December in the Bear Gallery

Published on by fairbanksartsassociation

Exhibition on view: December 4-23, 2020

Gallery hours: Monday-Friday, 12-6 p.m.

Bear Gallery visitors please note:

Entering the building: Until further notice, the south entrance of the Centennial Center (facing the main parking lot) will be closed to the public. In an effort to reduce the amount of traffic through the building, visitors must use the north doors (those facing the carousel and playground).

COVID-19 mitigation measures: Fairbanks Arts’ board of directors has approved COVID-19 mitigation measures that include (but are not limited to):

  • Visitors to the Bear Gallery must wear a mask. We ask that visitors bring and wear their own masks at all times. No entry without a mask.
  • Social distancing of no less than 6ft apart must be observed within the Bear Gallery.  
  • The current limit of visitors in the gallery at one time is 10 individuals.
  • Our COVID-19 mitigation plan involves the frequent cleaning of high-touch surfaces to ensure the safety of our guests, volunteers, and staff.
  • Our complete mitigation plan is available upon request. Email info@fairbanksarts.org to receive a copy.

We appreciate your understanding and cooperation in this effort to stay open while supporting artists and arts supporters safely and responsibly.

From the Forest by Marianne Stolz

abstract wook art piece with river shape
“Riparian Influence” by Marianne Stolz

The love of the outdoors has always been a major constituent in Marianne Stolz’ life, guiding decisions from where to live to the themes of her art. Marianne was born and raised in Germany, where she received a Journeyman Woodcarver license from the Wood Carving School Berchdesgarden. She made Fairbanks her permanent home in the 90s, where she has been carving, hiking, teaching at the Folk School, and raising a family since.

She is foremost a traditional woodcarver, using preferably local wood and classic carving techniques, namely chisels and elbow grease. Other materials and techniques are added, sometimes for their contrast in possibilities, sometimes for their representation of a concept. Working with the natural flaws and challenges of wood rather than against them is a major part of her inspiration. 

In From the Forest, she expresses the beauty of the intricate dynamics and complex relationships in the boreal forest. She is intrigued by the interconnection between the many literal and figurative layers, the diversity of the constituents and the ever changing flow of interaction between them all.

Kindred by Group f/4: Four Female Fotographers

Group f/4: Four Female Fotographers consists of artists Jerzy Ellanna, Alyssa Enriquez, Charlotte Peterson, and Judy Sanchez.

The group loosely follows a photographic tradition started in 1932, with the first museum exhibition of Group f/64. Born in the home of William Van Dyke, Group f/64 was a small club of like-minded friends and artists who came together over a common interest. Group f/64 was eager to present a new vision, redefining what the photographic medium looked like and represented.

Like the original society, Group f/4 is a group of female photographers who have found inspiration and support within each other – often meeting at someone’s home like the founding members of Group f/64. They are no longer waiting for a “new vision”, nor an entirely new photographic style, rather they are in the ever growing age of opportunity.

Group f/4 consists of four unique artists, presenting different approaches, styles, and techniques – but who share a deep respect for the medium as evidenced in their work. Their show is titled “Kindred” because even though they all have unique approaches, they are bound by a similar nature or character. In the original Group f/64 manifesto, the group stated, “The chief object of the Group is to present in frequent shows what it considers the best contemporary photography” while “not pretending to cover the entire spectrum of photography”. Group f/4 too embraces this concept, and presents their first physical exhibition together.

Clockwise from upper left: “Dam” by Jerzy Ellanna, “64°50’34.2-N 147°43’14.2-W” by Charlotte Peterson, “Torso of a Woman” by Judy Sanchez, and “Queensway” by Alyssa Enriquez.