Holy Family University Art Gallery

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Exhibitions 2013-2014


September: Nevin Mercede-The REFLECTIONS Series 1998-2010: hanging 9/5, exhibit 9/6-9/29, reception 9/10 7-9pm http://www.flickr.com/photos/nevinmercede/collections/72157622777469873/

October: Samuel Fee-Desert Series: hanging 10/1, exhibit 10/2-10/30, reception 10/8 7-9pm http://samfee.net/desert/

November: Senior Exhibits

December: Neil Jussila– Meditations on the Luminous Nature of Color & The Lyrical Nature of Being: hanging 12/2, exhibit 12/3-1/6, reception 12/10 7-9 pm http://independentvisions.org/jussila/indexNJ.html

January: Sung S. Kim– Void: hanging 1/8, exhibit 1/9-1/29, reception 1/14 6-8 pm https://www.facebook.com/sungsookimart?filter=1

February: Jennifer Anderson– All the Remnants: hanging 2/3, exhibit 2/4-2/26, reception 2/11 6-8 pm http://jenniferdanderson.com/

March: Joe Brenman- Telling Stories:hanging 3/10, exhibit 3/11-3/31, reception 3/18 6-8 pm http://www.joebrenman.com/

April-May: Senior Exhibits


Nevin Mercede

The REFLECTIONS Series 1998-2010:

Hanging 9/5, Exhibit 9/6-9/29, Reception 9/10 7-9pm


positive reference forbidden

Russians Reflect

trusted friends survive

Russians Reflect

real artists resist

Russians Reflect

diverse spiritual capabilities

Russians Reflect

practice practice practice

Zen Lesson

resistance motivates creativity

Russians Reflect

only workers eat

Russians Reflect

language concepts expressed

Russian Reflect

images telling source (kremlin)

Russians Reflect

breathing, religious, serenity

Hearts Desires

ancient sky days

Zen Lesson

improvisation inside situation

What the Teacher Learned

initiate social respect

Ritual Greetings

shaped painted impressed

This Painters Reflections

laughter, madness, pleasure

Hearts Desires

instead not except

Hearts Desires



Samuel Fee

Desert Series

Hanging 10/1, Exhibit 10/2-10/30, Reception 10/8 7-9pm


Holy Family University invites the public to Desert Textures, a show by award-winning photographer Samuel Fee. Through imagery of landscapes from the American West, Fee’s work illuminates and records changes to the natural world through time. Desert Textures considers a specific landscape in New Mexico that exists in a state of constant visual transformation as a result of sunlight and wind.

A professor of computing and information studies at Washington & Jefferson College near Pittsburgh, Fee says, “My work is designed to challenge two common misperceptions: the first is that the desert is a lifeless and bleak landscape, and the second is that a landscape is still and without narrative. On the contrary, the desert is full of life, but that life takes different—and I would argue, more dazzling—forms from what many viewers might expect. And the sudden emergence of those forms provides the action in the narrative that I believe landscape photography can tell.” The photographs in Desert Textures draw upon Fee’s expertise in digital media.

Corey McDonough & John Alexanian

Exhibition dates: November 12, 2013- November 25, 2013

Artists Reception: Tuesday, November 19, 2013   7:00 – 9:00 PM

john compressed

John Alexanian

cory ringCorey McDonough

Sung S. Kim


Hanging 1/8, Exhibit 1/9-1/29, Reception 1/14 6-8 pm


Holy Family University Art Gallery is pleased to announce VOID, an exhibition of color photographs by Sung S. Kim. The exhibition opens on Thursday, January 9 and will be on view through Wednesday, January 29. An artist’s reception will be held on Tuesday, January 14 from 6:00pm – 8:00pm. This will be Sung S. Kim’s first exhibition with the gallery and his second solo exhibition in the United States.

VOID depicts the scripture of Mark 8:34, “If anyone wishes to come after me, he must deny himself, and take up his cross and follow Me.”  Kim practices the action of denying himself by simulating to ‘VOID’ himself as he goes into the trash bag. He also actually throws away his recent art works, which symbolizes parts of him. Each work is thrown away as a test in faith and letting go of his pride, greed and things of this earth.

Sung S. Kim’s work has been exhibited at Doosan Gallery New York, Forum Gallery at Cranbrook Academy of Art, Dukwon Gallery, Seoul; Sun Contemporary Gallery, Seoul; Palace of Arts, Cairo; and Tijuana Cultural Center, Tijuana, among others. His work is included in collections of the Korea Cultural Center, Seoul; Embassy of the Republic of Bulgaria, Seoul; Korea Foundation, Seoul; Institute of Foreign Affairs and National Security, Ministry of Foreign Affairs and Trade, Seoul. Sung S. Kim was born in 1975 in Seoul, Korea, and studied at The School of The Art Institute of Chicago. He lives and works in Fort Lee, NJ.

Jennifer Anderson

All the Remnants

Hanging 2/3, Exhibit 2/4-2/26, Reception 2/11 6-8 pm


Labor-intensive obsessions fill Jennifer D Anderson’s studio practice. She meticulously cuts paper, wood and metal to create work that reflects on life’s vulnerable nature with a gentle assertion of memory. These pieces have been exhibited in venues across the United States and abroad as well as in publications as diverse as Tricycle and The Carolina Quarterly. Recent exhibitions of her work include the (e)merge art fair and solo exhibitions at Bradley University and Whittier College. Anderson is also an educator who has worked with institutions such as the J. Paul Getty Museum. Currently she is an associate professor of studio art at Hollins University. She is past president of the Los Angeles Printmaking Society and Vice President of External Affairs for SGCI. Her essay “Print University” was published in Proof: the Rise of Printmaking in Southern California.

Joe Brenman

Telling Stories

Hanging 3/10, Exhibit 3/11-3/31, Reception 3/18 6-8


Joe is an artist who finds inspiration in varied mediums. “I work in many materials including clay, paper, glass, bronze, wood and stone, and all these materials speak to me in their own way.” Taking a trip to Brenman’s North Philadelphia studio, you’ll find that his language of art is very much present and expressed. The studio is filled with sculptures of wood, clay and bronze, bright

collages, and a courtyard filled with mosaic murals and large sculptures.

His current show at Holy Family University features his life size wood sculptures. Brenman says, “I like to work in wood as its intrinsic beauty captures my imagination and brings out my desire to find the pure and simple form in my sculptures. “The sculpture, Livorno is reminiscent of the artist Amodeo Modigliani.

These features of the face meld into the long and curved body that is both undulating and symmetrical, with each section defined and distinct as its own form. The color, texture and grain of the wood are prominent and are an essential focus of the sculpture. The other sculptures featured in this show are influenced by ancestral spirit figures from Africa and Papua, New Guinea, but ultimately the stories they tell are what the viewer brings to them.

Joe Brenman graduated from The Pennsylvania Academy of the Fine Arts in 1978. His sculptures are in many private collections and have been exhibited in numerous one person and group shows. He is recipient of the National Endowment for the Arts grant, two Mid Atlantic Arts Foundation grants, and his commissioned work includes Septa’s Art In Transit, an installation in Los Anonas, El Salvador, and mosaic murals for the Germantown Jewish Center and Bar Ferdinand in Philadelphia. In 2010, he was commissioned to create an on-site, large scale marble sculpture in Phu Tho Province in Viet Nam entitled New Life. His work is currently on view at The African American Museum in Philadelphia

And The Pennsylvania Academy of the Fine Arts.

Katelynn Donahue

Exhibition dates: April 2 –April 13, 2014

Artists Reception: Tuesday, April 8, 2014 6:00 – 8:00 PM


Artistic Statement: When I first got into art I was very passionate about preserving pure art. I was not a fan of technology mixing with real, organic art (i.e. painting, sculpture and drawing). I felt that what I thought was the formula for art should not be tampered with. Art was not meant to be as easy as clicking a few buttons; I believed that part of its process was to challenge the artist by using their own skill. In the past seven years I have learned that technology cannot diffuse art, it can only enhance it.

Technology and art making work together. The printing press was one of the most important inventions for art. The printing press not only gave the people a real source of news and information, it moved printmaking to the forefront. Photography has not diminished the act of painting; often artists paint from pictures. Photography is regarded as a beloved art form, proving that technique and skill are involved. With such software as Photoshop or Illustrator much of the work is made easier by clicking a few buttons, however much of what is used in Graphic Design comes from what is taught in the first classes we take, drawing, painting and sculpture. It is not necessary to have had these classes before using the software, but it does make a difference. The knowledge gained from art history and drawing from the model is no where found in any software.

Technology and art can and should mix. Proof of that is seen in works of graphic design artists, printmakers, and even installation artists.

My work in graphic design illustrates that through proper knowledge of art, the ability to use different mediums, and a regard for art history, graphic design should most definitely be regarded as an art form. It is all a part of the evolution of art.

Janet Mackiewicz

 Exhibition dates: April 15–August 15, 2014

Artists Reception: Tuesday, April 22, 2014 6:00 – 8:00 PM


Artistic Statement: Mackiewicz, Observations, Perceptions, Nature and the Artist “For, verily, art is embedded in nature; whoever can draw her out, has her” [Durer as quoted in Scott (2010)]. In nature, the masteries of camouflage evolved. Observers perceive more than one image within nature, creating ambiguity and cognitive confusion (Todd, 2009). Artists have created unique and alternating perceptions based on the natural laws and attributes of camouflage. As early as the Renaissance, Durer recognized the relationship between art and nature’s lines, colors, and patterns. A post-Durer and contemporary artist, whose work created camouflaged images and/or visual ambiguity by rendering his thoughtful perceptions and interpretations of nature’s light, colors, textures, lines, and forms, included Abbott Thayer. Today, artist Walton Ford combines the camouflage mastery, detailed renderings of nature’s lines, colors and patterns in order to create a newer statement about ambiguity and confusion. That message includes social and ethical considerations about science, nature, the environment, and man’s choices.

Just as the observation, perceptions, and artistic renderings of nature have evolved, so has scientific and environmental research.   Only recently, the cuttlefish, a deep-sea creature, was discovered in a NOVA video, practicing shape shifting as a camouflage tactic to approach prey and/or avoid a predator (http://www.pbs.org/wgbh/nova/camo/change.html http://www.pbs.org/wgbh/nova/nature/anatomy-cuttlefish.html PBS video). As evidenced by this recent discovery, nature, with its unique and varied lines, colors, patterns, and camouflage patterns, continues to evolve. Or, could it be that nature and all its attributes and designs were always there?   Could it be that artists and scientists, with their evolved sensitivities and evolved critical eye, are noticing more and presenting their insights and discoveries to the world? As science matures and learns more about nature, the artist synthesizes the science discoveries through his or her artistic perceptions, talents, and skill. As science publishes their research and imagery about the natural world; art is influenced and exhibits its interpreted perceptions and imagery about nature. In the future both disciplines may inspire each other and keep each other in balance.


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