Past Exhibits

The Bernstein Gallery is pleased to present “Art of the Times (times four)”, a series of political works by four artists whose work has appeared in various publications including The New York Times, The Washington Post and The New Yorker Magazine. The Op-Ed drawings of Douglas Florian, Brad Holland, Frances Jetter and Mark Podwal begin during the Nixon era and Watergate, and continue right up through the current war in Iraq and Afghanistan. The exhibition will be on view from April 7 through August 31, 2008. An artist panel discussion will take place at 4:30 on Thursday, May 1 in Bowl 016 on the lower level of Robertson Hall, adjacent to the Bernstein Gallery. A reception will follow in the Gallery at 6 pm. The public is invited to both events. Gallery hours are 9 to 5 p.m., Monday through Friday.

The Bernstein Gallery is pleased to present “Looking at the Sequential Dialetic”, several pages from Michael LaRiccia's upcoming graphic novel, The Death of Black Mane and the Feared Self. The exhibition runs from February 25 through April 4, 2008 with a reception on February 29 from 6 to 8 p.m. to which the public is invited. Gallery hours are 9 to 5 p.m., Monday through Friday.

"Diminishing Returns" is a series on poverty across America by the master social photographer, Larry Fink. The recipient of two Guggenheim Fellowships as well as two NEA grants, he has had one man shows at the Museum of Modern Art, the Whitney Museum of Modern Art, the San Francisco Museum of Art, the Musee de la Lausanne Photographie in Belgium, and the Musee de l’Elysee in Switzerland, amongst others. He shows in galleries regularly in New York, Los Angeles, and Paris, France. In 2002, he received an honorary degree of Doctor of Fine Arts from the College for Creative Studies in Detroit, Michigan.

The Bernstein Gallery is pleased to present "Burmese Days", photographs by Mary Cross. The exhibition runs from December 3, 2007 through January 11, 2008 with a closing reception on January 11 from 5 to 7 p.m. to which the public is invited. The work on view is a continuation of Ms. Cross's continued photographic investigation into different cultures of the world.

Olivia Victoria Andrzejczak, 2007 graduate of Princeton University’s Woodrow Wilson School, guest curates this exhibition on the violent conflict in Chechnya which began in 1994. The large format photography is by Adam Borowski who was named the Honorary Polish Consul for the Chechen Republic of Ichkeria by President Abdul-Halim Sadulayev in 2006. Borowski is a veteran participant of the Polish Solidarity movement and regularly contributes to American radio broadcasts about his experiences. His photo-documentary work on Chechnya’s critical humanitarian situation has been shown in Warsaw, Copenhagen, London and Brussels.

Philani is a community-based child health and nutrition NGO operating in informal settlements outside Cape Town, South Africa. An estimated 750,000 people live in these areas in simple cement houses or make-shift dwellings made of corrugated iron, wood and plastics; many overcrowded and without water and sanitation. Since 1979, under the Founder and Medical Director, Dr. Ingrid le Roux, Philani has been working to alleviate these problems, assisting thousands of mothers, pregnant women and children through a network of community outreach workers and nutrition centers. Because a woman who is financially independent has a better chance of providing care for her children, an income-generating art and craft program is also an integral part of Philani’s efforts to help destitute families. The photographs were taken by the artist, Joan Needham, and the curator, Kate Somers, who spent the month of February, 2007 at Philani, teaching women from the community linoleum block printing. In addition to the photography, there will be on view linoleum block prints made by artists in the community. The combined photographs, artwork, and text tell the story of one health care model working in developing countries.

Princeton artist, Susan Hockaday, is a fine art photographer whose work focuses on the patterns and structures of the natural world. Recently, her work has delved more deeply into man made threats to the fragility of our natural world: the destruction of open space; the degradation of waterways; the flow of chemical pollutants across the landscape; etc. While her photographs of nature have not been manipulated themselves, many from her recent series have overlays of ink and other media to introduce the notions of invasion and encroachment. She shows with SOHO20 Gallery in NYC and her work is in the collection of the Princeton Art Museum, among others.

Poster art created by Israeli and Palestinian artists reveals and documents the issues central to the Middle East conflict. The posters represent a truly public art produced for the people, expressing sentiments and opinions for the purpose of inspiring and motivating. The posters in this exhibition, from the private collection of Dana Bartelt, include both award-winning images by internationally acclaimed artists as well as those which were previously forbidden to be printed. Some were mass produced while others are original paintings and drawings. All speak in their own visual and written languages and tell a story of struggle, survival, and the hope for lasting freedom and peace.

After Utopia is a series of visual investigations of the legacy of socialist cities. A familiar landscape emerges, from the Balkans to eastern Germany, the Baltic and central Asia: hundreds of thousands of prefabricated apartments and standardized concrete constructions housing millions of people. "After" appears tentative here: the materiality of socialism continues to shape the life of millions today as it did during the Cold War. Mehilli's exhibition includes a wall-size photo collage of recent urban transformations in Tirana, Albania, confronting recent changes in the physical environment of the city--illegal settlements, alterations, the municipality-sponsored coloring of the city--with the stubborn legacy of the material culture of socialism. Smaller works investigate particular urban moments: prefabricated housing; crumbling concrete; urban decay; war in Sarajevo; and post-socialist landscapes in Prague, Berlin, and the outskirts of Budapest. Mehilli is a PhD student in history at Princeton University.

Cathy Stein Greenblat, Professor Emerita of Sociology at Rutgers, has produced photo-essays on long term care and end of life care for the dependent elderly. Her largest project is ALIVE WITH ALZHEIMERS, which has resulted in a book published in 2004 by the University of Chicago Press, and a traveling exhibition. These pictures are positive images of the possibilities for better institutional health care for the elderly. The work ranges from facilities in California to Japan, a country she highlights for its enlightened approach to quality care for its aging population.

Photo-documentary work on drugs and addiction in the US. Through a fellowship after graduation from WWS, Robin visited drug reform agencies and community organizations in 25 states. The goal of his photo essay is to promote the treatment of substance abuse as a health problem rather than a criminal activity. In 2003, Robin showed his work in the Bernstein Gallery on AIDS in Cuba and Ghana. He is currently a second year medical student at University of Pennsylvania.

WOW! is the membership arm of World Neighbors, an international development organization that creates long-term change in remote communities in Asia, Africa and Latin America. Through membership fees, WOW! enhances World Neighbors efforts to empower women and their families so they can transform their own communities through access to education, health care, food production techniques and income generation activities. Representing women in World Neighbors programs, the WOW! Photo Exhibit reminds us that all women are powerful and that their strength, character and wisdom molds the future.

The story of 111 First Street, an old factory building in Jersey City, is the tension between 200 artists and a billionaire landlord. When it became clear that the artists would be forced to leave their homes and studio space, one of these artists, Edward Fausty, felt compelled to photograph the studios and public space in the building, to record the "fragile utopia" that had been his home and community. It is a classic story between speculative absentee landlords/developers and the local citizens impacted by their projects.