Morris Arts’ Gallery at 14 Maple installed Vanishing Worlds, its twenty-third exhibit, just before the Covid shutdown. By extending the exhibition through mid-December 2021, Morris Arts hopes that the public will be able to see this magnificent and meaningful show in person as pandemic restrictions ease. Most of the artwork is also available to see – and purchase – virtually on our website at https://www.morrisarts.org/programs/art-galleries/14-maple/. Several works in the original show have since been replaced with new works, by artists Janet Boltax, Lisa G Westheimer and Philemona Williamson. The show’s updated catalogue (including details and pricing), is also available on our website https://www.morrisarts.org/programs/art-galleries/14-maple/.
Clockwise from top left: Bill Westheimer’s collodion wet-plate photogram on slate, Anthropocene #10 (Rattlesnake Ribs); Lisa G Westheimer’s Raku fired stoneware piece with glazed interior, Frilly Lidded Luster “Purse” Jar; Onnie Strother’s photograph, Deante, Clinton & Bergan; Robert Lach’s multimedia Nest Colony II; Diane Savona’s wool and thread “The Library of Louvain tablet,” Scribes; Janet Boltax’s oil, Ruby; Philemona Williamson’s oil, Pink Party Hat; and Susan Ahlstrom’s mixed media Our Town.
Guest curator, Yvette Lucas, selected works by nine distinguished New Jersey artists including Susan Ahlstrom, Janet Boltax, Kate Dodd, Robert Lach, Diane Savona, Onnie Strother, Lisa G Westheimer, Bill Westheimer and Philemona Williamson. Each brings a unique perspective to the theme of Vanishing Worlds, whether confronting species extinction, lost libraries of the ancient world, disappearing professions, obsolete technologies, vanishing childhood or the gradual vanishings associated with aging. All of the artworks are rendered with creative, imaginative and intriguing insights that encourage the viewer to reflect on the fleeting nature of existence and the inexorable march of time.
Please check our website for additional details as they become available.
Morris Arts gratefully acknowledges support for this exhibit from: