phillia yi - hobart and william smith collegesexuberant brushstrokes. yet, to achieve this effect,...

44
Phillia Yi ____________________ recent works August 23 to September 27, 2013 The Davis Gallery at Houghton House Hobart and William Smith Colleges

Upload: others

Post on 15-Apr-2021

0 views

Category:

Documents


0 download

TRANSCRIPT

Page 1: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

Ph i l l ia Y i____________________

recent works

August 23 to September 27, 2013The Davis Gallery at Houghton House

Hobart and William Smith Colleges

Page 2: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 3: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

Over the last three decades Phillia Yi has created a profound body of vibrant woodcuts exploring cultural roots that are at once personal and universal. In the process, she has developed her own printmaking techniques and a powerful visual language. While many artists are content to contribute to an established genre, Yi has discovered a unique way of adapting the conventions of printmaking to her distinctive aesthetic and conceptual vision.

It is rare to encounter work as fresh and exciting as Yi’s woodcuts. With her large woodblocks she has completely obliterated the size constraints that most printmakers accept as a limitation of the medium. Over her career she has created diptychs, triptychs and other prints with up to nine adjoining sections, resulting in some of largest woodcut images anywhere. Of course this would mean nothing if the prints were not compelling. Yi’s woodcuts are expressive, colorful, and beautifully nuanced symbolic abstractions imbued with an urgency and dynamism rarely matched. While printmaking is valued by the art world primarily as a way to make multiples, Yi prints only a few of her complex compositions. Printmaking, for her, provides a perfect marriage of medium and message.

Yi’s work is full of wonderful contradictions. It appears spontaneous, as if it were created with exuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area around each of these “strokes.” Her gorgeous colors, which appear to be as free-flowing as watercolors, are actually multiple veils of ink transferred from wood to paper with the utmost care. In her recent work she has sometimes introduced representational elements in stark contrast to their abstract surroundings. And, while her work is rooted in Far Eastern printing traditions, there are undeniably elements of American Abstract Expressionism.

Yi’s visual vocabulary of shapes and colors seems infinite, ranging from dominant opaque forms to the most subtle transparent shapes. However, it is what these forms convey that is most intriguing. They seem to reach beyond two-dimensional works on a wall, confronting the viewer with explosive force. This bursts of energy in these prints represent Yi’s ongoing response to her position as a human being straddling two worlds, the Korea of her youth and the United States of her adult life. The interplay between the forms – by turns peacefully intertwined or in fierce conflict with one-

Page 4: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

another – nicely captures the possibilities and struggles inherent in her life and, by extension, in all of our lives. In an increasingly interrelated world, with cultures merging and clashing in commerce, war and personal lives, Yi’s work takes on an even greater symbolic significance.

Ron Netsky Art Critic

Professor ArtChair of the Art Department

Nazareth College

Page 5: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

My work is an expression of the external world of which I am a part and the internal world of my personal history and experience. As a woman from Korea living in the United States. I find myself caught between cultures and this isolates me in an interesting way. My work reflects the day to day dilemmas and tension of my multicultural experience. In my work, I bring together in complex relationships abstract imagery with elements that are representational. Both flat and illusory space is created suggesting an altered sense of time and scale. “Tight” movement is juxtaposed against that which is fluid or “painterly,” and the warm and the cool colors are varied between opaque and translucent layering. This activates the psychological space and grand sentimental movement that I am trying to achieve.

That which appears spontaneous in my work is carefully contrived by the subtractive nature of woodcut. Positive becomes negative and vice versa. Through my primary medium of woodcut, I use traditional techniques such as brush and ink, but I use them in a way that, while referring to the tradition, explores new possibilities. While the concept, rather than the technique, is the most important part of my work, it is also true that the complex techniques I use hold great importance to the content as they effect the “look” of the image. Content and technique are interdependent, each affecting the other giving richer meaning to the work. I have invented many of my own techniques in order to achieve certain visual, expressive effects.

I use sheets of 1/8” luan mahogany plywood and heavy rag paper. I love working with wood which has a basic human quality, that is natural, soft, and beautiful as indicated by the pattern and texture of wood grains. The effects of the plywood impressed onto heavy paper by way of its tactile and textural qualities make the visual experience even richer. The making of my woodblock prints is a labor-intensive process. Time and labor effect the work visually because the work is physical and the marks reflect my own body movements and energy. The results of my efforts have a peculiar aesthetic quality and differ from all other media. Naturally my shapes, forms, colors, and space evolve over to time; they seem to have a life and mind of their own.

Art both reflects and influences society and culture. In that sense, I feel artists have a responsibility to their generation not just to create objects of beauty, but to create objects of truth -- whether they

Page 6: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

be beautiful or not. My ideas and inspirations come from my daily life and my personal experiences, both good and bad. The most important characteristic of my approach to art is my belief that art should be expressed in terms of human experience. I believe true artistic expression will strengthen our future, and I hope my work to be a small contribution to the development of humanity and culture.

Phillia C. YiJohn Milton Potter Professor in the Humanities

Professor of ArtHobart and William Smith Colleges

Page 7: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

Catalog

Page 8: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

RainColor woodcut, 42 by 60 inches

2013

Page 9: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 10: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

StepsColor woodcut, 42 by 30 inches

2013

Page 11: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 12: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

MoonColor woodcut, 42 by 30 inches

2013

Page 13: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 14: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

PurpleColor woodcut, 42 by 60 inches

2012

Page 15: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 16: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

BlueColor woodcut, 42 by 60 inches

2012

Page 17: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 18: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

BrownColor woodcut, 42 by 60 inches

2012

Page 19: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 20: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

FallColor woodcut, 42 by 60 inches

2011

Page 21: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 22: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

WinterColor woodcut, 42 by 60 inches

2011

Page 23: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 24: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

RiverColor woodcut, 42 by 60 inches

2013

Page 25: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 26: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

Purple Landscape II

Color woodcut, 36 by 48 inches2013

Page 27: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 28: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

SunsetColor woodcut, 42 by 60 inches

2013

Page 29: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 30: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

WindColor woodcut, 42 by 60 inches

2013

Page 31: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 32: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

Landscape with GreenColor woodcut, 45 by 30 inches

2013

Page 33: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 34: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

FallCharcoal on paper, 128 by 82 inches

2013

Page 35: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 36: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

Phillia C. YiProfessor of Art

Page 37: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

EDUCATION1985 M.F.A. Tyler School of Art, Temple University, Philadelphia, PA 1983 B.F.A. State University of New York College at New Paltz, NY

PROFESSIONAL EXPERIENCE2008-2013 John Milton Potter Endowed Chair in Humanities: HWS, Geneva NY 144562006- Professor: Hobart & William Smith Colleges, Geneva, NY2008&2007 Specialist reviewer for Fulbright senior awards in Fine Arts: CIES

Juror & Visiting Artist: Michigan Statewide Prints Competition, Alma College, MI 2006-1996 Associate Professor: Hobart & William Smith Colleges, Geneva, NY2005 Visiting Artist: Women’s Studio Workshop, Rosendale, NY2004 Fulbright Visiting Professor: Hong Ik University, Seoul, Korea2003 Visiting Artist: Towson University, Towson, Maryland 2002 Visiting Artist: Munson Williams Proctor Arts Institute, Utica, NY Visiting Artist: Manhattan Graphics Center, New York, NY2001 & 02 Visiting Artist: Summer Art Institute, Women’s Studio Workshop, Rosendale, NY1998-2001 Chair, Art Department: Hobart & William Smith Colleges1997 Panelist S.O.S. Grant for Greater Rochester: Rochester, NY1985-94 Assistant Professor: Hobart & William Smith Colleges, Geneva, NY1995 Visiting Artist: Nazareth College, Rochester, NY

Visiting Artist: SUNY at Oswego, Oswego, NYPanelist: NY State Decentralized Art Grant, NY

1994 Visiting Artist: Summer Art Institute, Women’s Studio Workshop, Rosendale, NYVisiting Artist: Manhattan Graphics Center, New York, NY

Juror: Scholastic Art Awards of Greater Rochester, NY1993 Participant: 21st Southern Graphics Council Conference, Maryland Institute

College of Art, Baltimore, MD 1993&92 Visual Arts Advisor: NY State Wayne County Arts Council, Lyons, NY

Visiting Artist: Summer Art Institute, Women’s Studio Workshop, Rosendale, NY1993 Visiting Artist: Agnes Scott College, Decatur, GA

Page 38: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

1992 Visiting Artist: Syracuse University, Syracuse, NY1991 Visiting Artist: Summer Art Institute, Women’s Studio Workshop, Rosendale, NY1990 Visiting Artist: Summer Art Institute, Women’s Studio Workshop, Rosendale, NY

Visiting Artist: Colgate University, Hamilton, NY1989 Visiting Artist: Tyler School of Art, Philadelphia, PA

Visiting Artist: Brown University, Providence Town, Visiting Artist: Obline College, Obline, OH

SOLO EXHIBITIONS2013 “Phillia Yi: “Recent Works” Davison Gallery, Houghton House, HWS, Geneva, NY2012 “Phillia Yi: “Falling Gardens” University of Rochester, Rochester, NY 2010 “Phillia Yi; “Works on Paper” Angie Newman Johnson Gallery, Alexandria VA2008 “Phillia Yi; Woodcuts” Sept. The Gallery, SUNY at Onondaga, Syracuse, NY 2007 “Phillia Yi; Contemporary Woodcuts” Delaware Center for the Contemporary Art, Wilm-

ington, DE“Phillia Yi; Color Woodcuts” Houghton Gallery, HWS, Geneva, NY

2002 “Untitled” Munson Williams Proctor Arts Institute, School of Arts Gallery, Utica, NY2001 “Woodcuts” The Gallery Upstairs, Rochester, NY1995 “New Works” The Little Gallery, Nazareth College, Rochester, NY

“Untitled” Asia Art Center, Towson University, Baltimore, MD“Works on Paper” Art Center Gallery, Dartmouth College, Hanover, NH

1994 “Prints and Drawings” Art Gallery, North Georgia College, Dahlonega, GA “Recent Works” Houghton House Gallery, Geneva, NY 1993 “Works on Paper” J.F.K. Memorial Union Art Gallery, Univ.of Dayton, OH1990 “Selected Woodcuts” Dana Art Center, Colgate University, Hamilton, NY “Prints and Drawings” Malton Gallery, Cincinnati, OH 1989 “Works on Paper” Susan Isaacs Gallery, Wilmington, DE1988 “Woodcuts” University of Rochester, Rochester, NY1988 “Woodcuts” Women’s Studio Workshop, Rosendale, NY1985 “Prints” Houghton House Gallery, Hobart & Wm Smith Colleges, Geneva, NY

Page 39: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

SELECTED GROUP EXHIBITIONS2013 “Regional Faculty Invitational” Gallery, RIT, Rochester, NY2012 “HWS Printmakers” Image gallery, Skaneateles, NY2010 “Shadows: 3 Person Show”, November, Martin Mullen Art Gallery, Oneonta, NY2009 “Space International Competition”, Seoul Museum of Fine Arts, Seoul Korea

“LDss-Large Drawings and Small Sculptures” Martin-Mullen Art Gallery, Oneonta, NY2006 “DUSAN International Print Fair” Dusan Art Center, Daegu, Korea “Rochester Biennial” Memorial Art Gallery, Rochester, NY

“Faculty Exhibition” Houghton House gallery, HWS, Geneva, NY “Annual competition as Juror’s work” Alma College, MI

2004 “Space International Competition”, Seoul Museum of Fine Arts, Seoul Korea “Two Artists” Kirkland Arts Center, Clinton, NY

“International Print Art Festival Invitational (KIPAF), Changwon, Busan Korea1999 “HWS Faculty Exhibition” Elmira College, NY1998 “Faculty Exhibition” Houghton House Gallery, HWS, Geneva, NY 1997 “Upstate NY Invitational” Schweinfurth Art Center, Auburn, NY1996 “Seoul International Print Exhibition” Fine Arts Center, Seoul, Korea1995 “Paper In Particular National” College Art Gallery, Columbia, MO

“Women Artists/Educators” 3 Person Show, Dalton Gallery, Agnes Scott College, Decatur, GA

1994 “Greater Midwest International” C.M.S.U. Art Gallery, Warrensburg, MO“America 2000-works on paper International” Northwest Art Center, Minot, ND

“Stockton National Print Exhibition” The Haggins Museum, Stockton, CA “The Boston Printmakers” The Art Complex Museum, Duxbury, MA 1994 “Rochester- Finger Lakes Exhibition” Memorial Art Gallery, Rochester, NY

“Everson Biennial Exhibition” Everson Museum, Syracuse, NY “The Fine Art of Teaching” Shoestring Gallery, Rochester, NY

“North American Print Exhibition” Boston University, Boston, MA1993 “National Paper in Particular” Columbia College, Columbia, MO

“Pulling Together” Southern Graphics Conference, Maryland Institute, Baltimore, MD

Page 40: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

“Seoul International Prints” Fine Arts Center, Seoul, Korea“Halpet Biennial” Catherine Smith Gallery, Appalachian Univ.Boone, NC“Rochester-Fingerlakes Exhibition”Memorial Art Gallery, Rochester, NY “All American Print Exhibition” West Texas A&M University Canyon, TX

1992 “American Contemporary Artist” Premier Gallery, Minneapolis, MN“Rochester-FingerLakes Exhibition” Memorial Art Gallery, Rochester, NY“Woodcut-Tyler Alumni” Temple University, Philadelphia, PA“Alumni Art ‘92” College Art Gallery, S U N Y at New Paltz, NY

1991 „Lagrange National“ Chattahoochee Valley Art Museum, Lagrange, GA“Rochester- Finger Lakes Exhibition” Memorial Art Gallery, Rochester, NY“Heaven and Earth” Two Person, Susan Isaacs Gallery, Wilmington, DE

1990 „Lagrange National“ Chattahoochee Valley Art Museum, Lagrange, GA“National Works on Paper” Hartnett Gallery, Minot State Univ.Minot, ND

“Prints 1990” Susan Isaacs Gallery, Wilmington, DE1989 “In and Out of Bounds, Women Artists from Upstate NY” Greenhut Galleries, Albany, NY1988 “National Works on Paper” Hartnett Gallery, Minot State Univ.Minot, ND

“North American Print” Brockton Art Museum, Brockton, MA“Artists of Central New York” Museum of Art, Munson-Williams-Proctor Institute, Utica, NY“Rochester-Fingerlakes Exhibition” Memorial Art Gallery, Rochester, NY “Frag-ments, Totems and Dreams” ArtLink Contemporary Art, Fort Wayne, IN

“From the Decade: Recent Prints, 1978-1988” The Print Club, Philadelphia, PA1987 “National Print Exhibition” Artlink Contemporary Art Space, Fort Wayne, IN

“Faculty’s Choice of Recent Graduates” Temple Gallery, Philadelphia, PA“Susquehanna Art Competition” Robertson Arts Center, Ahearn Gallery, Binghamton, NY

1986 “Orange County Art Association National Competition” Brea Gallery, Fullerton, CA“New Prints, Northeast Competition” Women’s Studio Workshop, Rosendale, “The American Annual Works on Paper Competition “ Zanner Gallery, Rochester, NY

1985 “National Juried Competition” Gallery Sixty-Eight, Belfast, ME

Page 41: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

“Printmaking-East and West Exchange” Tokyo, Japan & Beijing, China

AWARDS/GRANTS2013-1992 “Faculty Research Grant” HWS. Geneva, NY2009 “Purchase Awards” “Space International Biennial Competition,

Seoul, Korea 2008-2013 “John Milton Potter Professorship: Hobart & William Smith Colleges, Geneva, NY2009-1991 “Faculty Research Grant”, Hobart & William Smith Colleges, Geneva, NY 2008 “Faculty Research Assistant Grant”, Hobart & William Smith Colleges, Geneva, NY2004-2003 “Fulbright Senior Research Scholar Recipient to Korea”1994 “Award for Excellence in Teaching” Hobart & William Smith Colleges, NY1988, 92-94 “Award for Excellence in Printmaking” 55th, 54th, 53rd & 50th

Rochester-Finger lakes Exhibition, Memorial Art Gallery, Rochester, NY1986-1991 “Faculty Summer Research Grant” Hobart and William Smith Colleges, 1990&89 “Atkinson Fund” Hobart & William Smith Colleges, Geneva, NY1988&87 “Hewlett Mellon Fund” Hobart & William Smith Colleges, Geneva, NY

REVIEWS/ARTICLES2008 The Post-Standard, Star, “East, West Merge in OCC Exhibit” Katherine Rushworth, Sep-

tember 14, Syracuse NY2007 The Journal of the Print World, Winter issue, Mary Allen, Meredith, NH The Philadelphia Inquirer, Victoria Donohoe, July 15, Philadelphia, PA

2006 Democrat and Chronicle, Stuart Low, June 25, Rochester, NY The City Newspaper, Alex Miokovic, June 28, Rochester, NY Ithaca Times, June 26, Ithaca, NY

2005 Launching The Imagination 2nd Edition; A Comprehensive Guide to Basic Design [text-book], Mary Stewart, McGraw Hill Higher Education

2004 Space International Competition, Seoul Museum of Fine Arts, Seoul, Korea

Page 42: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

2003 Asian Arts News, Suewhel Shien, Spring 20032002 Pusan City Newspaper, International Print Art Festival(KIPAF), Pusan, Korea Syracuse New times Net: Ellen Portnoy, “Women’s Work”

2001 Launching The Imagination; A Comprehensive Guide to Basic Design [textbook], Mary Stewart, McGraw Hill Higher Education

Brighton Pittsford Post, Jeff, June 13, Rochester, NY City, Ron Netsky, June 13, Rochester, NY

1995 Art Papers, Bill Alexander, March & April issues, Atlanta, GA The Finger Lakes Times, Kelly Shaw, Feb. 3, Geneva, NY The Baltimore Sun, John Dorsey, October 12

1994 Democrat and Chronicle,Elizabeth Forbes, October 5,Rochester, NY The City Newspaper, April 6, Rochester, NY

1993 The Daily Messenger, Lenore Friend, December 16, Canadaigua, NY1992 Democrat and Chronicle, Ron Netsky, June 1, Rochester, NY Brighton-Pittsford Post, Linda Quinlan, June 8, Rochester, NY Times-Union, Elizabeth Forbes, June 25, Rochester, NY Poughkeepsie Journal, Florence Schetzel, Sept. 6, Poughkeepsie, NY

1990 Cincinnati Magazine, October1989 Art Matters, Carolyn Roland, May Issue, Philadelphia, PA

Perception, Publication of Susan Isaacs Gallery, Vol. 3, No. 1, Wilmington, DE1988 Times-Union, Sebby Wilson Jacobson, March 25, Rochester, NY Rosendale News, Patricia Argiro, June 1, Rosendale, NY Woodstock Times, Ross D. Pollack, June 4, Woodstock, NY Syracuse Herald American Stars Magazine, Chayat, May15, Syracuse, NY Observer-Dispatch, Jonas Kover, April 23, Utica, NY Irondequoit Press, April 17, Rochester, NY City Newspaper, Judith Reynolds, April 14, Rochester, NY Democrat and Chronicle, Ron Netsky, March 13, Rochester, NY

1987 The Philadelphia Inquirer, Victoria Donohoe, July 10, Philadelphia, PA1986 Woodstock Times, Daniel Logan, September 25, Woodstock, NY

Page 43: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area
Page 44: Phillia Yi - Hobart and William Smith Collegesexuberant brushstrokes. Yet, to achieve this effect, Yi must cut meticulously through the surface of her woodblocks, carving out the area

The Davis Gallery at Houghton HouseHobart and William Smith Colleges

Named in recognition of the generosity of Clarence A. (Dave) Davis, Jr. ‘48, theDavis Gallery is an academic resource of Hobart and William Smith Colleges.The Davis Gallery at Houghton House is the exhibition space of the Departmentof Art and Architecture. The Gallery has six or seven shows each yearbeginning with a faculty exhibition and ending the year with a student exhibition.In between, a variety of artists and architects are invited to show their work andan exhibition from the Collections of Hobart and William Smith Colleges isstaged. The mission of the Gallery is to exhibit, and make accessible works ofart in support of the educational goals of the Colleges and for the benefit of thecommunity at large. The Davis Gallery is primarily a space to immerse Hobartand William Smith College students in visual culture by providing anenvironment for studying the role of art and architecture in shaping, embodyingand interpreting cultures.