In order to see more of some of the installations and one-man exhibits, please click on the titles of those exhibitions that are underlined in blue. Also if you would like to read some comments about my work click here - comments.
2013 Two-person exhibition of my watercolor and ink paintings Jewish Community Center, Allentown, PA. This show featured watercolor and ink paintings on paper that I had done over a number of years. Most of the works were interpretations of the natural landscape.
2013 A Witness for the Past. Part of the juried exhibition, "Art of the State: Pennsylvania 2013",The State Museum of Pennsylvania, Harrisburg, PA. This interactive sculpture/installation is an weathered tree trunk mounted on a 3 x 4 foot green base that generates voices commenting on the past, suggesting the past of the tree trunk.
2013 Sheltering Hut, Shown in the exhibit, "World Sampler", ARTWORKS, Trenton, NJ Sheltering Hut is a 3 x 3 foot log hut equipped with sensors and an interactive computer base system. When people move in front of it they hear commentary about the nature of shelters, which include tax shelters, bomb shelters, fur, etc.
2012 A Proposal for The Book to Be. This proposed interactive installation will celebrate this process of understanding. in the form of a book work, or works, to be created as a result of viewer participation. Please click on title for more details.
2011 Selected Artist Exhibit, Lehigh Valley Arts Council. This one-man show featured watercolor and acrylic paintings that I had done over the previous 10 years. Most of the work was based on interpretations of the natural landscape.
2006 How, Why, Where, What: Four Trees of Brown, Part of the exhibit “Meraviglis: Innovations in the Book Arts”, Center for the Arts, Lafayette College, Easton, PA This installation is a series of four bare tree trunks in a row. Each is 7 feet high, and 2-3 inches in diameter with a heavy base to stabilize it. Each trunk has two, one-foot dowels that extend from the trunk, horizontal to the floor. Pages of acid free paper (8 x 11 inches) are attached to the dowels. These book pages are printed with free form poetry about the landscape as a metaphor for living. Viewers walk past all four trees to read the book.
2005 Sheltering Hut, Shown in the exhibit, “Sheltered”, Williams Center for the Arts, Lafayette College,Easton, PA Sheltering Hut is a 3 x 3 foot log hut equipped with sensors and an interactive computer base system. When people move in front of it they hear commentary about the nature of shelters, which include tax shelters, bomb shelters, fur, etc.
2004 Common Ground, Part of the Exhibit, “Great Scott”, Coatesville Area Art Alliance, Coatesville, PA The piece is a floor model radio case from the 1930’s, which is equipped with sensors and interactive sound computer system. When people approach and walk around it they heard impressionistic commentary about opening up to future possibilities and working together to develop a better tomorrow.
2004 To Be an Artist: A Tribute, Berman Museum, Ursinus College, Collegeville, PA This site specific installation was an archway forming the entrance to the gallery exhibit of art works by members of Philadelphia Tri-state Artist Equity. The arch was made of pieces of unsuccessful art - stretcher bars, canvases, plaster castings, paint tubes, drawings, etc. The message was that for many successful pieces, there are many preliminary failures in the struggles of making art. Inside the arch there was an interactive computer system which generated sounds when people moved through and in front of the arch, triggering movement sensors embedded in the arch. The sounds were voice segments, recorded from members, commenting on the contemporary concerns and rewards of being an artist. These were short segments, not long discourses. The voices mingled and overlapped as impressions and ideas for the viewer to contemplate.
2001 Once upon a Time in Bethlehem, Banana Factory, Bethlehem, PA This temporary installation and one-man exhibit was based on interviews with six people about their childhoods in Bethlehem, PA in the 1930’s and 40’s. The gallery had a living room area, a kitchen area, and a children’s room area. Appropriate furniture, family photos and other objects were arranged in each area. Each area had sensors and a computer system that generated sounds when people moved around the area. The sounds were the recorded voices taken from the interviews. They were triggered randomly, so that each time a sensor was triggered, a different sequence of voice samples was heard.
2001 Listening to the Landscape, One-man Exhibit, Knight Gallery, Palmerton, PA. This one-man show featured watercolor and acrylic paintings that I had done over the previous 20 years, as a mini retrospective. Most of the work was based on interpretations of the natural landscape.
2000 Becoming - The Examination of a Childhood. Elizabethtown College, PA This temporary installation and one-man exhibit was about the miracle of an ordinary childhood. The gallery contained furniture, pictures and other objects typical of my childhood. Viewers, moving in the space, triggered sensors that caused voices to be heard. The voices included excepts from a speech by Franklin D. Roosevelt, quotes from my mother's daily diary, and comments on childhood.
1997 Voices in the Edges. Maria Feliz Gallery, Jim Thorpe, PA. In this computer-based installation, movements by viewers among landscape paintings and a central sculpture in the Gallery activated a variety of voice passages, musical notes, and percussive sounds. Together, the work reflected an interpretation of the landscape and created for the viewer a new experience with the landscape environment. Relationships between words and images, and between sounds and visual arrays explored these ideas within networks of meaning.
1996 Doorways of Meaning II, The 25th Juried Show, Allentown Art Museum, Allentown, PA. I installed Doorways of Meaning II in the Goodman Gallery. Viewers generated voices that spoke about the doorway as a metaphor for the boundary between inner and outer experience. I hung red and green cord networks and illuminated them with red and green lights. Viewers in the room triggered photocells that generated voices (from a sampler) that spoke to issues of inner experience and outer reality. By appropriate movements, viewers could create combinations of babels of sound or single voices.
1995 An Interactive Garden. Freyberger Gallery, Penn State Berks Campus, Reading, PA. I assembled my sculptures and paintings as a one-man exhibit to create a space in which viewers could wander and discover. Movement and light sensors provided input to computers and other devices that caused sounds to occur. By moving through the garden each viewer created a unique environment of sampled voices, synthesizer notes, radio sounds and wind chime tones. While there were consistent sound structures, the patterns varied, even with the same movements, reflecting the interplay of our inner experiences with external objects.
1994 A Dialogue of Memories. en-vi-ron-ment, Elizabethtown College, Elizabethtown, PA. The was a group exhibition of art works constructed of natural materials placed throughout the campus. I installed a set of markers based on my childhood memories of the College, and called A Dialogue of Memories.
1993 Doorways of Meaning I, Galerie Rene Blouin, Montreal, Quebec, Canada. I installed the first version of the site specific, interactive room, Doorways of Meaning in Montreal, Canada. Viewers moving in a room of soft networks, activated voices in French and English that spoke about the nature of inner and outer realities. (Please see 1996 Doorways of Meaning II for more details.)
1990 The Art of Science-Interactive Perceptual Art. Open Space Gallery, Allentown, PA. Supported by special grants from the Pennsylvania Council on the Arts and the Rider-Pool Foundation, this one-man show of my computer based art included cibachromes of computer graphics and a sound interactive environment. Two public performances with dancer Karen Carlson and musician Gary Hassay were done in the interactive space. In addition, I conducted hands on computer graphics workshops in the gallery for children and adults.
1990 Wilkes-Barre: Senses on Site, Sordoni Art Gallery, Wilkes-Barre, PA. As one of six invited artists, I used an existing 30' high bell tower to create an interactive sound piece, Netowerk: Carradio. As people moved around the base of the tower, they caused radio sounds and digital music to be played from the speakers at the top of the tower, and thus broadcast over the campus. I created a garden of car parts around the base of the tower. The piece was a commentary of our automobile based society.
1989 Ars Electronica, Bruchnerhaus, Linz, Austria. By invitation. I showed two works, my computer based interactive book, What Is? and an interactive room made with found objects from Linz, Network of Hope. What Is? was a sculpture housing a computer with which viewers interacted by means of a keyboard and a photocell lined chamber. Together they generated questions and graphics about the nature of reality. Network of Hope had viewer activated sounds coming from the array of discards to suggest that our behavior might provide hope from among the clutter of our society.
1988 Artists Who Teach, Muhlenberg College Center, Allentown, PA. Perceptual Objects was a computer based interactive sculpture which generated sounds (from 8 speakers) that created the metaphor of our internal perceptual experience as a response to multiple common objects. It was a tower, 8 feet high, emerging from a platform 3 feet x 4 feet, on which common objects were scattered.
1987 Perceptual Installations. Haas Gallery, Bloomsburg University, Bloomsburg, PA. This solo exhibition included paintings, interactive sculptures, a book and a sound interactive environment. The environment was a series of eight speakers mounted in painted aluminum tubing suspended from the ceiling. A motion sensor that scanned the gallery activated a small computer to generate sounds as people moved in the gallery. The space had found objects and red cord in addition to paintings representing the external reality. Mimes, led by Rand Whipple, created a performance piece using the interactive environment.
1987 Neural/Perceptual Processes. Tompkins College Center Gallery, Cedar Crest College, Allentown, PA. This one-man exhibit included paintings and interactive sculptures that generated sounds when viewers moved in front of them. At one end of the gallery I installed a sound interactive environment with a visual grid pattern illuminated by red and green lights. Viewers, moving in the enclosed area cast, shadows that determined the patterns of computer generated notes and sounds that originated within the grid.
1987 Mayfair, A Citywide Arts Festival, Allentown, PA. I was commissioned to create Mayfair Network. It was an outdoor interactive sound piece centered around a large willow tree. The space around the tree was defined by red rope and 80 railroad ties. People walking around the tree created the computer-generated sound, as a metaphor of our inner perceptual space.
1986 Man-altered Landscapes, Muhlenberg College Center for the Arts, Allentown, PA. This was an interactive installation, Interactive Landscape, which complemented a photography exhibition by Larry Fink, J.E.B. Elliott and Cosmos Prete. I created a large area in the center of the gallery made of mulch, bricks, flue pipes, and a computer system that responded to viewers movements. The computer system and sensors were under the mulch. As they looked at scenes of altered landscapes, the viewers changed the sound landscape in the center of the gallery.
1986 Library Network, Allentown Art Museum, Allentown, PA. As part of the Biennial Exhibition at the Museum, I installed, on the floor of the Museum's Frank Lloyd Wright Library, a series of seven small speakers connected to a computer. As people entered the Library they triggered a sensor connected to the computer, which in turn generated sequences of sound pulses that first went in sequence around the seven speakers and then continued irregularly as people moved in and out of the Library. Each speaker always produced the same unique note, all of which had something of the quality of a bamboo flute, complementing the Wright design.
1985 High Touch-High Tech Neural Art. Hayfield House Gallery, Pennsylvania State University, Wilkes-Barre, PA. A group of my paintings and interactive sculptures were complemented by a series of eight speakers on a spiral staircase. People walking past the staircase activated a computer (through sensors) that generated sounds that moved up and down the staircase.
1984 Perceptual Networks. University City Science Center Gallery, Philadelphia, PA. In addition to my paintings, I installed a group of interactive, computer-based sculptures within which viewers' movements created sound patterns and changes in the video sculpture, BRAIN.
1983 Grids and Networks. Kemerer Museum, Bethlehem, PA. This solo exhibit included paintings and sculptural pieces that created sound patterns and changes in video patterns in response to viewers' movements in the gallery space.
1983 Art and Technology, Lehigh University, Bethlehem, PA. I created a computer based interactive installation, Red Network, that connect the two galleries where the Art and Technology exhibition was installed.
1982 Computer Art Exhibit and Festival, Lehigh University Art Galleries, Bethlehem, PA. I co-curated the event with Ricardo Viera. It was a survey of computer based art at that time and included prints, interactive sculpture, films, lectures and a happening.
1979 Recent Work, Penn State University, Reading, PA. A show of some of my watercolor paintings.
1969 Recent Work, Lycoming College, Williamsport, PA. A survey of my paintings and drawings.
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