Recent Exhibition

Studio Collective 2018                                                      

An exhibition at the White Plains Public Library Museum Gallery

June 13, 2018 – September 25, 2018

Opening Reception Saturday June 16, 1–4 pm

 Studio Collective 2018 presents two of the Collective’s projects: Our River and Our Library. 

Our River includes work in various disciplines (artist book, collage, drawing, multi-media, photography, and printmaking,) that addresses the global issues of energy, land and water use, along with the local history of the Hudson River’s industrial pollution and clean up. A projection of how the future might look has been a constant discussion among the group, who found inspiration in Pete Seeger’s accomplishments as the leader of the movement to restore the health of the Hudson River. Our River includes an exhibition essay by art historian Juliana Krienik.

Our Library is the group’s most recent project. Stemming from the members’ concern about the current struggle for funding of public libraries in America, the artists each created a series describing their relationship to these institutions. The work includes drawing, collage, mixed media, photography and printmaking.

The artwork is for sale and ten percent of the proceeds support Friends of the White Plains Library, which sponsors programing and staff development.


Our Library

Epigraph from public library and other stories by Ali Smith

This same book in a stranger’s hands, half-known.

Those readers, kindred spirits, almost friends.

You are in transition; you are on the threshold.

The library is the place that gets you. Pure gold.

Jackie Kay

O magic place it was – still open thank God.

Alexandra Harris


I am a naturalized American citizen from a country with no public libraries, let alone a free public library system. Perhaps this is why I am intensely appreciative of the rare endowment, more than those to whom it is just one more permanent birthright.

This is not so. What is given can be taken away. In the sixty years I am living in this great nation, this foundation which champions free thought and good literature is under tremendous pressure to close. The shutting door is already a reality in England and it could happen here.

If not for this vibrant institution, which offers unbiased information and access to great voices of the past, my life in this country would be totally unthinkable, especially in my profession as a visual storyteller. It is my home away from home.

“Our Library” is a single candle, a reminder of how important it is for this beacon of democracy to remain vibrant in this darkened horizon of our time.

Our show is born of this concern.

Ed Young


Our River

I was born into the onset of WWll when Manchuria was invaded, while America was barely dug out from the Great Depression.  Recycling has been a way of life for me ever since.  I was brought up in seaports: Tientsin, Shanghai, Hong Kong, San Francisco, Los Angeles, New York City, so waterways are in my veins.  I am a visual storyteller by trade. Before that, I studied architecture, industrial design and graphic design, focusing on these disciplines’ environmental roots and relationship to nature.

The vacant buildings of the waterfront Anaconda factory and the Palisades have been my inspiration in my nearly 39 years of residency in Hastings-on-Hudson, NY.  I recall reading of an ironic factual event in Ancient China. When digging deep into the earth for fresh water people stumbled upon OIL. The realists called it “BLACK WATER” and pronounced it totally useless.  Sometimes, for human progress, a dreamer can be useful.

What if a team of modern alchemists come up with a method to turn this MUCK of ours into benign USAGE, which might save billions in shipping, burying, walling in, and dumping.  What if we challenge the imagination of our human ingenuity for a solution?  This is the hope of the Our Riverexhibition: raise the question and I trust, there will be an answer.

Ed Young, 2014

Update of Our River:

Since Our River Exhibition what remains as evidence of the saw-tooth buildings is Ed Young’s personal piece now on exhibit at the Hastings Historical Society to celebrate the valor of our own industrial effort during WWII.

Left standing is the lone water tower waiting for its fate, hopefully to become a beacon of light to voice our wish for human equality and justice in these trying times.

Ed Young, 2018


Our River

Isabella Bannerman

In order to depict the changes in land use of the Hastings on Hudson Riverfront, I chose 12 maps from the collection of the Hastings Historical Society, dating from 1777 to 2014. The Revolutionary War map records only the movement of troops, and the locations of camps and launching sites. Moving forward in time, the printing quality of the maps improves, as they become more densely drafted with farms, factories, homes, and a railroad. One, from the 1980s, is marked with felt pens that show which shuttered factories were to be demolished. And the last, a screen shot from Google maps, accurately locates the main road and the train station, in between a flat buzz of pixels. I became fascinated by how the graphic qualities of the maps revealed the priorities and attitudes of each era. I used the line of the riverbank to unite the 12 maps. Made with research assistance from Hastings High School student, Gretchen Bogan. Printed by Coronado Print Studios.

Diane Brawarsky

My pieces celebrate the changing, seasonal beauty of the Hudson River. Living in Hastings, I am grateful for the “aha” moment when I come upon this panorama. Living in Hastings I am also aware of the decontamination, chemical cleanup and pollution issues. Can we remedy, save and savor our scene?

Pepe Coronado

These works use the interplay of imagery (of Building 52, the waterfront, and abstract shapes made by the motion of erasure) in triptych, to suggest the decision a community now faces. Does it retain Building 52 as a standing structure representing the industrial past in Hastings-on-Hudson, or remove it and leave history to memory?

Barbara King

The mixed media work in this show represents my investigation into the history of the Hastings waterfront and my dreams of the possibilities for its future. Past decisions regarding which structures from the Anaconda site were demolished and which ones remain are illustrated. The contamination and possible decontamination solutions for Building 52 and the Hudson River are visualized by various chemical symbols for PCBs and photographs of enlarged bacteria that chemically break down their toxicity. A reconfigured Building 52 floating on the Hudson presents a vision of the structure repurposed and saved. As Ed Young stated, “Raise the question and I trust, there will be an answer.”

Gina Randazzo

This series of photographs of the former home of Anaconda Wire and Cable documents the current changing landscape. The presentation of the images recognizes the history of the riverfront industry in Hastings-on-Hudson as an integral part of the story of the community.

Ed Young

The pieces included in this show are largely made during the last year in response to the threat of losing our historical Building #52 to the chemical cleanup.  It is the notion of embracing Hastings’ historical past by preserving a “major character” uniquely our own, while welcoming all its promise to rise as an extraordinary GATEWAY to our Hudson, that provides the driving force inspiring our exhibit.  To celebrate the revitalizing of Building #52, all of my artworks are made from used materials.  Hopefully, this is only a beginning.

Our Library

Gina Randazzo

Public Books Series

The well-used books that I have photographed resided in school, university and public libraries until they were retired. The portraits seek to describe the weight and texture of volumes that have been shared by many hands. Although the images depict deterioration, the paper and bindings also reveal abundant energy and vigor. The series explores the use of photography for documentation of artifacts and material culture.At a time when many libraries are transitioning from traditional stacks to digital collections, this portfolio is an expression of my great appreciation for both public libraries and physical books.

Barbara King

I remember a campaign from my childhood in the 1960’s at my local library that sought to motivate children to read by giving out free book markers.  I can still recall a book marker with a drawing of an astronaut and the slogan, “Be all you can be. Read”. This memory led me to think about the ways in which reading stimulates the brain and was the springboard for the work that I created for the Studio Collective’s project, “Our Library”.

Isabella Bannerman

The Studio Collective started discussing public libraries. We talked about how important they are to democracy. When we have public libraries, there is a potential for power and freedom that comes with all those resources. Ed Young told us about the lack of public libraries during his childhood in China. Then, I was reminded of the threats to public libraries in this country, and I realized that access is the key ingredient. If libraries close, or shorten their hours, it is difficult to calculate the loss. These drawings are quick sketches of family, friends, and strangers reading. They are ordinary situations: reading on a metro platform, reading at home in bed. We take them for granted, in the way that we sometimes take our privileges for granted. I hope the sight of people absorbed in reading will always be ordinary.

Pepe Coronado

 Intrepido: USA in the clear.

Today it sits in all its glory, newly refurbished, a museum anchored on the Hudson that thrills young and old with a privileged view of the innards of a once powerful aircraft carrier.

But for Pepe Coronado, who was born precisely in the year of the invasion, the USS Intrepid is a reminder of a pivotal moment in Dominican history, an election usurped, a constitution subverted.

Artist and printmaker Pepe Coronado, incorporated a fragmented map of the Island of the Dominican republic-Haiti and the USA with a photograph of the USS Intrepid in its present moment with symbolic gray tones to recall a historic moment

Exhibition Checklist

Isabella Bannerman, Woman with Puffy Coat Reading – London, 2008, Pen and ink on paper, 7″ x 9”, framed

Isabella Bannerman, Francesca writing Postcards – London,1992, Pencil on paper, 10”x 12”, framed

Isabella Bannerman, Students Reading, UVA, 1979, Pencil and ink on paper, 9” x 12”, framed

Isabella Bannerman, Franca reading – Buffalo, NY, 1989, Pen and ink on paper, 11” x 14”, framed

Isabella Bannerman, Kitty Reading – Buffalo, NY, 1978, Bamboo pen and ink on paper, 11” x 14”, framed

Isabella Bannerman, Phillipe Reading – NYC, 1984, Pencil on paper, 8” x10”, framed

Isabella Bannerman, Label Conscious Lady – Charlotte, NC,1990, Ballpoint pen on paper, 11” x 14”, framed

Isabella Bannerman, Woman Reading on Metro Platform – London, 2008, Ink on paper, 8” x 10”, framed

Isabella Bannerman, Ed reading – NYC,2010, Pen and ink on paper, 6” x 8”, framed

Isabella Bannerman, You Know Their Names – NYC, 2001, Pen and ink on paper, 8 1/2” x 5 1/2”, framed

Isabella Bannerman, Hastings Riverfront Timeline,2014, Folding accordion book consisting of 12 pieces, plus folding archival carrying case that includes title and credit panel, printed on Rives archival paper, 5″ x 7″

Diane Brawarsky, In Praise of Libraries, 2017, Oil, Found Objects on Panel, 8” x 8” x 1-1/4″

Diane Brawarsky, Library Girl, 2018, Mixed Media, 10” x 12” x 12”

Diane Brawarsky, Mothers Need Mothers Need Mothers, 1986-2018, Handmade Paper Book, 5” x 5” x 24”

Diane Brawarsky, More Mothers Needing Mothers, 1986-2018, Handmade Paper Book, 5” x 5” x 20”

Diane Brawarsky, Book Marks, 2018, Collage, 13” x 10” framed

Diane Brawarsky, Hudson River: Fall, 2013, Collage on paper, 26” x 34”, framed

Diane Brawarsky, Hudson River: Winter,2014, Collage on paper, 26” x 34”, framed

Diane Brawarsky, Hudson River: Spring, 2014, Collage on paper, 26” x 34”, framed

Diane Brawarsky, Hudson River: Summer, 2014, Collage on paper, 26” x 34”, framed

Pepe Coronado, Intrepido, USA in the clear, 2018, Screenprint,Image: 24” x 11 1/2”, Paper: 22” x 30“, framed

Pepe Coronado, BookWar, 2010, Screenprint + Archival Inkjet, Image: 12” x 22 “, Paper: 22” x 30”, framed

Pepe Coronado, Presencia, 2014, Archival inkjet print, Edition of 5, image size 15” x 31”, paper size 24” x 37”, framed

Pepe Coronado, Borrando el Pasado, 2014, Archival inkjet print, Edition of 5, image size 8” x 33”, paper size 14” x 39”, framed

Barbara King, Brain Reflections, 2018, Silver mylar, white fabric, 65” x 54”

Barbara King, Bacteria Released, 2015, Mixed media: photographs printed on white vellum paper, Shadowbox: 20” x 16”

Barbara King, Building 52 Transformed, 2015, Mixed media: photographs on vellum paper, 13” x 15 ¼”, framed

Barbara King, 52 on the Hudson, 2014, Mixed media: photograph printed on paper, graphite pencil, colored pencil, India ink, 13” x 15 ¼”, framed

Barbara King, 52 on the Hudson II, 2015, Mixed media: photograph printed on paper, graphite pencil, 8 ¾”  x 14 ¼”, framed

Barbara King, Building 52 Reconfigured, 2014, Mixed media: photographs collaged, colored pencil, 13” x 15 ¼”, framed

Barbara King, The Hastings Water Tower & PCBs on the Hudson, 2015, Mixed media: printed photographs, encaustic, India ink on wood, 9” x 12”

Gina Randazzo, Public Books #1, 2018, Archival pigment print, 12 3/4 “ x 19” image on 17” x 22” sheet

Gina Randazzo, Public Books #2, 2018, Archival pigment print, 12” x 19” image on 17” x 22” sheet

Gina Randazzo, Public Books #3, 2018, Archival pigment print, 12 1/4 “ x 19” image on 17” x 22” sheet

Gina Randazzo, Public Books #4, 2018, Archival pigment print, 18” x 12” image on 17” x 22” sheet

Gina Randazzo, Building 52, 2014, Archival pigment print with text, 30” x 24”, framed

Gina Randazzo, Building 52 Detail 1, 2014, Archival pigment print with text, 30” x 24”, framed

Gina Randazzo, Building 52 Detail 2, 2014, Archival pigment print with text, 30” x 24”, framed

Ed Young, Prophecy  (Vessel Of Promises), 2018, Mixed media, 16’ 4” x 22”

Ed Young, Sunrise on #52, 2014, Archival Pigment Print, 13 1/2 x 39 7/8″