In November 2024 the Pinto Museum in Antipolo/ Manilla, Philippines acquired three large framed collage/drawings, from the series “HudsonRiver:Structural Transformations,” a moderate size collage/drawing titled “Bronx Elevated”, and a serograph/silk-screen print also of the Bronx Elevated. All five art works were part of the extensive Fischer Collection that was opened in February to honor Dr. Fischer, a renowned physician who had been consulting with Philippine physicians for 20 years. 

The Pinto Museum, Antipolo, Philippines

The Pinto Museum, Antipolo, Philippines

Dr. Fischer especially wanted Linda to attend, so Linda took a 10 day adventure that included a short stay with a little snorkeling to see coral and gorgeous tropical fish as well as seeing many very interesting corners of Manilla.

This exhibition Resonant Forces includes two sculptures, Resurrections I and II sited in front of the house constructed from structural steel beams, twisted evidently by immense force and entwined by bronze that was cast in sand from military scrap.

The series of smaller sculptural groupings exhibited in the interior are also constructed from fragments of the sand-cast military scrap and mounted on pedestals of recycled 200 year old red and yellow pine structural beams. Surrounding are images of the beautiful, powerful, destructive forces of nature, wind and water.

10-part installation, height of tallest piece 77 in., installation stretches 17ft wide, sand-cast bronze from former military scrap, 2019

2 person exhibition

Bronze pours from salvaged military scrap form a forest of leaf-like natural elements, undulating and seeming to grow from an unknown ground. The golden bronze shapes appear like unexplainable treasures. The bronzes are formed by a distinctive technique I developed, a kind of collaboration with the physical processes of the pour that results in highly-textured relief with the delicacy of eroding leaves. Each piece is a unique, un-duplicatable casting.

These natural appearing elements are distinguished by fluid, diagonal, curving forms closely related to the calligraphic drawing and torn edges of my large format drawings and collaged canvases.

Cunningham “Altered Currents” sand cast bronze (left) (right) Ann Marie Kenny “Integrated Circuits” quilts sewn with wire

(On floor) Found forms, walnut and steel 6ft 6 in. x 11 in. x 19 in., 2023
(Right wall, right) Angkor Ta Prohm, pastel, ink, collage on Murillo archival paper, 39 1/8 in. x 43 in., 2009
(Right wall, left) Sanibel Island, pastel, ink, archival Rives BFK paper, 36 in. x 28 in., 2019
(Center wall) Angkor Ta Prohm II, pastel, ink, collage on Murillo archival paper, 39 in. x 40 in., 2009
Colorful Left Wall Installation by Blanka Amezkua

Collaged, sculptural totems of found elements mounted on walnut tree sections frame three powerful, large drawings of massive roots of Angkor, near Angkor Wat by Cunningham.

Artists: Blanka Amezkua, Carey Clark, Linda Cunningham, Mimma Scarpini, Tammy Wofsey

Margarete Roeder Gallery presened five Bronx artists in an exhibition that shows the rich diversity in visual expression of the contemporary art world. Each artist, in their own way, confronts the frayed relationship between the urban and the natural landscapes.

Found forms; Walnut and steel, 6 ft x 15 in. x 11 in., 2023

Found forms; Walnut and steel, 6 ft x 15” x 11,” 2023

On Wall: Sanibel Island, (left) Pastel, ink, archival Rives BFK paper, 36”x 28”, 2019

Angkor Ta Prohm II, (center) pastel, ink, collage on Murillo archival paper, 39” x 40”, 2009

Angkor Ta Prohm, (right) pastel, ink, collage on Murillo archival paper, 39 1/8” x 43”, 2009

ODETTA GALLERY presents KISOK: NEW WORKS BY LINDA CUNNINGHAM AND LEVAN MINDIASHVILLI

Bushwick, Brooklyn, 2 person exhibit November 13, 2015 — January 3, 2016

Edge of Change, installation overview: Cross-sections of 200 & 300 year old trees felled by “Sandy;" a metaphor for our imperilled beneficent environment; installation  sizes vary from 4ft 3”wide to 4ft high 8ft x 5 ft canvas, acrylic & pastel and pastel, ink; 70” x 68” collage, in background.

Linda Cunningham and Levan Mindiashvili share a deep admiration for the language of buildings and surfaces in ruins, both ancient and modern. Well traveled, they have spent time touching these walls, and have read from their destination’s kiosks. This tactile knowledge filters back into their work in torn pages, layers, metallic bits, and shards of information, precariously juxtaposing ancient against industry, governments and the onslaught of Nature.

Unexpected materials, found and manufactured, perch precariously on torn edges and bifurcated sheets of large paper. Here, fluid calligraphic lines are posed against the veracity of photo-transferred images and the tactile sensibility of history emerges. The deteriorating, hulking remains of the Ruhr Valley coal and steel industry, or abandoned waterfront areas in the Bronx, are both cautious and optimistic as they succumb to the vitality persisting in vulnerable stands of old trees.

Edge of Change, Installation overview 2: cross-sections of 200 & 300 year old trees felled by “Sandy"; a metaphor for our imperiled beneficent environment; installation  sizes vary from 4ft 3”wide to 4ft high 8ft x 5 ft canvas, acrylic & pastel and pastel, ink; 70” x 68” collage, in background 

Edge of Change, installation detail : cross-sections of 200 & 300 year old trees felled by “Sandy"; a metaphor for our imperiled beneficent environment; installation sizes vary from 4ft 3”wide to 4ft high 8ft x 5ft canvas, acrylic &  pastel, ink: 70"”x 68” collage, in background    

Edge of Change, Installation:

ODETTA Gallery 8ft x 5 ft canvas, pastel, acrylic, ink tree shard images of trees and electric wires felled by hurricane “Sandy” in Woodlawn cemetery with tree shard with cross-sections of 200 & 300 year old trees felled by “Sandy"; a metaphor for our imperiled beneficent environment; installation

Canvas, pastel, acrylic, tree shard images of trees and electric wires felled by hurricane “Sandy” in Woodlawn cemetery with tree shard

Work uses torn edges, canvas, calligraphic drawing, collage and photo transfers of relics of a disappeared culture.

On view: November 2, 2016 - February 19, 2017

Torn edges of canvas sections stretch 24.5ft across the Museum lobby wall. The tactile sensibility of unexpected materials are posed against the veracity of photo-transferred images, and layered with acrylic and pastel revealing deteriorating remains of abandoned South Bronx waterfront areas, punctuated by multiple power transfer stations, railroads and refuse transfer stations. The torn edges of bifurcated sheets of canvas and shards of information echo a broken South Bronx history, an urban renewal tragedy, in an area that was once once the retreat of choice for fresh air, heath and greenery. 24.5ft x 4ft • 2017

Bifurcated sheets of canvas with torn edges suggest the beautiful open vistas now inaccessible to the residents of the Mott Haven and Port Morris areas of the South Bronx, abandoned and dominated by deteriorating remains, rotting remnants of piers, power stations and City Waste transfer stations.

The unusual materials and torn canvas edges convey with tactile sensibility the contradiction documented with photo-transferred images, layered with acrylic and pastel. Materials and image fuse revealing a broken South Bronx history, an urban renewal tragedy, an area once the retreat of choice for fresh air, heath and greenery. The shards of information and vistas evoke the former Port Morris harbor named after Governor Morris a signatory of the constitution. There barges once docked and youth once swam off a pier in the East River.

Cunningham’s work centers upon time, transience and contradictions shown through images of the shifting urban present. Compelling environmental concerns juxtaposed against industry, urban blight and the loss of the natural environment as well as her concern for her Bronx home area faced with gentrification drive her work.

South Bronx Waterfront Sagas (detail), canvas, pastel, acrylic, collage, photo transfers, 24.5ft x 6ft

Bronx Museum: Lobby Installation, canvas, pastel, acrylic, collage, photo transfers, 24.5ft x 6ft

Bronx Museum: Lobby installation, Opening night, canvas, pastel, acrylic, collage, photo transfers, 24.5ft x 6ft

South Bronx Waterfront Sagas Shards: Greening the Bronx, canvas, pastel, acrylic, collage, photo transfers, 3ft 3 in. x 7ft 6 in. • 2016

South Bronx Waterfront Sagas: Shards: Randall's Island Connector, canvas, pastel, acrylic, collage, photo transfers, 3ft 6 in. x 5ft 10 in. • 2016

Shards: The New Vision, canvas, pastel, acrylic, collage, photo transfers, 3ft x 6ft 4 in. • 2016

Shards:The New Vision (detail), canvas, pastel, acrylic, collage, photo transfers, 3ft x 6ft 4 in. • 2016

South Bronx Waterfront Sagas II, collage, photo transfers, pastel, 57 in. x 35 in. • 2015

South Bronx Waterfront Sagas II, detail, collage, photo transfers, pastel, 57 in. x 35 in.  • 2015

South Bronx Waterfront Sagas III, collage, steel chain, photo transfers, pastel, 31 in. x 38 in. • 2015

South Bronx Waterfront Sagas III (detail), collage, steel chain, photo transfers, pastel, 31” in. x 38 in. • 2015

Paradise Lost/Regained? Utopia to Survival, Andrew Freedman House, Bronx NY, dry wall, canvas, collage, broken wood frame windows, laser photo transfers, 11 in. x 20 in. • 2012

Commissioned for No Longer Empty’s exhibition This Side of Paradise, curated by Manon Slome.
The installation is a book-like construction of broken drywall panels and broken wood frame windows. The panels are layered with torn canvas with curling edges, a metaphor for the story of the end of the Andrew Freedman house era and the once destitute Bronx. Eras are represented with phantom-like photos transferred on the canvas constructing a narrative of loss, change and survival. Panels are collaged with memorabilia, papers, references to Bronx Hip hop and the lives of residents salvaged from the moisture ridden remains.

Paradise Lost/ Regained? Utopia to Survival (detail), Andrew Freedman House Grand Concourse at 166th, Bronx NY, dry wall, canvas, collage, broken wood frame windows, laser photo transfers, 11 in. x 20 in. • 2012

Paradise Lost/ Regained? Utopia to Survival (detail), Andrew Freedman House Grand Concourse at 166th, Bronx NY, dry wall, canvas, collage, broken wood frame windows, laser photo transfers, 11 in. x 20 in. • 2012

Paradise Lost/ Regained? Utopia to Survival (detail), Andrew Freedman House Grand Concourse at 166th, Bronx NY, dry wall, canvas, collage, broken wood frame windows, laser photo transfers, 11 in. x 20 in. • 2012

Paradise Lost/ Regained? Utopia to Survival II, “Intersecting Imaginaries,” No Longer Empty Curatorial Lab, Grand Concourse, Bronx NY, 8ft x 12ft x 22ft • 2015

Paradise Lost/ Regained? Utopia to Survival II, “Intersecting Imaginaries,” No Longer Empty Curatorial Lab, Grand Concourse, Bronx, NY, 8ft x 12ft x 22ft • 2015

Paradise Lost/ Regained? Utopia to Survival (detail), “Intersecting Imaginaries,” No Longer Empty Curatorial Lab, Grand Concourse, Bronx, NY, 8ft x 12ft x 22ft • 2015

March, 2017

Bifurcated sheets of free hung canvas with torn curling edges and large scale framed works on paper are layered with calligraphic drawing, acrylic, pastel, collage and photo transfers.

The photo transfers and drawing document existing circumstances that reveal the tenuous survival of our cultural heritage threatened by dramatic environmental change. Images include remains of civilizations such Angkor/ Cambodia, obliterated most probably by a drastic environmental shift such as El Niño now threatened by the virulent jungle growth. Another focuses the tenuous survival of the North Sea island preserved by carefully nurtured, stunningly beautiful sand dunes.. Both framed works on paper and free hanging canvases with torn curling edges are collaged with rubble that communicates with tactile sensibility.

Others document the South Bronx waterfront, abandoned and deteriorating rotting tenants of piers and city waste transfer stations and simultaneously suggest the potentially beautiful open vistas with fresh air now inaccessible to the residents of the South Bronx.

Using relics of ancient civilizations layered with images of current environments besieged with virulent plant growth, raging waves and flood waters this work challenges academic mythology of nature and archaic ruins and engages the apocalyptic possibilities inherent in current relationships between humans, industrial development and our tenuous eco systems. 

4ft wide cross-cut sections of 200 year-old trees felled in Woodlawn cemetery by the hurricane “Sandy” are posed with the torn curling edges of canvas panels collaged with with fluid calligraphic drawing and laser photo-transfers. Materials, image and text reflect the powerful forces and fragility of the current environment and the near eradication of ancient civilizations: e.g. the flooding of Thailand’s ancient city, Ayutaya, excavation of Caral from Peru's desert sands, and powerful roots, nourished by plentiful sun and rain, strangling the ancient temples of Angkor, Cambodia.

Venice, American University, Paris, 2017, pastel, acrylic, collage, photo-transfers, 5ft x 2ft

Angkor Roots (detail), American University, Paris, 2017, pastel, acrylic, canvas on stretcher, 7ft x 5ft 7 in., 2009/2022

Fundacion Euroidiomas, Miraflores Lima - Peru, 2011

Linda Cunningham transforms discarded found materials such as structural fragments, a kind of “Urban Mining,” and preserves the qualities of found materials with the material history inscribed in their surface. The tactile sensibility of her work comes from her interest in the qualities of materials, observed or found. In the wall-constructions she fuses relief elements, such as exposed structural fragments or sand-cast bronze, shaped by the physical process of the pour. These installations are concerned with time, transience and contradictions.

Fundation Euroidiomas ,Miraflores Lima-Peru, 2011

gallery left side

laser photo transfers, pastel, steel, 23'x16' (58cm x 40cm)

Ohio Wesleyn University, 2000

Land, Memory and Change, mixed medial-dry wall, found objects text, photo transfers, 28ft wide x 5ft high, Ohio Wesleyn University, 2000

Land, Memory and Change, Ohio Wesleyn University, 2000

Laser transfers, collaged dry wall, construction elements, graphite, ink, Text from Mott Haven historic plaque, poetry from Roger Bonair Agaard, 3 of 5 panels: 6ft x 20ft • 2005-2006

Using images from the street, 19th Century land-marked architecture and found materials, this work exposes contradictions inherent in recent history, time and change. 21st Century signage, Bronx poetry and rubbings from plaques merge with photo transfers and drawing posing the past against the restored, regenerated present.

South Bronx Sagas, Installation view, La Guardia College, 2006

Installation detail

Installation detail

Installation detail