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Can You Hear My Silent Scream?

Group Show

September 11 – October 30, 2020

Image of Can You Hear My Silent Scream?

Can You Hear My Silent Scream?, 2004

Oil on canvas

38 x 40 in.

Image of Cat with Arched Back

Cat with Arched Back, 1939

Pencil on cardboard

5 3/4 x 8 1/2 in.

Image of Titleless

Titleless, 2004

Water based paints and pumice on canvas

96 x 48 inches


Image of Free to Imagine/ Like My Child (diptych)


Oil, acrylic, pencil on paper on canvas 36 x 72 inches

Signed on verso: Joan Snyder. Dated: Aug- Sept. 1985 right edge of part two.


Image of Nude with Peacock Kimono

Nude with Peacock Kimono, 1988

Oil on canvas

72 x 60 in.

Image of Ziggurat, Chess Piece

Ziggurat, Chess Piece, 1989-2005

Acrylic on linen

59 1/4 x 48 in.

Image of Positive Negative Series #4


Enamel over silkscreen grid on bakes enamel, steel plates

25 x 25 inches


Press Release

After several months of lockdown and limited ways to enjoy art in person, Betty Cuningham Gallery is thrilled to open an in-house group exhibition titled Can You Hear My Silent Scream? on Thursday September 10th.  Included are 12 artists: Alfonso Fratteggiani Bianchi, Jennifer Bartlett, Rackstraw Downes, Elizabeth Enders, Stanley Lewis, Beverly McIver, Gordon Moore, Graham Nickson, Philip Pearlstein, Joan Snyder, Bill Traylor, and Alison Wilding. The exhibition takes its title from Beverly McIver’s painting of her sister, featured in the exhibition, which asks a universal question that everyone can relate to these days - Can You Hear My Silent Scream?  



Dating from several different decades, the works on view all push the limit in process and/or concept. Noteworthy, are Stanley Lewis, who in his unique self-correcting style, piles paper on paper creating two brilliantly complex works of his backyard view; Rackstraw Downes, who in his The Arena, Chinati, 9 A.M., Looking North, 1999, distills meticulously only what he sees in the empty Donald Judd gymnasium; Joan Snyder who paints (and writes) about war and peace and her child, in the diptych, Free to Imagine like my Child, 1986; Elizabeth Enders who in three recent calligraphic drawings finds source in the equation for acceleration; Bill Traylor, who in five brilliant yet modest works on found board, documents street life in Montgomery, Alabama between 1939-42; and Alison Wilding who casts light on the past and our unknown future in the only sculpture in the show, Floodlight, 2001.


The current exhibition will run through Saturday, October 17th.  The Gallery will be following all CDC guidelines to slow the spread of COVID-19.