JUNE 4 - AUGUST 15, 2019

Rabecca Signoriello invites the viewer to explore their relationship with the blue collar worker in her latest body of work called Grit, June 4-August 15. Despite being a classically trained painter,

90# of Serenity

90# of Serenity

Signoriello works on a road crew and was inspired by onlookers curiosity but reluctance to meet her gaze. “As I look up ... they quickly look away,” Thus many of the paintings have the subject staring at the audience “forcing the visual confrontation of these two separate worlds.”

However, Signoriello wants the viewers to be welcomed into the paintings. “In reality these working scenes are overlooked and avoided because they are filled with noise, chaos, danger, and rigor. In the paintings the viewer is invited to examine the space, because it is safe, ordered, and quiet.”

Rabecca Signoriello was born and raised in Northwestern Pennsylvania. She attended Edinboro University, obtaining BFA in 2004. Upon graduation, she started Signoriello Studios, specializing in murals, while retaining her job with a respected paving company as a laborer. After several years of painting, she was accepted to The New York Academy of Art where she continued her education. During this time she received several merit awards, including the Walter Erlebacher award; in addition to receiving an Artist Residency at Leipzig International Arts Programme in Germany, Rabecca earned her MFA degree in 2011 while studying under several noted contemporary painters including: Vincent Desiderio, Steven Assael, Margaret Bowland and Jenny Saville. Her works are in private collections in New York, Pennsylvania, Florida, Germany and Monte Carlo Monaco.



Hoyt Regional Juried Competition

APRIL 2 - MAY 30, 2019

The annual Hoyt Regional Juried Art Competition will open in the Main Galleries on April 2. More than 447 works were submitted by 147 artists this year. Seventy five works were chosen by juror, Kurt Shaw, a noted Pittsburgh Art Critic.


1st place: “Koi”, oil by David Warner, Meadeville, PA
2nd place: “Budding Chestnuts”, collage, Maggy Aston, Greensboro, PA
3rd place: “In Defense of Intellectual Luxury”, painted steel, Dylan Collins, Morgantown, WV

Merit Awards:
“Aleppo (Syria)”, oil on shaped canvas, Mark Weleski, Natrona Hts, PA
“Redsylvania Series#4”, acrylic, Jane Davis, Erie, PA
“Crazy Elephant”, acrylic, George Kocar, Bay Village, OH
“Untitled #3320”, photograph, Scott Tommaro, New Castle, PA
“Finally”, acrylic & mixed media, Terry Polonsky, Sharon, PA
“Street Corner Gumbo”, ink on paper, Larry Brandstetter, Monroeville, PA

Politics on Paper

For centuries, art has been used as a vehicle to inform the public, to illustrate a point of view, and to incite change. The introduction of printmaking, and later photography, played a significant role in politics due to the ease in which multiples could be produced and distributed to the general public.  The new exhibit, Politics on Paper: Art with an Agenda from the Syracuse University Art Collection, examines the relationship between art and politics over time, using several examples of drawings, prints, and photos to advocate for a social purpose or cause.

Forget the Watergate, Let’s Talk About Daniel Ellsberg , lithograph by Paul Szep

Forget the Watergate, Let’s Talk About Daniel Ellsberg, lithograph by Paul Szep

Pioneers of social commentary used the print process to create works on paper that illuminated the atrocities of war and tyranny. Jacques Callot (French, 1592-1635) is one of the earliest and most influential examples of an artist in this role.  Trained as an engraver, Callot became well-known for his vast, multi-plate views of battles and battlefields. His most important work, Les Grandes Miseres de la Guerre (The Miseries of War) from 1633, would influence the artist’s role in society for centuries. Consisting of 18 small etchings, the series depicts the atrocities and warmongering observed firsthand from the Thirty Years War in Europe. The prints were small, portable, sharable, and exposed in realistic detail the day-to-day consequences of military affairs. Their bitter social commentary has inspired antiwar depictions ever since.  Francisco Goya’s Capricios (1799) and Disasters of War (1810-1820) series, Käthe Kollwitz’s depictions of the Peasants’ Revolt in post-World War I Germany, and William Gropper’s stand against McCarthy-era politics are all legacy to Callot’s gripping etchings.

Politicos , lithograph by William Gropper

Politicos, lithograph by William Gropper

The 19th century saw the introduction of the industrial press that laid the foundation for the information age. Mass-produced periodicals, rich with illustrated texts, were now printed in the tens of thousands. Artists such as Thomas Nast, Honoré Daumier, and John Pughe found great appeal in social cartooning and utilized the new pictorial press as the soapbox for their political cause. This spirit of social cartooning flourished into the 21st century and is evident in the work of Charles Martin, Paul Szep, and Barry Blitt.

The past hundred years have been fertile ground for artists and satirists making artwork with social purpose. Between the two world wars, the Works Progress Administration championed artists who made work that instilled hope, gave purpose, and delivered a distinct nationalistic propaganda to a suffering nation. The political upheaval and radicalism of the 1960s saw innovation in how artwork was used and created. Photographic techniques mixed with traditional print processes introduced the art of appropriation, re-interpreting readily available images from the media, advertisements, and industry in a new context.  Robert Rauschenberg, Andy Warhol, James Rosenquist, and Sister Mary Corita Kent are perfect examples.  All used recognizable images from society to state an alternative point of view.

Aufruh (Revolt) etching by Kathe Kollwitz

Aufruh (Revolt) etching by Kathe Kollwitz

Civil rights and race equality continue to be central themes to many African American artists, as seen in the work of Calvin Burnett, Elizabeth Catlett, and Kara Walker. Gender issues, economic reform, and war are all represented in the contemporary work of May Stevens, Amos Paul Kennedy Jr. and Enrique Chagoya.

In a modern society where few issues are out of bounds, the art of the print remains one of the most effective instruments in the arsenal of art with motive today. Interested in learning more?  Join Curator, Andrew Saluti, for an informal discussion on February 7, 6-8 pm.  Group tours will also be offered every Friday by appoint between 10 am and 4 pm (last departure at 3 pm).  The galleries are open Tuesdays-Thursdays, 11-8 and Fridays & Saturdays, 11-4.  Admission is free.


Gallery Talk, February 7, 6-8 pm
An insightful discussion of the exhibit with the Curator, Andrew Saluti.

Group Tours, Fridays January - March by appointment
Thought Provoking tours with audience participation. Contact Robert Presnar to make your appointment.

Meet the Candidates, February 21, 6-8 pm
Meet and greet the candidates running for local office!  Arts & Education at the Hoyt is hosting a reception for its latest exhibit, ”Politics on Paper: Art with an Agenda”, on Thursday, February 21, 6-8 pm. We’ve invited those seeking election in 2019 to join us in acknowledging the artist’s role in social commentary.  This event is not a public forum or a debate but an opportunity to view the exhibit while talking one-on-one with those seeking office.  Complimentary food and drink will be provided. RSVP requested.

*If you are running for local office and would like to participate, please contact Executive Director Kimberly Koller-Jones.

Resilience: Surviving the Middle Passage Seeking to Live a Privileged Life

Stepping Out on Nothing

Stepping Out on Nothing

Washington, D.C. based artist Jenne Glover believes that art can inspire conversations, connections, and celebrations among people.  Her latest exhibition opening at Arts & Education at the Hoyt, Resilience: Surviving the Middle Passage, Seeking to Live a Privileged Life (January 8-March 28), is intended to do just that.  The colorful body of mixed media collages illustrates the African experience on its way to the New World.

According to the artist, each piece represents a moment of an uphill climb.  Some mental, physical, emotional or spiritual pain on the journey between then and now.  Yet they also reflect the inner strength and the dexterity that “comes with crazy”.   Glover hopes that the exhibit will promote dialog on social reform, justice and equality. 

“Making it a perfect companion to the Politics on Paper exhibition in the Hoyt’s Main Galleries”, says Hoyt’s Executive Director, Kimberly Koller-Jones.  “Both offer a chance to look back and think about how we want to move forward.”

Glover evolved from a figurative painter to a mixed-media collagist over the last 30+ years.  Today, mixed media collage is her primary medium.

“Creating mixed-media art is like creating a jazz composition, it’s spontaneous and improvisational.  Working without boundaries and restrictions.  My challenge is finding the pulse, the beat of the unfolding concept, and going with the flow.”

Compositions are constructed of magazine cutouts, ready-made materials, paint, oil pastels, fabric, and repurposed images from my earlier works that are altered, fragmented and reassembled on to canvas. The result is a blend of color, texture, pattern, and rhythm that are very appealing to the eye. 

Resilience will be on display through March 28.  A Public Reception will be held on January 12, 2-4 pm. Admission to the galleries is free.