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Saturday, September 9th '17 – Saturday, November 11th '17
The Galleries at Moore

The Galleries at Moore are pleased to honor both Visionary Women Awardees Andrea Baldeck and Ursula von Rydingsvard with presence in The Galleries’ fall exhibition season. Presented in conjunction with CraftNow—a citywide exhibition examining the fluid boundaries that exist between, among and surrounding varying practices in art, design and craft—the exhibition features a selection of photographs of craftsmen and women taken by Baldeck throughout her international journeys and a series of recent handmade paper by von Rydingsvard. 



Ursula Von Rydingsvard is best known for creating large-scale, often monumental sculpture from cedar beams, which she painstakingly cuts, assembles, and laminates, finally rubbing powdered graphite into the work’s textured, faceted surfaces. Recently she has cast sculptures in bronze from full-scale cedar models. She deliberately uses cedar boards milled into 4" by 4" widths with varying lengths, which create a neutrality or "blank canvas" which enables her to dip into many different possibilities often within the arena of the psychological and emotional. As she explains this approach: "If I were to say how it is that I break the convention of sculpture (and I'm not sure that's what I do or even if that's what I want to do), it would be by climbing into the work in a way that’s highly personal, that I can claim as being mine. The more mine it is, the more I’m able to break the convention."


Born in a rural village in western New York, Andrea Baldeck began photographing with a simple Brownie camera at age eight, imagining herself a Life photographer canoeing through the jungle to meet Albert Schweitzer. This interest and dream pervaded years of musical study at Vassar, medical school at the University of Pennsylvania, and practice as an internist and anesthesiologist. On medical trips to Haiti and Grenada, camera and stethoscope occupied the same bag. In the early 1990’s she left the operating room for the darkroom, to work as a fine-art photographer in black and white. During the following decade, her portfolio grew to accommodate portraiture, still life, and landscapes, as featured in her books The Heart of Haiti (1996, second edition 2006), Talismanic (1998), Venice a personal View (1999), Touching the Mekong (2003), Closely Observed (2006), Presence Passing (2007), Himalaya: land of the snow lion (2009), and Bones Books and Bell Jars (2012), a photographic essay evoking the history of medicine. Since 1996 she has exhibited widely in the U.S. and abroad, and her images are found in museums and private collections.

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