What better way to kick off the 150^th anniversary of the Civil War than with a new, Civil-War-themed exhibit in the Schmucker Art Gallery?

Titled Lisa Blas: Meet Me at the Mason Dixon, the exhibition features a variety of mediums, including photographed collages, paintings, and a unique wall installation. It opened on August 31 with a Gallery Talk featuring the artist Lisa Blas and her close friend Miguel de Baca, who is Associate Professor of Art History at Lake Forest College. The two shared their thoughts on the exhibit, discussing Blas’s interest in Civil War history in addition to the special arrangement of the pieces on display.

The name of the exhibition came from the mixed media installation piece, Meet Me at the Mason Dixon. Located on the large wall to your right when you enter the gallery, the installation is a collage of souvenirs, pamphlets, notes, and other items Blas acquired through her journey to unearth the history of the Civil War. The background on the wall is painted lavender, a color that, fittingly, combines the American flag colors of red, white, and blue. The piece also incorporates three paintings the artist did of the Union and Confederate flags.

Per Lisa Blas’s request, three full-figure portraits are displayed on the two walls adjacent to the collage piece. These portraits are unconventional by every definition of the word; the first is of John Wilkes Booth, assassin of President Lincoln; the second is of Pauline Cushman, an androgynous Union spy in the Confederate army; the third is of Emily Perez, the first African-American lieutenant to die in the Middle East. The portraits of Booth and Cushman are painted on Tyvec, a material normally used for construction. All three are gilded with metallic paints of gold and bronze.

Though the three subjects and the installation piece seem unrelated to each other, they truly are all connected in strange ways. Booth represents the Southern perspective on the war, which is so often ignored by Northern history books; Cushman, hanging next to Booth, represents the Northern perspective and tactics; and Perez represents the modern world that was allowed to be created through the Union victory. The wall installation, furthermore, incorporates all these ideas in addition to the artist’s personal journey, as shown through family documents also hanging on the wall.

Also featured as part of the exhibit are several photographs of collages Blas made inspired by the Civil War. The collages were made of old-fashioned slide labels and metallic star stickers. Each collage creates some symbolic form, such as the drum in After Johnny Shiloh, then Lincoln (Parumpumpumpum).

Lisa Blas clearly demonstrates her skill and versatility as an artist with her expert portraiture as well as her experimentation with collage and installation. The works on display especially probe the viewer to think and reflect on his/her own connection to the Civil War. On display through October 7, Lisa Blas: Meet Me at the Mason Dixon is a must-see for any true Gettysburg College student.

The Gettysburg College student body had no idea what the Theatre Department was up to a few months ago when an ad in the Student Digest proclaimed, “Actors of color wanted!” The mystery was finally revealed last weekend with the Mainstage debut of Aishah Rahman’s Unfinished Women Cry in No Man’s Land While a Bird Dies in a Gilded Cage.

To get a solid idea of what the play was about, imagine a plot as complicated, long, and confusing as the title is. Though multiple aspects of the show were well done, the majority of the audience was left perplexed upon exiting the theatre.

Unfinished Women follows two radically different story lines, both taking place in 1955. First, it tells the story of five young women living in a home for unwed mothers; each girl must decide whether or not to keep her child or have him or her adopted. Second, it tells the story of saxophonist Charlie “Bird” Parker in his final days. The musician’s scenes take place in the home of Pasha, his exotic mistress.

The set was extraordinarily well done for this performance, as was the saxophone music provided by Paul Austerlitz. Acting highlights were the roles played by Wes Jackson (“Charlie Chan”) and Danielle Coleman (“Wilma”); each portrayed their challenging part with ease and charisma.

One of the major flaws in the performance was the inability of  “Pasha” to convey an accurate French accent. Though actress Grace Musante expertly conveyed certain parts of the European seductress’s character, her attempt at an accent interfered with many of the Charlie Parker/Pasha scenes. Furthermore, the connection between the two actors simply wasn’t there. In one instance at the Friday performance, the audience even laughed at a highly serious and emotional scene in which Parker begs Pasha to “kick [him] in the ass.”

Present for the performance was playwright Aishah Rahman herself. Prior to the Friday evening performance she gave a talk in Kline Theatre about her work and journey as a writer. She answered many students’ questions about the storyline and script, as well as her inspiration for the piece. Rahman thoroughly enjoyed the Mainstage show.

As a whole, the production was mediocre at best coming from the same department credited with successful shows such as this year’s My Fair Lady at the Majestic and Our Town in Kline. Though the show made an interesting social statement, it did not live up to its full potential. Perhaps the next show should have a shorter title?

On March 4th, the Gettysburg College Wind Symphony of the Sunderman Conservatory performed as the final event for the Sunderman Invitational at the Majestic Theatre. The Invitational is an open show where members of selected high school bands are brought to perform along with the Gettysburg Conservatory members.  Though the program itself was short compared to previous shows, its song choice was meaningful and fun.

The orchestra blended a mix of contemporary and older music pieces by combining old world style and new world style music.  The program opened with a livelier number by composer Paul Basler called “Carnival”, which drew in the audience’s attention and set the stage for the entire program much like the opening of the carnival the song was portraying.  Clarinets and Ffutes, oboes and cymbals all joined together in splendid harmony.  The piece itself was not very long and, although not as dynamic as some of the later pieces, held enough spark to carry a segmented story that was easy to follow.

After the welcoming speech by the symphony conductor, the audience was introduced to two guest conductors: Mr. William Berz from Rutgers University and Mr. Benjamin Goldsborough from Cedar Cliff High School. Each man brought their own taste and flair to the pieces that they conducted and gave each a flair and freshness that would attract even the most seasoned of Symphony go-er’s attention.  Goldsborough had joined us via the Invitational as Cedar Cliff High School had been one of the local establishments to have been invited.

One song of interest was the piece “Variations on a Korean Folk Song” by John Barnes Chance.  Not only was the pure dynamics of the piece intriguing but also the history of it as well, which was written in the program.  The song itself was split into five variations of essentially the same melody but each was approached with a different manner.  Whether that manner was strong and lively or soft and gentle, the five different parts were superbly captured and portrayed by the orchestra.

Lastly, as many in the audience may tell you, the piece came that everyone had been waiting for.  Music students had been talking about it, the fact that it was in the program spread around campus as well as supposed rumors at what exactly was going to be done with the song.  The final piece and closing number of the show was “Godzilla Eats Las Vegas” by Eric Whitacre.  This song was well worth the hype it received and closed the evening with a rowdy burst of applause.

The music tells the story of what would happen if Godzilla suddenly awoke in the Nevada desert and decided to stomp his way through Las Vegas.  Clapping, screaming and even barking from the band members all added to the movie-esque atmosphere that the piece was written to be portrayed as during an overhead slide show complete with pictures to match.  The movement was brought to a ringing conclusion when an epic battle broke out between a dinosaur-costumed band member and an overweight Elvis.

This month the Schmucker Art Gallery features the works of Ronald Gonzalez, a sculptor with unique visions. Approaching the concept of found objects with a new mentality, his pieces are a profound addition to the gallery this semester.

Born in Binghamton, New York, the artist has worked from his garage studio since the mid-seventies. He aims to create sculptures that are personifications of death and loss while creating grotesque and witty narrative statements. Gonzalez received his Bachelor of Arts from the State University of New York, where he currently teaches as Professor of Sculpture. He has also taught at Cornell University and at the University of North Carolina at Chapel Hill as an Artist in Residence. In the past his works have been on display in the Corcoran Gallery of Art in Washington, D.C., the DeCordova Museum and Sculpture Park in Lincoln, Massachusetts, and in numerous other galleries across the nation and worldwide.

Gonzalez is a self-proclaimed collector of “found objects, historical references, and enigmatic associations.” He acquires his inspiration from the various collected materials in his studio. In the past he has used items such as dulled tools, bicycle handles, a toaster, an accordion, a welding mask, and silverware. Constructing box-like human forms out of these objects, he welds the pieces together before using wax, paint, and carbon to finish them.

Each figure has a rectangular body with lanky steel limbs, fixated at a metal base. The carbon medium blackens the pieces, giving the appearance of a charred or burned figure. Because the pieces are arranged in the gallery in militaristic rows, gallery visitors get the impression of a sinister statue army as they walk into the space.

Gonzalez imbeds a different theme into each sculpture. One piece, titled Compression, has the air literally squeezed out of its body. Its head is made out of a pressed accordion; its torso is made out of a contracted camera bellows. This sculpture is intended to represent “breathless nonexistence.” Another piece, titled Skull, is made out of a bicycle seat. Sliced and gashed to mimic the human skeleton, this one has a ghastly mood that reminds the viewer of a radioactive explosion.

Deeply intriguing and fascinating to the eye, Ronald Gonzalez: Private Collection will be exhibited in Schmucker through March 11, 2011.

“In Great Neck, New York they call it a ‘pussycat’… in Westchester, they call it a ‘pookie.’ In New Jersey, a ‘twat…’ A ‘split knish’ in Philadelphia… and a ‘Va-jay-jay’ in Gettysburg!”

So began the evening of storytelling, activism, laughter, and female empowerment in the CUB Ballroom. Performed for its tenth year in a row, The Vagina Monologues this year was a smash hit.

Presented by the Women’s Center, the show was performed honor of “V-Day,” a global activist movement to end violence against women and girls. V-Day promotes artistic events in order to raise money and awareness for currently existing anti-violence organizations. It draws attention to the issues of rape, battery, incest, female genital mutilation (FGM), and sex slavery. The movement is actively growing and exists in 130 countries around the globe.

The night began with a warm welcome from the co-directors of the event, KC Garvey-Hall and Alice Wolfkill. They first introduced a dance piece originally choreographed last semester in the Art for Change program. Featured were sophomores Elle Rupert and Riccardo Purita, whose dance expressed the agony of domestic abuse. Then the monologues began.

First was “Introduction,” in which students Kerry Cunningham, Victoria Green, and Kaitlin Molloy talked about the meaning of the word “vagina.” Next was “Hair,” where Sara Zebovitz, Elizabeth Heisler, and Chelsea Cassell proclaimed, “You cannot love a vagina unless you love hair!” Third was “The Flood,” featuring Wandiba Solly, Gabby Gaona, and Shatera Kimbrough, who told the story of one woman’s fear of her orgasms.

After was “Wear and Say,” where Kristen Stitcher, Kristen Stryker, Angela Rosehart, and Sarah Barret shared a monologue about what a woman’s vagina would wear. Then came “The Vagina Workshop,” a tale complete with British accents and featuring Holly Szimanski, Cashin Conover, Bridget Footit, and Sarah Turner. Then came Brianna Coughlan’s “Vagina Happy Fact.” Next were Margaret Neptune, Charmonique Parker, Annie Valentine, Emily Zeller, and Lisa Ungemach in, “They Beat the Girl Out of My Boy… Or So They Tried,” a moving piece about the struggles of a transgendered woman.

Then was “Because he Liked to Look at It,” a monologue about a woman’s vagina self-consciousness. In this piece were Amelia Grabowski, Jen Ducz, and Shannon Buchal. After was Taylor Marcum’s “Vagina Not-So-Happy Fact.” Following was the entertaining “My Angry Vagina,” featuring Joey Figueroa, KC Garvey-Hall, Camille Horton, and Alice Wolfkill. Next was the more solemn “My Vagina was My Village,” in which Talia Concepcion and Christiana Martin presented a monologue compiled from the testimonies of Bosnian rape camp victims.

Then was “The Little Coochi Snorcher that Could,” featuring Anna Armagno, Alex Henning, and Veronica Rosenberger. They shared a woman’s recollections of a traumatic childhood and a “healing” experience with an older woman. After was Paige Haber and Shenikua McGann in “Reclaiming Cunt,” which addressed the profane word “cunt” as a more beautiful word for vagina. Next were Loren Deron and Katherine Risk in “A Six-Year Old Girl was Asked,” in which they recounted a child’s responses to “vagina” questions.

After was the crowd-pleasing “The Woman Who Loved to Make Vaginas Happy,” featuring Hannah Grose, Emily Lindholm, and Sally Quinn. This monologue had a comedic twist on a lesbian prostitute’s passion for making other women moan. Following it were Brooke Elmi, Elizabeth Frey, Maura Magistrali, and Audrey Schwinn in “I Was there in the Room,” which described a woman witnessing the birth of her granddaughter. Last was the Spotlight Monologue “Myriam,” dedicated to the women of Haiti and featuring Nitzie Flores-Hildago and Sarah Fodero.

In addition to the performance, the Women’s Center provided “Write-Out” visuals in the back of the ballroom. These visuals displayed local accounts of violence and abuse. At the end of the show many audience members flocked to these “Write-Outs.”

Through the V-Day Spotlight Campaign, the raised funds from this year’s The Vagina Monologues will go towards a revolutionary national campaign in Haiti. This campaign, led by a coalition of female activists, will address sexual violence through art, advocacy, and legal services.

On Saturday, February 5 the Owl and Nightingale Players showcased its first “Black Box Blitz” event, a weeklong adventure for aspiring thespians with the motto, “From Page to Stage in Just Three Days.” Hosted in Stevens Theatre, the event was a newfound hit.

The week prior to the mayhem students signed up in the Kline Green Room for playwriting, directing, and acting roles. On Sunday, January 30 the playwrights were given a single prompt to write a five to ten minute piece, to be turned in by Tuesday at 3:00 p.m. The prompt was the phrase, “At the drop of a hat.” Over fifteen plays were submitted with topics ranging from homelessness to reality television. Out of the fifteen scripts, eight were then selected for the festival.

On Wednesday, February 2 the Owl and Nightingale Board assigned directors to their plays. Directors chose their casts randomly before distributing the parts. Rehearsals began immediately the following evening, giving the casts little more than forty-eight hours to block and memorize their shows.

The festival was presented Saturday evening at 9:00 p.m. First up was Choice, Change, Hats by Connor Lawless, directed by Steve Hnath and starring David Wemer and Mary Kate Ranii. The scene illustrated the paranoid worries of a young woman whom a homeless man gives an old hat, saying, “Something big will happen when you drop it.”

Next was Snowfall by Steve Krzyzanowski, directed by Becky Spurr and featuring Riley Park, Wes Jackson, Phil Ballantine, and Sara Vanasse. Depicting the cold world of poverty in America, the play rejected the modern stereotypes of what urban homelessness truly is.

Third was Reality Drop by Jacob Henkoff, directed by Emily Lindholm and starring Alex Henning and Kirsten Egenes. A quirky scene featuring two final contestants on a reality show parallel to Survivor, the two girls argued about the difference between real life and myth.

Fourth was Trespassing by Phil Ballantine, directed by Chennelle Bryant-Harris and featuring Sarah Turner, Jacob Henkoff, and Jacob Brintzenhoff. The show was more abstract than its three predecessors; it displayed an angry interrogation scene between an unstable man and a “trespasser” on his land. Ending on a strangely sexual and mind-twisting note, the audience found this piece fascinating as well as chilling.

Fifth was The Story of How I, Mindy Bloom, Went from Celebrating Singles Awareness Day for the 23^rd Year in a Row to Getting an Actual Valentine’s Day Date with a Very Cute Guy by Jenna O’Connell, directed by Khristian Walker and starring Rob White, Loren Deron, and Kate Forton. A true romantic company perfect for this time of year, the title says it all.

Sixth was The Practice by Rachel Wynn, directed by Katie Durr and featuring Adam Pelta-Pauls and Rachel Lovelidge. A thought-provoking piece, this scene was about the woes of a young Mormon woman as she explains her story and way of life to a stranger. A bit controversial, the scene was nevertheless fascinating.

If there was one play that stole the show, it was the seventh play The Magic Wand by Victoria Shepard. Directed by Professor Vicki Lantz, the show starred Steve Krzyzanowski, Lynn Jordan, and Lisa Del Padre. It followed the tale of a groom-to-be as he struggles to deal with his very own “bride-zilla.” Adventuring throughout Bloomingdales, the young man finds amusement with a “magic wand” hand scanner. The audience laughed constantly as popular favorite Steve Krzyzanowski rolled about the stage, shooting “aliens” and other imaginary villains in the department store.

Last was Searching for a Dream by Kelsey Boyce, directed by Greg Scheiber and featuring Kerry O’Connor, Nicole Bailey, and Mariem Diaz. A cute story about the importance of imagination, it ended the festival on a charming note.

All of the playwrights, directors, and actors involved in Black Box Blitz expertly handled the pressure of the short time span. Every play featured was well executed, and with the exception of a few omitted lines the dialogue went smoothly. It gave the participants a taste of the real time constraints of working in today’s theatre; all involved said that it was a fun and educational experience.

Other upcoming events in Kline include Thornton Wilder’s Our Town and Aishah Rahman’s Unfinished Women Cry in a No Man’s Land While a Bird Dies in a Gilded Cage presented by the Department of Theatre Arts. In Stevens later this season the Owl and Nightingale Players will present their annual Spring Indie Fest. SMuT (“Student Musical Theatre”) will also be presenting its main musical The Boy Friend this spring in addition to showcasing numerous other performances.

On Saturday, December 4 the Christ Chapel was filled with the holiday spirit. Students and other members of the Gettysburg community crowded the richly decorated space in order to hear the beautifully caroling voices. Presented by the Sunderman Conservatory of Music and directed by Dr. Robert Natter, “A Choral Christmas Concert” was a wonderful addition to the Christmas season.

The evening began with an organ improvisation based on a Christmas chant melody, closely followed by the Women’s Choir singing its selections from Benjamin Britten’s Ceremony of Carols. Next, the Concert Choir sang a treasured assortment of less-familiar carols such as “The Holly and the Ivy” and “Coventry Carol.” Afterward, the Camerata sang a unique combination of songs including “Ave Maria” alongside “The Christmas Song.” Following the Camerata, the Gettysburg College Choir sang a beautiful collection of pieces including a newer arrangement of the classic carol “Tomorrow Shall Be My Dancing Day.” The concert concluded with three choruses from Bach’s “Magnificat,” combining the voices of both the College and Concert Choirs.

Audience members were active participants in the concert this year. Between choir transitions, Dr. Natter led communal carols for “O Come, O Come, Emmanuel,” “The First Noel,” “O Come, All Ye Faithful,” and “Silent Night.” A real community experience, the audience really enjoyed singing as well as listening to the Christmas tunes.

A mix of music majors, non-music majors, and community members provided entertainment to make this holiday a Christmas to remember. These talented singers created a truly festive experience to amplify the spirit of the holidays on the Gettysburg College campus. Bravo!

On Thursday, November 11 Gettysburg’s Student Musical Theatre troupe (“SMuT”) performed its first musical revue of the year. Directed by Allison Erskine and titled It’s 11 O’ Clock Somewhere, this show focused on the concept of the “11 O’ Clock number.”

An 11 O’ Clock number, as defined at the beginning of the revue, is any musical number that serves as the highest emotional confrontation in a show. Historically, in earlier musical performances, this number would occur around 11:00 p.m. 11 O’ Clock numbers featured in the SMuT revue included “The Point of No Return” from Phantom of the Opera, “The Fire Within Me” from Little Women, and “How Could I Ever Know” from The Secret Garden.

The revue was performed on Kline Stage, unlike SMuT’s last show “Party Worth Crashing,” which was performed in Stevens Theatre. There was added dialogue in between musical numbers, giving side plots to the overall performance. Each character had some conflict or obstacle to overcome, each of which was addressed in a bar setting. For example, Emma, played by Rachel Lovelidge, lamented to the bartender of her lover’s betrayal before diving into “Now That I’ve Seen Her” from Miss Saigon.

It’s 11 O’ Clock Somewhere was well received by its audience. The script balanced the conflicting relationships between characters with quirky one-liners. Though the show focused on heavier emotional themes, the comic relief was maintained through the bartender’s role, played by MJ Roche. His dialogue kept the audience laughing, even after an intense number such as “How Could I Ever Know.” The bar known as “The Midnight Eden” proved to be an ideal setting for the revue’s plot; character interactions were easily understandable and relatable to audience members.

SMuT continues to impress the campus with its theatrical talent. Who knows what kind of creative show they’ll put on next?

Two new exhibitions are currently on display in the Schmucker Art Gallery. The main gallery features the works of Noelle Tan, a photographer who uses traditional methods to convey nonconventional subjects and compositions. The smaller gallery features the Sol LeWitt Project, a collection directed by Professor Jim Agard and executed by his Introductory and Advanced Drawing students.

Noelle Tan’s photographs in the gallery are divided into two series: Drawings and Untitled. The Drawings pieces appear to be whitewashed; they portray starkly white backgrounds with the subject of the picture being the only dark contrast. Each image attempts to recreate the illusion of a small sketch on a sheet of paper. In comparison, her Untitled pieces are excessively dark; these are all nighttime shots. She includes a minimal light source in each of these photographs, such as a ghostly streetlamp in Untitled #3 or beams of light pouring through the cracks of a door in Untitled #6.

The subjects depicted in Tan’s Drawings are predominantly rural. In Tan’s Untitled series the subjects portray urban settings as well as interior settings. Here, she portrays a nocturnal stillness in what would normally be a loud, lively setting during the day. Tan took the photographs for both Drawings and Untitled during her trips across the country, encompassing places from her home and studio in D.C. all the way to San Francisco.

The overexposure of the white images and the intense darkness of the black images serve a purpose, according to the artist. Their lack of detail is what impacts the viewer: “They challenge the viewer what they can actually see in the photograph,” Tan explains.

The Sol LeWitt Project also featured applies unique methods towards art as well. For this exhibition, Professor Jim Agard’s Advanced Drawing students orchestrated the design of large-scale drawings through the creation of written instructions. One list of instructions was as follows:

- Use Graphite pencil.

- Place one random dot in each square [on the given grid].

- From each dot, draw 15 straight lines to any side of the square.

The instructions were then given to Professor Agard’s Introductory Drawing students, who executed the drawings. Three of the large-scale drawings, two of which are in color, are on display in the gallery. Each is accompanied by the original list of instructions and the preliminary sketch on graph paper.

This exhibition was inspired by Sol LeWitt, a major artist who established the Conceptualist and Minimalist art movements in the 1960s and 70s. He argued that the idea behind a work of art was the more important than its form. Included in the exhibit is a panel summarizing LeWitt’s ideas, listing 35 statements that he believed applied to his theory of art as a conceptual process.

The Sol LeWitt Project can be viewed in the Schmucker Art Gallery until November 15, while Noelle Tan: Photographs will be up until December 4. The Schmucker Art Gallery is open between 10 a.m. and 4 p.m. Tuesday through Saturday; be sure to take advantage of these unique shows!

The Schmucker Art Gallery’s first exhibition of the year opens with a mix of alumni and current student work. The main exhibition hall displays the works of Kerri Rosenstein and Torrey Steiffel Kist, both alumni of Gettysburg College who continue to produce and exhibit their art. The smaller room in the gallery features a mini-exhibition titled “Art from Abroad,” a collection of works from the art students upon their return from their study-abroad endeavors in England and France.

The “Art from Abroad” collection features works by Gettysburg seniors Sally Quinn and Kate Freyhof. Both are Studio Art majors who studied abroad in the 2009-2010 academic year.

Quinn chose to study in England; her displayed pieces are photographs with a variety of subjects, such as city life, assorted objects, and people. One of her most interesting pieces was “The Peace Wall,”  a photograph of a colorful graffiti display. Her works demonstrate a unique sense of perspective and composition.

Freyhof studied in France; her displayed pieces show a variety of mediums such as oil on canvas, graphite, and watercolor studies. Most notable are her oil paintings “Mount Saint Victoire” and “French Countryside,” both of which capture the beauty of the French landscape.

Students and faculty got the chance to meet the main exhibition artists Kerri Rosenstein and Torrey Steiffel Kist in a Gallery Talk that took place on September 3 at noon. Refreshments were provided and, after visitors were free to roam about the gallery, the artists spoke about their experiences at Gettysburg College and their personal endeavors in the arts.

Torrey spoke first, talking about her life as a Studio Art major and her graduate work at the Savannah College of Art and Design. She discussed her career as an arts educator at the Telfair Museum of Arts Jepson Center and mentioned her current plans to focus on her personal career as an artist. Many of her works were contemporary pieces with thought-provoking names such as “An Optimistic Glimpse into the Obstruction.” Her pieces were most notable for her use of color and her connections between the human figure and abstract design.

Kerri spoke second; she began by explaining her passion for art since an early age. She chose a Psychology major while at Gettysburg College, which is reflected in her works displayed throughout the gallery. Kerri’s pieces are starkly different from Torrey’s pieces- on three pedestals in the gallery sit pairs of painted stones with titles such as “gold stones (scout lake – march 22, 2008).” These stones, Kerri explained, were taken during personal walks in the wilderness she took the previous year; one stone she took at the beginning of the walk, one stone she took at the end. Painted gold, they represent the meaningful journey she took on the day dated in the label. As a whole, the rest of Kerri’s works shown are representations of her personal experiences, her personal “art.” She has experimented in drawing and sculpture as well as installation and large collaborative projects. Almost all of her works require explanations by the artist in order to be fully understood and appreciated.

A taste for abstract and contemporary art is a must for anyone visiting the exhibition this fall. As a whole, the Schmucker Art Gallery’s opening exhibition is a wonderful introduction to the artistic school year. These works will be on display until October 9, after which the pieces will be replaced by a new photography exhibition.