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Anne Steele Marsh
Quartet , ca. 1940
Wood Engraving
Anne Steele March (1901-1995) and her husband, James both served as the first board presidents of the Hunterdon County Art Center (later called the Hunterdon Art Museum). She worked in oil paints, watercolors and wood engravings. For years, she and her husband ran the James R. Marsh & Company, which manufactured the gates at Sarah Lawrence College. They also created wrought iron works such as decorative gates for estates and wall sconces for churches. She is the daughter-in-law of artist/ muralist Frederick Dana March and the sister-in-law of noted painter Reginald Marsh. His work is downstairs on a column by the Library entry.
Barbara Madsen
Off Kilter II,2008
Photogravure
Yes, this includes a picture of a real bug. Can you name this insect?
Barbara Madsen is currently an Associate Professor of Print at the Mason Gross School of the Arts at Rutgers University, New Brunswick.
Madsen's art is held in many collections including the New York Public Library, New York; the Library of Congress, Washington, D.C.; the Novosibirsk State Art Museum, Novosibirsk, Russia; the Guanlan Art Center, Shenzhen, China; and the University of Sharijah, Sharijah, United Arab Emirates.
Thank you to Benjamin J. Dineen III and Dennis C. Hull for the generous donation of this work.
Chakaia Booker
Untitled, 2011
4 Block Wood Cut with 65 Piece Chine Collé.
The piece is produced on various papers: Somerset Velvet, Gampi MM20, Kitikata, Torinoko, and Thai Mulberry. It was printed by Robert Blackburn Printmaking Workshop and the printers who contributed are Phil Sanders, Sam Chun, and Chris Dunnett. The production of this print required 20,000 pieces which all needed to be cut, stored and registered before going through the press. It was the 2011 Presentation Print for the Print Club of New York.
Donald Baechler (b.1956)
The Long and The Short, 2004
Twenty-one color silk-screen collage, Edition of 60
Thank you to Benjamin J. Dineen III and Dennis C. Hull for the generous donation of this work.
Born in Harford, Connecticut, Donald Baechler was the second child to Quaker parents. By the age of five, he had developed an interest in drawing and painting. His artistic talent was largely influenced by visits to Wadsworth Atheneum Museum of Art in Hartford, and especially the works of Andy Warhol. Baechler received his formal education in Art at the College of Art, Maryland Institute in Baltimore, MD, from 1974- 1977, and later at Cooper Union, New York. In 1978, he enrolled in a two-year course at the Staatliche Hochschule für Bildende Künste in Frankfurt, Germany. Baechler returned to the United States at a time when the Neo-Expressionist movement was gaining popularity among American artists. He greatly contributed to this movement by incorporating Pop imagery, symbols, and commercial icons into his works, and he is famous for this work. Some permanent collections that hold his works are the Museum of Modern Art, New York; Whitney Museum of American Art, New York; the Guggenheim Museum, New York; the New York Public Library; and the museum of Fine Arts in Boston.
Erena Rae (1941-2006)
And Every Number Has a Name , 2000
Hand-pulled linoleum cut with digitally printed typography
The Names Project is an AIDS memorial quilt that includes over 48,000 three-foot by six-foot memorial panels for individuals who have died of AIDS. The quilt began in 1987. Sections of the quilt have been displayed all over the world.
The artist wrote, “The art that moves me most is art that points out unfair or unethical practices in today’s society– especially practices which have become so routine that either they go unnoticed or they are assumed to be ‘normal.’ My social conscience (the feminist part, at least) was bortn the moment by first-grade teacher announced that the word ‘he’ was a neutral pronoun. I sensed right away the implications (and unfairness!) of my little brothers getting to own such an important word; and since that time I have noticed again and again that it is a very short– and inevitable– step to go from excluding a whole group of people in word, to excluding them in deed.”
Thank you to Benjamin J. Dineen III and Dennis C. Hull for the generous donation of this work.
Eric Avery
Galveston Local Warning, 2008
Linoleum block print on handmade hosho paper, AP
In 2008, Hurricane Ike devastated the Galveston, Texas area. At that time, Eric Avery was a doctor and printmaker working there. His studio was destroyed. He said on National Public Radio, “I’m going to go through it one more time. And if we get a big flood again or a hurricane comes again like this, I mean I’ll clean up that mess. But, you know, I’m 60. I love Galvestone. I love riding my bike around and the restaurants. I’m close to work. But I can’t keep going through this. So I’m going to give it one more shot. And then I’m out of here.” He has since retired and lives in New Hope, Pennsylvania.
Thank you to Benjamin J. Dineen III and Dennis C. Hull for the generous donation of this work.
Gregorian Chant, also known as plain chant, developed over a long period of time in the Middle Ages. Its creation was historically attributed to Pope Gregory the Great (ca. AD 540- AD 604), but recent scholarship attests to a number of influences from different music schools which were to be found throughout Western Europe. Technically, there is no harmony in Gregorian chant. It consists of one line sung as a solo or by any number of people. Today it can still be heard daily in Roman Catholic monasteries and convents.
The two items in our exhibit represent classic examples of pages from antiphonaries (books of sacred music) used either during the Roman Catholic Mass of the Liturgy of the Hours. The oldest, printed on vellum (sheep skin) in Bologna in 1480, features illuminated capital letters in red and blue. The other, said to date from the 16th century, is simpler and probably comes from Spain.
The small engraving of Dom Prosper Gueranger features commemorative medallions from the Benedectine Monastery of Solesmes, France. Dom Gueranger and his community of Benedictine monks are credited with the revival and standardization of Gregorian Chant in the 19th century. Today, most recordings of chant are made by groups that use many of the methods and texts championed by Dom Gueranger and the monks of Solesmes.
Thank you to Clifford Brooks for the generous donation of this work.
Jan Wurm
Lear and His Fool
2011
Oil on Canvas
Thank you to Mark Wurm for the generous donation of this work.
Leonard Baskin (1922-2000)
Jan van de Velde, ca. 1970-1980
Etching and Aquatint on Woven paper
Jan van de Velde (1593-1641) was a master engraver. Leonard Baskin admired and collected his work. Baskin was born in New Brunswick, New Jersey, educated at Jewish Religious College, and also later studied at Yale University (1941-43). In 1949, he received his BA degree from the New School for Social Research in New York.
While at Yale, Baskin founded Gehenna Press, a private press that specialized in producing fine prints, including woodcuts, lithography, and etching. He won many awards for his prints, including the gold medal of the National Academy of Arts and Letters. His artwork is in permanent collections of major museums, including the Metropolitan Museum of Art, New York; the Vatican Museum, Vatican City, Italy; and the Smithsonian Institute, Washington, D.C.
Michelle Doll
Family (JMA1), 2014
Oil on Canvas
Hudson County artist Michelle Doll earned her BFA from Kent State University in Ohio in 1999 and her MFA from the New York Academy of Art in New York City in 2006. She has exhibited her work in numerous exhibitions throughout the United States and Europe. Her studio is in Hoboken, New Jersey.
Funding this work was made possible by the American Library Association’s Association of College & Research Libraries (ACRL), which awarded Hudson County Community College’s Library at 71 Sip Avenue, Jersey City, New Jersey, the 2016 Excellence in Academic Libraries Award. Thank you to the ACRL for this honor.
The Excellence in Academic Libraries Award Program is a national award that recognizes an outstanding community college, college, and university library each year. This award recognizes the accomplishments of librarians and other library staff as they come together as members of a team to support the mission of their institution. The mission of Hudson County Community College is to provide high quality educational opportunities that promote student success and are accessible, comprehensive and learning centered.
Miriam Cassel
Travelogue, 1990
Collage on Paper
Thank you to Henry Scholder and the late Renee Fotouhi for the generous donation of this work.
Thomas McKean
Welcome to Jersey, 2009
Digital Print, Edition of 300
Printed at the Brodsky Center for Innovative Editions at Rutgers University in New Brunswick, New Jersey
This piece was commissioned by the Brodsky Center of Innovative Editions, Rutgers University, New Brunswick, New Jersey, and printed by them in an edition of 300.
Thomas McKean has exhibited his drawings, constructions, and collages in many New York galleries. His current work consists of collages and constructions made out of one material: the New York Metrocard, and have been featured in The Huffington Post and The Gothamist. His illustrations have appeared in The Nation and Food and Wine, among other magazines. Also an author, his latest book, A Conversation with Ruth Pitter, was published in 2010 by the Happen Stance Press, Scotland. Thomas McKean lives and works in New York City.
Willie Cole
Man, Spirit, Mask 1999
Man: photo-etching, embossing, and hand-coloring.
Spirit: Screenprint with lemon juice and scorching and hand applied heat gun.
Mask: Photo-etching and woodcut.
Collaborators: Randy Hemminghaus and Gail Deery.
Produced at the Brodsky Center for Innovative Editions at Rutgers University, NJ.
Given by the Adler Jarach Fund of Equity Foundation through the HCCC Foundation Acquisition Program.
Willie Cole
Por La Mesa de Mi Abuelita, BAT 2007
Pigmented cotton linter and polyester yarn with embossing
Printed and published by The Brodsky Center
Collaborator: Anne Q. McKeown
Can you see the patterns in the spokes of the wheels? Can you see the grandmother? How about the irons? From a distance, this work looks quite different than it does up close. What do you see?
Thank you to Anne Queeny McKeown for the generous donation of this work.
Artist Unknown
Urdu Manuscript page, ca. 19th Century
Colored inks on paper
This poem is composed by an Iranian famous poet of 12th century “Abol-aala Ganjavi” who was the teacher and father-in-law of the famous Iranian poet “Khaghani Shervaani.” When Khagani became famous he ignored his professor so Abol-aala felt offended and composed this poem to satirize him.
Thank you to Clifford Brooks for the generous donation of this work.
