensued. Not only did the style of play change, but also the make up of each team, as players from the former Soviet bloc became members of the NHL. Hockey truly became the international sport, whose main fiscal health resided in the US. And as can be seen in my painting "1994", the venues took on a European flavor with the introduction of dasherboard advertising. New York has been home to one of the Original Six NHL teams, yet until 1994 New York City had never been home to a Stanley Cup celebration. Generations of New Yorkers had wondered if they would ever see a Championship. When the remarkable happened in the spring of '94, this fatalism was wonderfully answered. A sign at the game captured it all:"Now I can die in peace". A parade of over 1.5 million New Yorkers followed, presided by Mayor Rudolph Giuliani. I have also chosen here to capture the Cup-winning goal by Mark Messier. Madison Square Garden is defined by it's unique cable-suspended roof which appears jewel-like to the observer When painting the scene, I am interesting in the overall first impressions stamped on the mind by artificial lighting. Also noted is just how much smaller the ice surface appears in person. Again I have tried to show this in the painting. Generally, television distorts this perception. Also, the painting captures the moment this historic goal is being scored while simultaneously showing the breadth of the venue itself. Since photographs do not show both in such detail, I believe this to be the only image of it's kind. Biographical statement An adjunct professor at Seton Hall University for many years, Tony Capparelli has taught the following courses at Seton Hall University: Drawing and Painting, Advertising Illustration, Fundamentals of Drawing, Individual Studies Art, Introduction to Painting, and Figure Drawing. 1994
(Ranger Stanley Cup Victory)
Bygone
Bronx
Big
Blue Afternoon
WILLIAM HANEY http://www.whcgroup.com/ Artist’s Statement The development of anatomic and architectonic structures through strategic drawing- design principals are at the core of my creative thinking and professional work. Whether inventing a new matrix system in the discovery of a linear model or using analytic study in the depiction of a surgical procedure, the objective remains consistent; decisive, visual communication targeted to a specific audience. Without this clarity of purpose filtered through a personal problem-solving heuristic, the final artifact becomes rote, ineffective and unable to inspire, persuade, or educate the viewer. Flying Scull VII
(frontal view)
Flying Scull VI (side
view) Flying Sculls VIII
Asnis Fig 21, 22 23
BV Needles
Ocupress “Beyond the
Eye” Bard: Urologic System Artist’s Statement I’ve tried new media with every kind of subject matter, and I have always returned to traditional landscape painting in watercolor. More recently, I find myself drawn to doing larger paintings in acrylic and oil paint as well. The noted art critic Robert Hughes has suggested that it was assumed that the abstract paintings of the 60’s and 70’s had eliminated realism. Not so, he claims. It is back with much new vigor by younger American artists. We have this thing with wild places. Quiet moments in time that are felt and experienced are what I seek, and what leads me on; an old custom, ever new! Biographical Information Edwin Havas, Professor of Art Emeritus at Seton Hall University, South Orange, NJ, taught for thirty years at Seton Hall University and Seton Hall Preparatory School. A member of the American Watercolor Society, Mr. Havas is a past president of the New Jersey Watercolor Society as well as the Essex Watercolor Club. He is also a member of the Bethlehem Palette Club and the Lehigh Art Alliance. His paintings have earned over one hundred awards. While serving with the Air Force in Japan, he received a major prize in an all-services competition for the Pacific area. Other awards included the Grand Prix for Aquarelle in an international juried exhibition in Monaco, as well as the New Jersey Watercolor Society’s Silver Medal and Best in Show Awards. The art award given each year to a graduating senior at Seton Hall Preparatory School is named the Edwin Havas Award for Excellence in Art. In 1992, Rotary International named Havas a Paul Harris Fellow for his artistic contributions on behalf of the Rotary’s International Scholarship Fund. He was presented with Seton Hall University’s distinguished service award, the McQuaid Medal, in 1994. Mr. Havas’s paintings are represented in numerous public, corporate, and private collections, including the Montclair Art Museum and the New Jersey Historical Society permanent collections. He painted the Bicentennial Murals for the Livingston, New Jersey Historical Building. Official portraits include Archbishop Theodore McCarrick of the Archdiocese of Newark, Mayor Sharpe James of Newark, four past presidents of Seton Hall University, as well as other corporate and public figures. Ed Havas has had six one-man exhibitions at Seton Hall University, the most recent a major exhibit of paintings of the Delaware Region of Northern New Jersey and Pennsylvania, titled “Skylands” in 1996. Additional one-man exhibitions were held at the John F. Kennedy Memorial Library in Boston, the American Irish Historical Society in New York City, the University of Scranton, in Pennsylvania, Sussex County Community College in Newton, New Jersey and numerous galleries. He has also been represented in many group exhibitions throughout the United States including “More Than Meets The Eye: a Century of Realism in New Jersey, 1900-1994” at the Morris Museum, Morristown, NJ. Mr. Havas has conducted numerous painting workshops in Italy, Ireland, Bermuda, North Carolina, New Mexico, Pennsylvania, New York and New Jersey. Studio Still Life
Enchanted Mesa
Cedar
Snow Deer
Blue
Mountain Farm
France on Line
WILLIAM HUDDERS Artist’s Statement The creation of my work revolves around the process of representation and personal expression. My goal is to create a painting that contains the sensory stimulus of the world. All of my work is created from direct observation. This is a way of working that constantly surprises and challenges me, in a way that working from my imagination does not. The color situations and light effects that I see in my surroundings are a constant source of inspiration to me and provide endless information for the work. The recreation of these effects and situations in paint is what drives me to make these pictures. Some people have said that my work looks photo-realistic to their eyes. This has never been my intention, nor the effect when the paintings are seen in real life. What I am interested in is creating a deeper or heightened sensation of visual activity. Ideally this should provide to the viewer a fresh or novel way of viewing color and form. Painting presents many problems; to the viewer as well as the artist. The attempt to re-create the appearance of something inevitably leads to comparisons with one’s knowledge and experience of similar objects and situations. For me, painting tends to exist on it’s own, purely visual terms, with no direct relation to the rules of reality. A successful painting seems to lead the viewer into something like a dream world, similar to what we know, but somehow different. It is this similarity and difference, simultaneously, that I am searching for in my paintings. To paint from life is for me to investigate the nature of appearances. What I am trying to create are not really representational images but rather an interpretation of what I see filtered through the medium of paint. The act of translating visual information is the process that I find the most rewarding and stimulating in regards to making a successful painting. While I am most interested in a realistic depiction of objects and landscapes the behavior of the paint on the canvas and the balance of light is generally the more elusive element. The result is for me a collaboration of my painting combined with the surrounding visual stimulus; the painting is a record of the process of painting and also a symbol of that collaboration. My work is an attempt to present an image of light primarily and secondly to convey a sense of distance and balanced space. The creation of my work is mainly focused on representations of light and space. As a painter I am mainly concerned with creating an image that resonates with the world around us. By concentrating on images of light and space I feel that I can more accurately convey the elusive emotions and sensations we all experience as visual people in a highly visual and image saturated world. In some sense I think of my paintings as a relief or respite from this world in that they are quieter images and hopefully pictures with which one can spend more time and achieve a more stable or calm state of mind. To me these paintings are primarily visual documents, the meanings and purpose of which is entirely visual. There is no literal explanation or direct meaning in them. They are created to be understood primarily as visual documents. I have chosen imagery which I believe has a wide array of connotations and meanings. I am not trying to be willfully obscure but feel I am using a language without a direct verbal parallel. What I am trying to create are images whose direct meaning is not immediately clear. Ideally this should allow for a gradual period of thought and investigation, a chance to explore the image with more depth and attention. To me the understanding of the painting is fully contained within this act of looking and not with the addition of forced narratives or conceptual agendas. I also see them as investigations or meditations into the visual reality of our surrounding world. I have always painted from life and slowly this life has changed and become more complex for me. In regards to painting this has been a very good development. I no longer try to paint things like photographs but feel more of a need to record an image which has a more honest relevance. To me a painting should create. This is an issue of representation that I feel can convey the more elusive sensations of our surrounding world. I am concentrating primarily on the landscape and the still life in order to more directly address the issues of visual stimulus Why do I paint? Ah it is impossible to say. The pictures come to me in my sleep, half formed, little ideas that lead to something bigger. I get a glimpse of something in my mind and then I try to find it in the world somewhere. When I see what I am looking for I combine the two and create an image on the canvas. Usually this is a long way off from the first inspiration but it serves as a starting point. The main interest after this is for me the depiction of light -to create an image which has a resonance of light. I am mainly concerned with the many small variations in color that slowly build up to a complete and whole view of a color situation. Usually this is accomplished in only the last few strokes of the painting. The imagery is chosen primarily as a visual statement on the surrounding world. I create these paintings not to say something but rather to show something. They are not literally narrative but can be read in any number of ways. The meanings are complex and intentionally obscure but without the disorder and confusion of chaos. The understanding of the paintings is for me contained within the act of looking and not as much in the interpretation. They are created as visual documents with the intention and aims of poetry. Night Music
Winter Light
Northern Light
Shoe
Skull IV
Artist’ s statement For as long as I can remember, nature has been a constant theme in my artwork. Because walks in nature provide me comfort and places to meditate, I try In my paintings to recreate these experiences personally through the process of making art and through viewing the completed works, These are important memories for me. The exhibited landscapes do not represent specific places but represent a composite of travel experiences. I have tried at the same time to capture the sense of peace that nature can provide, but within the dynamics of seeing constant changes in sky and land. Over the Hill
Desert : Solitude
In the Woods
On the Path
Artist’s Statement My work expresses my continuing interest in visually revising the Greek myths of seduction, particularly those of Europa and Zeus. While themes of these seductions have been visually played out across the centuries by many artists, my treatment of it is more ambiguous, sometimes whimsical and of course, more personal. In my interpretations there is often role reversal: Europa plays a more powerful role in the “seduction”or abduction. When I first started working with these myths many years ago, I created large oil paintings that were mysterious and abstract. Later they become somber and somewhat violent. My recent work presents a lighter, more fanciful approach. I like the contrast of modern materials, particularly plexiglass, with ancient subject matter. The collages inform my graphic design work and my design work influences my personal work. Biographical Information Arline Lowe has been a teacher in the Department of Art and Music at Seton Hall University since 1994 first working as Assistant Professor of Art and since 2002 as an Associate Professor. Her responsibilities have included teaching a wide variety of art courses in visual communication, which include studies in letterform design, history of typography, introductory and advanced advertising art and illustration, computer assisted illustration, and portfolio preparation. These courses involve traditional art-making skills as well as extensive use of the computer-aided technology. She has also been responsible for placing and supervising interns in professional environments. Song of Europa
Europa :Take Two Love
Poems From Zeus
Artist’s Statement My work serves two general purposes. Some pieces serve to further my understanding of a given media. Others provide a point of departure for thinking about topics that interest me. St. Anthony
El Ray del Mundo
Generic Memory
Magritte’s Mother
Famous Lady Authors
Sewing Cards: Educational! Fun!
Tender Buttons I
Tender
Buttons II
LAUREN SCHILLER Artist Statement The imagery in my work is drawn from food-related memories, associations, and rituals. Blending traditional and contemporary approaches, I explore themes of food and culture and their place in our shared experience of daily life. Depictions of food are cross-referenced with personalities, places and events. These images are not illustrations but rather are inspired by particular eating habits. Themes include high and low foods, signature and regional foods, culinary colonialism, food for pleasure vs. food for sustenance, food and morality (gluttony vs. abstinence, denial and restriction), and food and identity (personal, cultural, and familial). My prints and paintings are infused with what I hope is subtle humor and social commentary. To quote Bill Buford, “I’ve often thought that food is a concentrated messenger of a culture, compacted in the necessity of our having to eat to survive” [“The Secret of Excess,” The New Yorker (August 2002), p.122]. Food, as subject matter, provides a conceptual framework for exploring personal, social, and cultural relationships Biographical Information Lauren Schiller received her MFA from the University of Wisconsin-Madison. Before coming to Seton Hall, she taught at Utah State University where she was the coordinator of the printmaking program. Currently, she teaches Painting, Drawing, and Printmaking in the Department of Art and Music. Lauren is a council member of the Society of American Graphic Artists and has shown her prints and paintings in over fifty national exhibitions. These venues include The Art Student’s League of NY, the Washington Printmaker’s Gallery, Wichita Center for the Arts, the University of Virginia, St. John’s University, First Street Gallery-NYC, Adam Baumgold Gallery-NYC, and the Lahti Art Museum in Finland. Summer
Altar
Solstice Portrait
Measured
Scavenger
Artist’s Statement Randy Schweitzer is a 1978 graduate of Seton Hall University where he studied fine arts under Anthony Triano and Ed Havas. For the last 25 years he has been a full time art teacher at Seton Hall Prep and an adjunct professor of art at Seton Hall University. Longwood Gardens
Moraine Lake
Washington Square
Luxembourg Gardens
Oceanside
Chess Match
Anthony Triano, artist and teacher, died on July, 21 1997. Traino’s artistic career spanned more than fifty years. His paintings and drawings are found across America in public and private collections. He taught at Seton Hall University for twenty-five years, leaving a legacy of love for art and life with literally thousands of students. Born in 1928, Triano grew up in Kearny and North Arlington, NJ. As a young child he drew incessantly, often to illustrate stories or movies that appealed to his imagination. At age sixteen, he joined the U.S. Marine Corps and shipped out to the South Pacific where he stayed until the end of World War II. Throughout this period he continued to draw, often finding his subject matter in the grim war scene around him. The GI bill enabled Triano to further his art training. In 1946, he enrolled in the Newark School of Fine and Industrial Arts where he majored in illustration, though eventually he would gravitate towards painting and sculpture. Inspired by his teacher Reuben Nakain, who was the single most important influence in his life, Triano developed his own version of Abstract Expressionism, becoming an important member of the second-generation New York School. Just before his death Seton Hall University hosted a retrospective exhibition of Triano’s work entitled “A Being Beyond.” It showed the master at the peak of maturity, at ease with the diverse techniques of art, the result of a long apprenticeship and unrelenting practice. What we find in Triano’s work is the joyous celebration of the natural world, life above all, both in its benign motions, the threatening skies, and the exuberantly growing vegetation. Again, and again we find the themes of re-birth, renewal, and resurrection, manifesting the artist’s deep faith in the saving powers of the human spirit. Flowers
Artist’s Statement SITE: SIGHT, Views After the Dead Sea is an installation in two parts. SIGHT is a panoramic desertscape. This wall piece is composed of images painted in watercolor on to plaster block. Parts of the view are specific areas of the Dead Sea region near Ein Gedi, other areas follow its western coast. SITE is a corresponding collection of sculptured objects based on the fragments of household goods and architecture often found in archeological dig sites. In 1998 Biblical Archaeology Review published an article on Babatha's archive: " the objects already drawn from the hole, an iron frying pan, a jewelry box, a mirror, wooden bowls, knives, sandals…led the excavators to believe that the stash belonged to a woman. They were right. When the bundle was opened…it contained the marriage contracts, leases to property, court papers and sales receipts of Babatha, a wealthy and capable young widow from Maoza (on the southern coast of the Dead Sea)"* Remaking these places by hand, the artist wanders through personal memory and the history of a landscape, now close-up and tangible, now distant. Just as every first hand experience echoes differently in memory, the landscape and site are remade as reminders and to be experienced for themselves. *Biblical Archaeological Review 24 no.2 (March/April 1998):33. Biographical Statement imi Weinberg is a sculptor and installation artist who teaches Modern Philosophies of Art at Montclair State University and Sculpture at Seton Hall University. Her recent work deals with archeological, biblical and historical sites. She earned a Master of Fine Arts from Cranbrook Academy of Art in sculpture. In 1999 Weinberg received a Fellowship from the Geraldine R. Dodge Foundation. Her work has been shown internationally, most recently at the Denier Gallery in Minneapolis and JP Morgan in Jersey City.
SIGHT/landscape
SITE/
archeological/fragments
Zenobia
Tsfat
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Updated:
06/08/03
