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Rogers Center for the Arts

McCoy Gallery


Private Lives // Public Facades

October 10 - November 12, 2014

Reception: Sun., Oct. 26, 3 - 5pm

Gallery Talk: Wed. Oct. 29, 2 - 3pm

       Pennie Brantley’s paintings are encounters with place and time. What may seem at first to be fond celebrations of old Europe, Brantley’s images slowly reveal themselves as more spirited and, indeed, spiritual evocations of human presence as witnessed in the built environment.

Sacred Duty (Palais des Papes, Avignon, France)Sacred Duty (Palais des Papes, Avignon, France)

      The compositions contain no human beings, but their depicted architectural artifacts feel quietly populated by the humanity from which they originated. In a sense they are haunted images—not by ghosts so much as by a sense of preoccupation with emotional memory—as both distant and recent pasts continue to linger in the worn edges of steps and walls and shadowed doorways.

Access with Absurd Assumptions (Toledo, Spain)Access with Absurd Assumptions (Toledo, Spain)         In effect Brantley paints a sensory recognition of how human beings impart their existence to things even though that existence is not directly witnessed. Consciously cultures have tried to secure the preservation of memories in marked graves and tombs and monuments as well as in documents, stories and tales, even in the naming of those who follow after. It is these less memorially deliberate structures that Brantley finds her connections with the “lineage of humans we can no longer see physically.”  The humanity discovered there is understood in terms of a bond for making and using spaces—spaces that direct the eyes, the feet, the hands. We ‘see’, ‘reach’ and ‘touch’ that which for so long and so often has been known by other persons. 



Alan Rushing


September 1 - October 7, 2014

Reception: Thursday, September 4, 3:00 - 5:00pm


Alan Rushing "Old Miss"Alan Rushing "Old Miss"

Working on the coast of New England and recently the Pacific Northwest, Alan Rushing brings a painterly vision to the life, light and color of seacoast towns, harbors and boats. His painting language is raw and spontaneous and always revealing of layerings of visual thinking and material handling. 

Painting outdoors in the environments that he portrays, Rushing’s paintings blend thick and thin surfaces and convey an experimental methodology that is open to accident and not bound to a restrictive requirement for a ‘fine’ finish. 








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