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ness of the rapidly vanishing rural ecology, and of art’s role in its preservation.
Nearly every different kind of style and medium was represented, from Lois Moore Manookian’s Next Exit, a collage incorporating stamps and pieces of magazine pictures, to Nina Moore’s colorful layered tableau of handmade paper. In between were photographs, most notably Cynthia Mahan’s black and white Zabriskie Point, Death Valley, and David Koehler’s color view of a police car shot from a rear view mirror. The picture comes complete with advice courtesy of a fortune cookie saying attached to the print: “Be Sincere, Even If You Don’t Mean It.” Other work included Camille Ward’s collage This Is A Great War Picture, and Merrill and Philip Strange’s table of wood and painted tile. Laurie Marshall’s painting of the local mountainscape, though, brought the show closer to its unstated, but powerful, motif of the disappearance of rustic life.
The somewhat elegaic tone of the show was best summed up by two photographers and one installation artist.
Muscovite Edik Gladkov’s black and white pictures of life in a Soviet village eloquently document rural living halfway around the world. Gladkov’s photographs can be stark and rough-edged, just like the way
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