The town of Lake Ronkonkoma began as a small farming community. By the 1870s, the lake's reputation as a vacation destination was spreading among wealthy New York City residents. The completion of the Long Island Motor Parkway in 1911 made the lake accessible to early automobile enthusiasts, and over time, as more could afford automobiles, the rich and poor alike flocked to its sparkling shores for swimming, boating, and fishing. In 1921, local businessman George C. Raynor created Raynor's Beach, the first in the lake's era of grand beach pavilions. By the mid-1920s, beach pavilions were located all around Lake Ronkonkoma's three miles of shoreline. Lake Ronkonkoma provides a view into the rich history of this unique community and its transformation to a bustling summer resort.
The town of Lake Ronkonkoma began as a small farming community. By the 1870s, the lake's reputation as a vacation destination was spreading among wealthy New York City residents. The completion of the Long Island Motor Parkway in 1911 made the lake accessible to early automobile enthusiasts, and over time, as more could afford automobiles, the rich and poor alike flocked to its sparkling shores for swimming, boating, and fishing. In 1921, local businessman George C. Raynor created Raynor's Beach, the first in the lake's era of grand beach pavilions. By the mid-1920s, beach pavilions were located all around Lake Ronkonkoma's three miles of shoreline. Lake Ronkonkoma provides a view into the rich history of this unique community and its transformation to a bustling summer resort.
In 1993, Janet Russek began a series of still lifes of ripe squashes, peaches and pears whose rounded forms echoed the plenitude of pregnancy. Using only natural light, she then started to photograph vegetables and roots whose tendrils, reaching for the sun, expressed all of life's striving and aspiration, and finally, the maturing plant, evoking the inevitable downward spiral into decay. In subsequent years, Russek has expanded the project to include pregnant women photographed at close range so that bellies and breasts become almost abstract. Her haunting portraits of dolls explore the darker, more psychologically complex side of childhood and parenting, while the Memory series includes photos of significant personal objects that harken to the past, and take this volume full circle. The Tenuous Stem also includes an essay, written by art scholar and critic MaLin Wilson-Powell, addressing Russek's creative process.
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A new commission, In After Eden, Janet continues her exploration of the destruction of the environment with particular emphasis on the plight of animals, whilst simultaneously attempting to address notions of healing and caring.
This catalogue accompanies the first exhibition of Janet Mendelsohn's Varna Road photographs since they were shown at The Carpenter Center for the Visual Arts at Harvard in 1970. Made during 1967-69, they focus on Birmingham's inner-city district of Balsall Heath and in particular Kathleen, a young woman with whom Mendelsohn formed a close relationship.
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