Carrie Ohm

“Super Happy Ending,” mixed media installation

Ohm’s installations confront notions of spectacle and relative perfection while maintaining an active dialogue with color, space, absurdity and memory. Making use of an object’s inherent ability to contain a narrative, Ohm’s delightful and whimsical “props” chauffeur a seamless integration between object and narrative, to performative action.

Lauren Targ

“Truth and Lies and Vice Versa,” video

This is a group project made up of solo pieces. Each piece consists of five truths and five lies, but which is which is never revealed. It is up to the audience to decide.


“ALAMA” (Amharic for) “To have a purpose”

Multimedia works by Ethiopian Children

Artwork created by orphaned children in the Awassa Vocational Training and Debub Nigat Circus Center of Awassa, Sidama Province, Ethiopia. The Center is dedicated to being a self-sufficient source of education, vocational training and the arts. The goals of the United States based Awassa Children’s Project emphasize inclusion of the arts and the ethic of community service in all educational and vocational training.

ARC Artists Invite

Various artists, various media


ARC Affiliate Members’ Exhibition 2005

various media

Participating artists:  Nancy Bechtol, Holly Collins, Sheila Finnigan, Anne Farley Gaines, Tamaki Honda. Justine Mantor, Renee McGinnis, Mary Min, Tamara Petrov, Estelle Richman, Marilyn Sward and Barbara Stewart Thomas

Brian J. Sullivan

“Woman’s Love,” non-traditional printmaking, photo-transfer collage, mixed media on canvas panels

A “Woman’s Love” is one of Sullivan’s most ambitious works taking over two years to execute in addition to five years of research. “Woman’s Love” measures 13′ by 10′ and is made up of 112 individual canvas panels, each mounted at a different distance from the wall. Viewed from head-on all the pieces of the jigsaw puzzle come together. Viewed from the side, one sees multiple levels of planes breaking up the space. The art works on many levels. On the one level is the multiple level of the picture planes, another is the multiple layers of images collaged on top of each other. And finally, unknown to most and not readily apparent at first viewing is the structure of the piece. The artist chose to work with only three sizes of rectangles, which could be used in either the vertical or horizontal position. He also declared at no point in the picture would any two edges continue on to form a straight line across the picture (hence the Modrian-like division of short lines break up the picture plane). And finally the Coup d’ Etre?: only at one point in its assemblage does all 112 rectangles come together to form one continuous outer edge (mathematically 1 in 10,000 odds).