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Inscape Fall 2001, Morehead State University

Inscape: Art & Literary Magazine Archive

The Fall 2001 edition of the Inscape: Literary and Art Magazine.

Tracing Vision: Modern Drawings From The Ceseri Collection And The Georgia Museum Of Art, Wright State University Art Galleries

Exhibition and Program Catalogs

This catalog features drawings from an exhibition of artists in the 19th- and 20th centuries from the private collection of Giuliano Ceseri and the Georgia Museum of Art. The Tracing Vision exhibition was held at the Wright State University Art Galleries from September 12 through October 14, 2001.

Inscape Spring 2001, Morehead State University

Inscape: Art & Literary Magazine Archive

The Spring 2001 edition of the Inscape: Literary and Art Magazine.

Origin Stories: Creation Narratives In Australian Aboriginal Art, University Of Richmond Museums

Exhibition Brochures

Origin Stories: Creation Narratives in Australian Aboriginal Art

September 26 to December 9, 2001

Marsh Art Gallery

Introduction

The Kluge-Ruhe Collection provides an incredibly valuable resource for people in Virginia and throughout the country to study and appreciate some of the most interesting and exciting work being created today - contemporary Australian Aboriginal art.

John Kluge of Virginia began collecting Aboriginal art in 1987, and in 1993 he purchased the collection of Professor Edward L. Ruhe of the University of Kansas, Lawrence. With a mission to educate the American public about Aboriginal art, the Kluge-Ruhe Collection was formed in 1997 …

The Present Past: A Survey Of Work By David Leach, David Leach, Robert And Elaine Stein Galleries

Books Authored by Wright State Faculty/Staff

In 1982 printmaker and painter David Leach created a photo intaglio print titled Broken Line (fig .1) that records an illusion, a seeming change in angle of a twig partly immersed in water, an effect resulting from light refraction. The image might almost serve as commentary on Leach's production as artist. He has stated that in 1982 he realized he was not a "post-studio" artist. 1 That conclusion caused him to move away from the conceptualist investigations that had become the focus of his art by the later 1970s and for which work he had established a reputation. Partly out …