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Deaf Artists' Exhibit, 20 Deaf Artists: Common Motifs, at Deaf Studies VI Conference, Pro Arts Gallery, Oakland, CA, April 9-10, 1999 Gallery Guide
Introduction The first two exhibitions of Deaf Art that I organized, in 1993 and 1995, were each titled "Deaf Artists' Exhibit: A Perspective of Deaf Culture Through Art" which reflected a growing awareness of the
importance of Deaf Art in Deaf Studies. The personal perspectives of the artists brought fresh insights to what it means to be Deaf. The ever-growing number of works in the field of De'VIA (Deaf View Image Art
or Deaf Art) frequently amaze me, not least because of the number of motifs common to artists who have had no prior contact with each other. Not all of these shared motifs are included in this exhibit, because
there simply is not room for them all, but many of the works here do use similar symbols. Some of these symbols are quite obvious. Take the hand, for instance. In a variety of different forms, the hand
appears in many works as a symbol of our pride with our language and the importance of our means of communication. Endless approaches to representing sign language in different formats are also popular.
Sometimes certain positions or differences in proportion indicate that the hand represents oppression or oppressors. TTYs are another easily recognizable motif. Interpretations of sound, music or use of
musical instruments also frequently occur. Speech lessons and the experience of learning speech have stayed with many of us for most of our lives and this, too, is reflected in this exhibit. Feelings of
being trapped are another common theme. One curious motif that has appeared in recent works is the reworking of historical paintings or other representations of historical events to reflect Deaf history or the
Deaf experience; this is a way of indicating the magnitude of an event in our history. This exhibit invites the viewer to explore other common motifs and themes and share these observations with other viewers
and artists in the gallery. Many nuances of the works included in this exhibit may be difficult to discern without knowledge of the issues and perceptions common to members of the Deaf community. This guide is
intended to provide information concerning the ways in which each work is relevant to the Deaf culture or experience. People who are already knowledgeable about the Deaf culture may find this guide helpful in
obtaining deeper insights into these works. No one, however, should consider the information presented here absolutely definitive: it is, rather, subjective material written on the basis of information obtained
from a variety of sources, including the artists, and including direct quotations from many of these artists. Viewers are encouraged to offer their own thoughts. Brenda Schertz Artists' Biographies Descriptions of Artworks Chuck Baird Be My Valentine, Love Series, No. 3, 1999 Grant Thy Spirit, 1999 Please But, 1999 Remembering the Fitzgerald Key, 1999 Divine Power, 1995 Deaf Like You, 1998 Cherish ASL, 1996 Deaf Woman, 1998
Expression of Hands, 1998 Hands,1998 Talking Hands, 1998 ….push the red button, 1995 Child and TTY, 1997 Coexistence, 1998 Divergence, 1997 A Lesson, 1999 Musical Chairs
Narcissus, 1999 Sss-speech, 1998 To Have/To Find, 1991 Transportation Hub, 1995 1998, 1998 Lyric I, 1998 Lyric II, 1998
Spiritualism, 1998 Structure II, 1998 Unity of Communication, 1998 ASL Eagle Over Hands Monument, 1999
ASLized Mimbres Fish, 1995 Native American Deaf Experiences, 1999 Ameslan Flag, 1974 A Tribute to a Deaf Artist, 1999 TTY Call, 1997 Untitled, 1993 Cable Surfing, 1994 Connie, 1994 Footwork
, 1994 Oz, 1994 Star, 1993 The 3 Skeletons, 1991
Tripod, 1995 Confused Emotion in Life,1990 No Free Way to Protect, 1993 No Way Out, 1993 Point Lose Class, 1994 Tight of Open Feelings, 1995 What Is Saying, 1991 Flying Fingers, 1995 Book #1, 1997-1998 Book #2, 1998-1999
A Person's Life Is Mixed of Sound and Vision, 1999 A Person's Life Is Vision without Sound, 1999
A Soldier's Life, 1999 Deaf Identity Crayons: Then & Now (Crayon Box Series), 1999
Kellogg's Deaf Studies, Not Pathology (Food for Thought Series), 1996 Will the Real Goya Please Stand Up? (Food for Thought Series), 1996 Beethoven, 1997 The Last Supper, 1997 He Says, She Signs, 1995 Look At Me So I Can Hear You, 1993 Someone She Loved, 1995 Avenue of Loss, 1998 Silent Scream, 1998 Trapped, 1999 Milan, Italy, 1880 II, 1994 Two Deaf Musicians, 1997 "DEAFized" Dresser, 1999 Podium, 1999 Gossip, 1999 CSDF students
Students from the California School for the Deaf, Fremont. Acknowledgments The conference committee wishes to acknowledge the extraordinary efforts by the
exhibit's curator, Brenda Schertz. We thank her for her care and expertise in mounting such a signifcant and spectacular exhibit for the benefit of both the conference participants and community alike. We are
deeply indebted to many people for the help without which the exhibit would not have been possible. It is not possible to name all of them, but special thanks are due to:
John Dunleavy for his time and patience editing this brochure. The participating artists, for their patience, flexibility and cooperation, and for the loan of their works. Gail Wright, of the California School for
the Deaf at Fremont, for encouraging her students to participate in the exhibit. Nancy Bloch, of the National Association for the Deaf, for the loan of works by Betty G. Miller; Lesley Kushner and Lewis Merkin
for the loan of works by Susan Dupor; and Mr. and Mrs. Andrew Bruce for the loan of works by Robin Taylor. Sally Hambrecht for her donation of wine for the reception. John Dunleavy, Hedy Udkovich Stern, Ron Trumble
and Guy Wonder, for serving as Gallery tour guides. Ron Trumble for the dresser and podium specially designed and made for this exhibit. All the volunteers who have so eagerly assisted with many different aspects of
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