Curator's Notes: Spotlight on Trisha Wright

Trisha Wright, Striation II

Photographer Trisha Wright brings to Bosom Bodies a poignant series of works that describe dealing with breast cancer. She is a survivor. The artist explains:

"Having undergone a bilateral mastectomy fraught with difficulties has dramatically altered this experience as I project myself through surrogates in an attempt to feel whole once again. The beautiful mystery of the human form expressed through ethereal light and deep shadow expresses my world of dualities. Merging that form with aspects of the natural world creates a psychological fusion and metamorphosis. That is to say that aspects of a deeper self (often represented through water,  reflections, or both) are no longer ‘apart’ but merge in new ways to form hybrid realities."

Trisha Wright, Sky

Trisha came to photography through working with her father in the darkroom: "My artistic journey began at the age of four. I spent many hours in my father’s darkroom marveling in the artistic process as images slowly emerged from a tray of red liquid. One day I saw a bit of my own image begin to surface. As my reflection slowly developed, it felt like a bridge connecting an essence within myself to the world 'outside'.

I realized this years later when, as an art student working on a series of nude self portraits, I became aware of the 'loosening of boundaries' between this deeper self and the outside world. That is to say that a connection between the alchemy of the process and corporeality initiated feelings of inter-connectiveness, both psychological and concrete.

Photographs are quite literally 'light traces'; they are of course interpretations but also emanations of that very same light reflected from myself at that time and in that place. Herein lies the magic; time in this sense is not linear. Light traces from the past create new metaphorical spaces; they unify the figure and surroundings in a concrete way."

Trisha Wright, Metamorphosis

Trisha's intense series of images that capture what she calls "body life."   She began using infra-red  film with an array of traditional techniques and toning. She feels that her work has "evolved" in the "digital realm." 

Trisha studied fine arts at the University of Colorado/Boulder and at the Art Academy in San Francisco, where she worked as a free-lance photographer.  She worked in the Peace Corps in Gabon before moving to NYC, where she took classes at the International Center of Photography.  She earned an MA in Art Education from Teachers College, Columbia University.   Trisha has taught in Port Washington, NY for the past 20 years. Previously, she taught art at Hackley School in Tarrytown, NY.

Trisha spent her summers on Cape Cod and in Rockport, Maine attending the Maine Photographic Workshops, known for their outstanding faculty. She credits Karin Rosenthal,  Elizabeth Opalenik and Connie Imboden as her major influences.

Trisha has exhibited at the Arts and Architecture Gallery in Toronto, Canada;  Ceres Gallery in Chelsea, NYC;  Heckshire Museum in Huntington, NY;  Graphic Eye Gallery in Port Washington, NY;  Macy Gallery at  Columbia University; and at Skidmore College in Saratoga, NY.  Her fine art photographs belong to several private collections throughout the United States and Canada.

Trisha wrote that her creative process "fuels [her] personal search for a sense of fusion between external and internal worlds." We are so pleased and honored that Trisha Wright agreed to be part of  Bosom Bodies: An Exhibition in Honor of Breast Cancer Awareness Month.  Her work has brought a personal narrative to the show that reflects our collective concerns and SISTAAH's mission: Survivors Inspiring Sister Through Art and Advocacy for Health. 

* * *

Come join us for the final day of  Bosom Bodies to see Trisha Wrights photos in person and the other 15 artists' work: Roni Ben-Ari, Lynn H. Butler, Marcy B. Freedman, Kathleen Gilje, Nadine Gordon-Taylor, Wilhelmina Obatola Grant, Grace Graupe-Pillard, Clarity Haynes, Carla Rae Johnson, Barbara Lubliner, Sasha [Alexandru] Meret, Ioana Niculescu-Aron, Toni Quest, Ruby Silvious, and Christina Thomas.

Marcy B. Freedman will perform "A Short History of My Elbows" at 3 PM, followed by an artists' discussion: "When the Personal Becomes Professional" and a reception.

Closing/Finissage: Sunday, October 29th, SIA Gallery, 1 South Division Street, Peekskill, NY 10566.  3 - 5 PM.

For more information, please contact the curator Beth S. Gersh-Nesic, the director of the New York Arts Exchange, at nyarts.exchange@verizon.net or www.nyarts-exchange.com

Bosom Bodies is a

Project

Curator's Notes: Spotlight on Roni Ben-Ari

Roni Ben Ari, Ladies in Waiting,, 2017

Award-winning television journalist who became a full-time photographer, Roni Ben-Ari brings to Bosom Bodies a sobering narrative about the world of prostitution beyond the lurid images we see in the tabloids.  This is not your 21st century of Manet's Olympia or a feminist view of  Picasso's  Les Demoiselles d'Avignon moved to Israel, Russia and India.  No - this is real life captured by a sympathetic,  gifted artist who met these "working women" between tricks and promotional posing in brothels.  She calls them Ladies in Waiting.  The artist explains:

"In the  Ladies in Waiting photography project I was introduced to the lives of sex workers through my volunteer work in a mobile clinic in Tel Aviv. It is a clinic that offers medical treatment, food for women that work in prostitution ‒ in the streets or in apartment. The clinic’s staff includes a doctor, a nurse, social workers and dedicated volunteers that travel on set days to places that are known to have prostitutes who are subjugated to their profession. The female staff provides blood tests to identify sexual diseases, manual breast exam, condoms, and clean needles for drug use ‒ which are an inseparable part of prostitution. They offer sandwiches as well as cold and hot drinks. With these actions, they attempt to acquire their trust, and to provide them with an honest environment, a friendly face, genuine concern and a sympathetic ear. . . . . "

"Because I already met most of them and they knew me as a volunteer, I could share my interest in them as a photographer. If anyone didn’t want to take part, I left them alone, and to anyone that agreed I offered to set a day where we would sit with a cup of coffee in a place that was convenient for us both and we would talk without a camera. This didn’t happen right away. Building trust is a lengthy process where both sides, examine with a microscope, the honesty of the interview and the idea to be exposed. From the trust that was built, I became a fly on the wall ‒ present but not felt, serving as a witness to what is taking place in the woman’s daily life and in the lives of those like her. I gained a number of new friends ‒ life gave them a bad turn, but they remained women, daughters, people. Together we could take a walk, eat, drink coffee and talk about any subject without mentioning a word about how they made a living."

Photo of Roni Ben-Ari

Born in Ramat Gan, Israel, Roni Ben-Ari's first career was in radio and television research and production.  In 1984, she became a television director and reporter.  In 1996, she became a full-time photographer, curator and multimedia artist.   She studied at the College of Arts and Crafts in Givatayim, where she dedicated herself to creating enamel work and silver jewelry.  In 1968, she switched into broadcasting and pursued her degree in 1976-78 at the TV Journalism College in Tel Aviv,  In 1988, Roni Ben-Ari was recognized with the Zvi Award for Journalism.  As a photographer, she was selected for The Humanity Photo Awards Exhibition, organized by UNESCO and the China Folklore Photographic Association in Guangzhou in 2009.  Since then she has earned the Julia Margaret Cameron Award (2nd Edition) in the category of Portraits and Figures, first prize from The Worldwide Photography Gala Awards in the category of Culture and People, and honorable mention among the finalists for the Jacob Riis Documentary Award (5th Edition), and the Hariban Award in Kyoto, Japan  - the latter two bestowed this year.  Among her curatorial projects were Quest in 2016 and 2015, in Tel Aviv and Tel Hai, Israel, respectively.

Ladies In Waiting continues Roni Ben-Ari's principle mission of bringing attention to people who are "the rejected, the invisible and the voiceless."  She wrote in her book on this series: "I spent time in a closed ward for the elderly, and I saw up close how lonely they are in a fancy and impressive building; I followed members of the Ethiopian community in Israel, closed up amongst themselves; I saw how passersby walked, without giving a look, on the homeless that hide in a torn cardboard box on a cold winter day or sleep on the sidewalk by the light of the streetlamp on a hot summer night; I passed the border every morning in order to tell a story about a stone that is used for building and not for war, in a place where Arabs and Jews have been working together for twenty years; I thought that I would drown in a hill of garbage that relentlessly grows without anyone thinking that it would be better to separate most of it and recycle; I resided in neighborhoods of gypsies that live in filth; in deplorable conditions at the city edge because it is easier to push them away than to live near them. . . . .

I photographed my current project Ladies in Waiting for a year and a half in Israel, India, Russia, and Holland. The project describes the reality of the prostitutes that work on the streets and those that work in brothels. I wanted to understand what happens to them, from a human perspective, while waiting for the 'next one on line,' before they experience, yet again, the exploitation of their body and soul."

It has been a privilege to exhibit Roni Ben-Ari's work within the context of Bosom Bodies. In the midst of this "Harvey Weinstein" moment that lays bare the culture of sexual harassment, misconduct and abuse among the rich and powerful, Ben-Ari's work reveals yet another chilling example of misogyny that requires our attention and sympathy.  For more information about Roni Ben-Ari and to see her interviews on video, please visit her website: Roni Ben-Ari.

* * *

Bosom Bodies closes on Sunday, October 29th with a Performance by Marcy B. Freedman, an Artists' Panel on "The Personal Becomes the Professional" and a reception.  Come join us from 3 - 5 pm at SIA Gallery, 1 South Division Street, Peekskill, NY.   

For more information, please contact the curator Beth S. Gersh-Nesic, director of the New York Arts Exchange, nyarts.exchange@verizon.net  or visit: www.nyarts-exchange.com.

Bosom Bodies is a 

Project

Curator's Notes: Spotlight on Nadine Gordon-Taylor

Nadine Gordon-Taylor, Multiple Spheres of Consciousness

Nadine Gordon-Taylor paints her access to an authentic spiritual awareness.  This is an extraordinary gift enriched by her constant study of art history, visual arts, philosophy and symbolism. Nadine earned her doctorate at Columbia  University, Teacher's College and her MFA from Long Island University, C.W. Post campus.  In addition, she studied painting and human anatomy at Art Students League and lithography at the famous [Robert] Blackburn Print Studio.  As an undergraduate at Hunter College, she studied with the renowned Post-Minimalist artist Robert Morris.  For Bosom Bodies, Nadine contributed Multiple Spheres of Conscious and explained its Intuitive Message: "There are things that you have always wanted to do and never thought you could.  The Blue Rose has appeared to you at this time of your life to communicate that it is possible to do and have what you want.  Believe in miracles and be open to them appearing to you in non-traditional ways.  This is a time of awakening . . . "    The Blue Rose in many ways is a nurturing symbol, a cluster of petals that becomes a cosmic breast.

Nadine Gordon-Taylor, Balance: Seeing Through the Eye of Illusion

Multiple Spheres of Consciousness is part of Nadine's Portal series, which includes Balance: Seeing through the Eye of Illusion.  To understand her work, the artist explains: "I consider myself a 'translator' helping viewers tap into a wider spectrum of consciousness.  My art is like a gateway to the invisible. Stepping through the opening unites you with a higher consciousness.  As you experience colors, shapes, and objects in my art, you activate and align to inherent geometries of vibration that resonate and confirm our consciousness."   Nadine sells her original painting and reproductions of her original paintings at The Third Eye Studio at 108 South Division Street in Peekskill.

Nadine Gordon-Taylor, Spiral Universe with Spider: for Lisa

Now retired from teaching art at Scarsdale High School, Nadine still runs the School of Intuitive Art in Peekskill, where she lives. She has generously donated her SIA Gallery to our exhibition in honor of Breast Cancer Awareness Month. To learn more about SIA, please watch Nadine on this broadcast of Living Arts with Jackie Suarez and contact Nadine Gordon-Taylor at The Third Eye Studio.

* * *

Sadly, we will have to close Bosom Bodies this Sunday, October 29th with our Finissage Performance, Panel and Reception.  Please join us to celebrate this wonderful collaboration with Nadine and all the BB artists, from 3 - 5 pm at SIA Gallery, 1 South Division Street, Peekskill, NY 10566.

For more information, please contact the curator Beth S. Gersh-Nesic, director of the New York Arts Exchange, at nyarts.exchange@verizon.net 

Bosom Bodies is a 

Project

   

Curator's Notes: Spotlight on Ioana Niculescu-Aron

Ioana Niculescu-Aron, Vertical 26, 2017

Ioana Niculescu-Aron has been impressively prolific for her young years.  Born in Bucharest, Romania in 1994, she has already exhibited internationally in numerous venues. Last year, she had two solo exhibitions in New York: one at the Romanian Cultural Institute in midtown and the other at Artifact Gallery on the Lower East Side. She has completed two undergraduate degrees in fine arts from The National University of Arts, Bucharest, Romania and the Accademia di Belle Arti di Brera, Milan, Italy, plus two master's degrees in fine arts from The National University of Arts, Bucharest, Romania and the Haute école des arts du Rhin (HEAR) in  Strasbourg-Mulhouse, France. She is currently living in Regensburg, Germany and working on a series that includes the work contributed to Bosom Bodies: Vertical 26.  

Ioana explains her digitally composed photograph: "This image is part of the project Constellation on the Skin, a project that contains over 30 such pieces  (44,5’ x 16,5’ each) on glass. As the project is still in progress, I’ve decided to present for this unique occasion one of the sketches I have already made.  What I do is draw a graphic 'constellation' from the beauty spots on my chest. The structure is the skin, the color is the pigmentation of it. The beauty is the complexity inside us, drawn in this case  as some 'vectors' of transition: broken lines connecting  two points. The points in question are plastic markings designed to lay down certain directions of interest and to streamline the composition. In this way it is built from the illusion of recomposition without an end, of a permanent search of ourselves."

Ioana Niculescu-Aron with her exhibition Equilibrium at Artifact Gallery, June-July 2016

Mingling the abstract with the experiential, Ioana creates work that speaks to our existential concerns.  In her works for the exhibition Equilibrium, she focused on a colorful, lyricism in abstraction.  Iooana is inspired by the various aspects of our urban environments.  They are, for her, a collage: "The city is an antithetical COLLAGE of thoughts that crowd coexist side by side.  Streets, structures, asphalt, pipes - are composition elements for air and color - are lines of force.  But the city is also the one that can rob you of a healthy, steady breathing.  Inspired by all these, I paint.  The way I do ti is splitting the points of interest into more [than one] canvas."

One of her most challenging works took place in the abandon seaside casino in Constanta, Romania, wherein she videoed its haunting interiors and her personal perceptions, as if in search of her own sense of self  and her humanity within the landscape of contemporary decrepitude. By exploring this magnificent Art Nouveau building (completed in 1910), she seems to record her awareness of time, touch, sight, smell and hearing in terms of its ephemeral qualities -- like the history of this forgotten luxury resort.  Hopefully, she will continue her project at the casino in the future. 

We are so pleased that Ioana accepted our invitation to exhibition with Bosom Bodies and we look forward to hearing more about her project Constellation on the Skin developing in Regensburg this year.

* * *

Please join us for the Finissage/Closing Performance, Panel and Reception for Bosom Bodies on Sunday, October 29, 3 - 5 pm at SIA Gallery, 1 South Division Street, Peekskill, NY 10566.

For more information, please contact the curator Beth S. Gersh-Nesic, at nyarts.exchange@verizon.net

Bosom Bodies is a

Project

Curator's Notes: Spotlight on Carla Rae Johnson

Carla Rae Johnson, Please Touch Vesuvius, 2000

Carla Rae Johnson is a gifted artist whose accolades include a New York Foundation for the Arts fellowship, the Westchester Arts Council Design Commission for Cultural Tourism, the Studios Midwest Artist in Residence, and a Pollock-Krasner Grant.  Moreover, she is a much-beloved professor (or to quote her students: "awesome!"), an activist and a leader among artists in the Westchester/Hudson River area (she runs a fabulous salon).  Carla Rae's contribution to Bosom Bodies is part of her Séance Series, entitled Please Touch Vesuvius: Emily Dickinson Meets Marcel Duchamp.

Carla Rae explains: "Begun in 2000, this series proposes hypothetical meetings between creative and historic figures who never met during their life-times. The very first installment of this series is Emily Dickinson Meets Marcel Duchamp. In, The Séance Series the women in the sculptures and drawings pose a feminist challenge to their male counterparts testing courage and creative wits."   

Please Touch Vesuvius: "Asked to design an invitation in 1947, Duchamp submitted a rubber cast of a woman’s breast adhered to black velvet and titled Please Touch  Emily Dickinson, in several of her poems compares her explosive poetic powers (and, perhaps, some smoldering angers) to the natural force and heat of a volcano.  The juxtaposition of breast and volcano creates associations rich in visual/formal relationships, powerful contrasts, and gender role reversals."

Carla Rae Johnson,  Audre Lorde Meets Abraham Lincoln, 2007

Another installation from The Séance Series is a bridge made of rope and wood,  75 x 96 x 48 inches, which conceptualizes Audre Lorde Meets Abraham Lincoln, exhibited at Ceres Gallery in 2007.  The artists wrote: "Lorde and Lincoln play 'bridge.'   This bridge is not a card game, but a physical, symbolic span across an obstacle.  I think Audre Lorde would have confronted Lincoln on issues of race, power, and privilege, so it is Lincoln who must build the bridge. Not a straightforward crossing, this is a difficult, jagged transition; composed of huge steps, twists, inclines, and internal tensions.  At the top of the center of the crossing is a “spirit-level” symbolic of the quest to equalize and create a more level ground. Beneath the bridge sits the 'house.' Emblematic of the existing social structure, 'the master's house,' is the obstacle that must be bridged with understanding and common ground, level ground, so that together Lorde and Lincoln can dismantle its walls and work toward a just future."  Both Please Touch Vesuvius and Audre Lorde Meets Abraham Lincoln speak to Carla Rae's commitment to feminist issues and social justice.

Carla Rae Johnson, from PTSD (Post Trump Series of Drawings), 2017

Carla Rae's latest project is PTSD (Post Trump Series of Drawings), a sassy, savvy book of politically charged comments that features the artist's extraordinary draftsmanship. It is an absolute pleasure to pore over these beautifully limned images besides appreciating her astute appropriations of popular culture (yes, Carla Rae, it feels like Oz and we want to go home to Auntie Em).  Twenty percent (20%) of the sales price ($15) goes to the Southern Poverty Law Center.

Come celebrate Carla Rae Johnson's PTSD (Post Trump Series Drawings) at her book party!

Sunday, October 29th

Bruised Apple Bookstore

923 Central Avenue, Peekskill, NY

 1- 4 PM.  

And then come to our Performances, Panel Discussion and Closing Party for Bosom Bodies, 3 - 5 PM, at SIA Gallery, 1 South Division Street, just down the road from the Bruised Apple.

* * *

Bosom Bodies remains open through October 29th.  Please join us this week for a slide lecture on "The History of the Breast in Art" offered by curator Beth S. Gersh-Nesic on Sunday, October 22nd, at 2 PM.   Gallery Hours: Friday,  Saturday, Sunday, 12 noon - 5 PM.

Bosom Bodies is a 

  

Project

Curator's Notes: Spotlight on Toni Quest

Toni Quest, U.S. in Us, 1994

Toni Quest (aka "Screaming Woman") is a Renaissance Woman: artist, entrepreneur,  undergraduate professor, life coach, jewelry designer, host of Energy Stoners ™ Jewelry Design Salons, talk-show host for Talk with TQ (available on YouTube), podcast personality on the internet radio show Seeing Beneath the Surface with Peter Elvidge and Toni Quest, curator, and author.  Best known among her publications are her autobiography Actualized, a Life in Progress and poetry in View of the Middle of the Road, Volume II (PRA Publishing).  She also contributed a photo of her painting U.S. in Us to the book's cover.  And Toni has posted numerous articles on LinkedIn. For Bosom Bodies, Toni painted her self-portrait entitled Giving It All.

Toni Quest, Giving It All, 2017

oil on canvas

Toni explains: "Giving it All is an awkward depiction of a woman who has not experienced a pregnancy. In spite of this, she does feel genuine maternal instincts. So she offers whatever sustenance she can manage to squeeze from her virtually empty breasts. Albeit cumbersome at times,  she generously offers her love  however she can."  And indeed Toni gives her love, her time and her wise counsel generously and unconditionally.  She is Peekskill's "hostess with the mostest" (a sobriquet created for DC socialite Perle Mesta). Moreover, Toni's energy knows no bounds.

Toni Quest with her work U.S. in Us during the exhibition Art Above the Sofa,  NYC

April 28, 2017

Toni teaches "Self-Actualizing Portraiture"© based on her own experience after a debilitating accident in 1994.  "[I] later formally wrote the instructional design for this course while in graduate school in 2008. [The] instructional design focuses on the needs of combat veterans who suffer from the symptoms of PTSD. "  Toni Quest has also taught psychology, sociology, geriatrics, writing and American history at the College of New Rochelle and is a certified Law of Attraction Life Coach, who specializes in artists' careers.

Toni Quest, Self-Portrait, 

on the cover of  Actualized, A Life in Progress (2016)

This Saturday, October 14th, Toni opens the exhibition she curated: Dia de los Muertos, featuring  Sue Zoon, Studio 4, 925 South Street, Peekskill,, October 14-November 17.  Opening hours: 6 - 9 PM.  

Also the next meeting of Energy Stoners ™ Jewelry Design Salon will be held at Studio 4 on October 20th.  Contact Toni for details and to make a reservation: toniquesttv@gmail.com.

I have had the pleasure of being interviewed by Toni on Talk with TQ and Beneath the Surface with Peter Elvidge and Toni Quest.  Hopefully, they will invite me back for more - great fun, great conversation!

* * *

Bosom Bodies remains open through Sunday, October 29th.  Gallery Hours are Friday, Saturday and Sunday, 12 noon - 5 pm.  SIA Gallery, 1 South Division Street, Peekskill, NY 10566.  For more information, please contact the curator, Beth S. Gersh-Nesic, director of the New York Arts Exchange, LLC at nyarts.exchange@verizon.net.

Bosom Bodies is a 

Project

www.nyarts-exchange.com 

Curator's Notes: Spotlight on Barbara Lubliner

Barbara Lubliner, Muscle, 1997

Barbara Lubliner's sculpture Muscle expresses the very heart and soul of Bosom Bodies.  Far from defined by our biceps' muscle strength like men, the breast gives women their greatest powers!  For the female breast is the location of sustenance and sensuality - the ability to nourish as a mother figure and to seduce for sexual pleasure.  Muscle seems to say that every woman is Superwoman each and every day.

Barbara Lubliner, Suckling Tower, 1992

Barbara calls her work "Aspects of the Female Experience."  In her artist's statement, she explains:  "In this work, the female figure is abstracted, altered, and reconstructed to express a complexity of associations. The forms uncover insight into grappling with the complex layers of meaning in our contemporary world and in the shared primal world of generations of women.   I aim to make meaningfully charged expressive figures that invite the viewer to chuckle and to contemplate gender anew."

Barbara Lubliner, Mother and Child, 1996

Barbara's four contributions to Bosom Bodies summarize the quintessential female experiences: physical and mental accomplishment as individuals, motherhood, and nurturer par excellence at home, at work and in the community.  Over the millennia, women have increased their responsibilities by taking on roles outside the immediate family unit.  They often balance numerous identities to meet the expectations of others and themselves, contributing to an ever expanding concept of the female in society  No longer bound to the kitchen and nursery, women envision "having it all" successfully, every step of the way. Barbara seems to narrate our inner feelings as we forge these paths.

 Barbara Lubliner, Sun Ripe Venus, 1992

In  Sun Ripe Venus, we see the pregnant belly hanging heavily like a luscious fruit from its leafy vine. Here the female form recalls the classic recumbent nude, transformed from a traditional sexual object to a sensual ripening force of nature, at peace with herself in all her fecundity.  Eventually, she becomes Mother and Child, protecting her offspring with her nurturing, comforting body.  But eventually, the burdensome chore of mothering, partnering, and all the rest, feels like the Sucking Tower, weighed down with endless needs that require immediate attention.  Here we see numerous breasts hanging down, pulling on the figure's garment as she leans in to withstand the strain. 

Barbara Lubliner, "Muscle Performance," at A Place at the Table, Brooklyn Museum, 2007

However, all is not gloom and doom in Barbara's work,  In her performances with muscle armbands, she injects plenty of humor and optimism with her chant: "It's power. I'ts power. It's power for the flower!  Work it!  Work it! We can do it!"   In 2007 she performed in A Place at the Table, in the Elizabeth Sackler Wing at the Brooklyn Museum. 

Barbara Lubliner, Plastic Bottle Sculpture, 2012

Barbara also joined the recycling/repurposing art movement, as have Ruby Silvious and Wilhelmina Obatola Grant.  In the photo above, she demonstrates creating an octahedron out of 30 plastic bottles in 5 minutes.

We are so fortune to have Barbara Lubliner, a NYC artist, with us to celebrate "bosom power" in Peekskill.  Her work is also featured in Duality: Glimpses of the Other Side at, Islip Art Museum, through October 15th, and most recently,  Hampden Gallery at UMASS Amherst,  Ceres Gallery, NYC, and Carter Burden Gallery, NYC.

* * * 

Bosom Bodies remains on view through Sunday, October 29th.  Please join us on:

Sunday, October 22 for the Curator's Lecture "The History of the Breast in Art," 2 pm.

Sunday, October 29 for our Performance Art, Artists' Panel and Closing Reception, 3 - 5 pm.

SIA Gallery, 1 South Division Street, Peekskill, NY 10566

Gallery Hours: Friday, Saturday, Sunday, 12 noon- 5 pm.

For more information, please contact the curator Beth S. Gersh-Nesic, director of the New York Arts Exchange, nyarts.exchange@verizon.net

Bosom Bodies is a 

Project

Bosom Bodies Opens on October 7th at SIA Gallery, Peekskill

Waiting for guests  . . . ,

BB Trisha Wright, second on the left, with her photos,

Trisha's sister,  curator Beth Gersh-Nesic,

and gallery owner/BB artist Nadine Gordon-Taylor

BB artists Barbara Lubliner and Marcy B. Freedman

BB artists Barbara Lubliner and Wilhelmina Obatola Grant

Artist Doris Renza  with BB artist Toni Quest

BB artist Carla Rae Johnson behind Toni

Guests Dusan Nesic and Jim Brennan

Guests Jim Brennan and Emily Miller from Philly!

Guests Khalilah and Lailaa Cunningham

Guest Michele Cunningham with BB artist Nadine Gordon-Taylor

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Guests Paul Stark and Lawrence Flood

Bosom Bodies' reception: Pink and Bosomy

Bosom Bodies remains open through Sunday, October 29th.
Gallery Hours: 12 noon to 5 pm, Friday, Saturday and Sunday.
Curator's Lecture on the history of breast in art and tour, Sunday October 22, 2 pm.
Closing: Performance and Panel on Sunday, October 29th, 3 - 5 pm

For more information, please write to Beth at nyarts.exchange@verizon.net