The Elizabeth Stone Harper Gallery will host the exhibition, “The Idiosyncratic Pencil Resharpened,” from Jan. 24 to Feb. 28.
The Idiosyncratic Pencil Resharpened is an experimental, “cross platform” group exhibition consisting of original works transmitted digitally and presented as archival black and white prints. This will be the second iteration of the innovative and well-received “The Idiosyncratic Pencil” at Elizabeth Stone Harper Gallery in January/February of 2018.
Inspired, variously and in part, by William Henry Fox Talbot’s prescient 1844 “The Pencil of Nature,” the Dadaists, Ray Johnson’s New York Correspondence School in the 1950s, Wallace Berman’s “Semina,” and the Fluxus movement of the 1960s—each a radical break from past methods of art production—The Idiosyncratic Pencil Resharpened is both an assessment and a dare, both a temperature reading of the moment and an invitation to entangle.
The Idiosyncratic Pencil Resharpened is the contemporary artist’s response to the whirlwind evolution and mutation of image making in this topsy-turvy, post-internet, media-mad, and over-stimulated epoch. Guest curators invited to participate in the organization of this exhibition are Nicole De Armendi, Art Historian at Converse College, and Manuel Schmettau, independent curator and artist.
Forty-five national and international artists are included: Ky Anderson, Rosaire Appel, Claire Helen Ashley, Emily Berger, Patrick Berran, Pascal Blanchard, Michael Brennan, Mark Brosseau, BomP, Jacob Cartwright, Holly Crawford, Brian Cypher, Dan Devening, Brian Edmonds, Russell Floersch, Lynne Ghenov, Rubens Ghenov, Michelle Grabner, Emily Hass, Jesse Hickman, Daniel Hill, Jeffrey Cortland Jones, Sylvain Levier, Stephen Maine, Lael Marshall, Creighton Michael, Aric Obrosey, John O’Connor, Paul Pagk, Gelah Penn, Gary Peterson, Mark Reynolds, Matthew Rose, Ward Schumaker, Manuel Schmettau, Suzan Shutan, Ann Stoddard, Samantha Swann, Jeanne Tremel, Oliver Wasow, Ken Weathersby, Steve West, Wilma Vissers, and Michael Voss.
The resulting images and content (open-ended and à la carte—representation, abstraction, concept, line, photograph, text, repurpose) are improvisational variants of their ongoing body of work, products of their individual processes, or a visual membrane of sorts between their artistic practice and the bewildering, uncertain world around us.