Albright College’s Freedman Gallery will present a solo-exhibition highlighting the work of “Dan R. Talley: State: Obvious/Not So (Selected Works, 1973-Present),” from Jan. 28 – April 9, 2020. The prolific artist will offer a lecture Feb. 6 at 4 p.m. in Klein Lecture Hall, followed by a public reception, in the Freedman Gallery, from 5-7 p.m. Both events are free and open to the public.
Presenting a survey of more than 70 works in 18 groupings, the Freedman Gallery exhibition will highlighting some of Talley’s most important pieces from the last five decades. Works include photography, video, sculptural installations of mixed media and drawings.
Having learned of Talley’s work about 15 years ago, David Tanner, director for the Center for the Arts at Albright College was immediately impressed.
“I was astounded to learn about the many contributions he has made to the art world as a writer, curator, educator, and artist,” said Tanner. “Shortly after my arrival at Albright, I reconnected with Dan, who has been at Kutztown University since 1996, and since then, I have been thinking that, one day, the Freedman Gallery should present a comprehensive exhibition of his work. That day has finally arrived and the Freedman Gallery is pleased to present a selection of work by this prolific and important artist.”
As a former gallery director and arts writer, Talley co-founded several arts organizations, including Art Papers Magazine, Atlanta, Ga., and Real Art Ways, Hartford, Conn. His writings have appeared in several books, dozens of exhibition catalogues, and his reviews have been published in Sculpture Magazine, Ceramics Monthly and various newspapers. His photography, videos, drawings and installations have been featured in solo and group exhibitions in museums and galleries across the U.S. and abroad. Talley’s recent work continues his long-standing interest in Conceptualism and Minimalism.
With the help of Karen Stanford, director of the Marlin and Regina Miller Gallery at Kutztown University, Talley sorted through nearly 50 years of work and offered a curatorial perspective about which works were most important, as well as exhibition design recommendations.
A full-color, 136-page catalog that includes additional works not featured in the exhibition and a critical essay written by Daniel Haxall, Ph.D., will be available for purchase.