New Jersey
Color, Inside and Outside the Lines
Windows on the world: Allan Gorman in the city
Pity poor paper. It really wants to be glass. Ditto for canvas. It isn’t glass, either, and it rankles at its own opacity. Sometimes it feels like the entire reason painters add brilliant pigment to panels is to help stiff surfaces achieve the peaceable qualities of a windowpane. Glass doesn’t fight the light. It acquiesces to its demands for penetration. Glass lets the illumination in, and when it does, it amplifies its brilliant shine.
But painters are illusionists, not alchemists. Any windows that they open are in our minds. In “Color, Inside and Outside the Lines,” Prof. Beatrice Mady of the Fine Arts Gallery at St. Peter’s University (47 Glenwood Ave.) pairs Bryant Small and Allan Gorman, summoners of imaginary photons. Neither one has managed to transmute paper and canvas into glass — no Lite Brite bulb shines behind their frames — but they’ve bestowed an unusual translucency to their urban studies anyway.
To those who’ve followed his work, Gorman is more associated with things concrete than things transparent. But even appreciators of his post-industrial cityscapes and images of steely underbridge anomalies have noticed that he’s just as interested in the way in which light passes through girders as he is with the girders themselves. His prior shows have been busy with shadows and sun. For “Color, Inside and Outside the Lines,” he’s removed the realistic representations of tenements, bricks, and stairwells but left the play of illumination in place. He’s also changed his favored hues, switching from institutional greens and rust orange-brown to the colors of the urban undertone: pale yellow, daybreak pink, the light blue of the apartment skylight. Looking at his recent paintings feel a little like catching a glimpse of the code behind a 3-D computer simulation. If you’re familiar with what he does, the St. Peter’s show is a trip.
It’s even a trip if you’ve never heard of him. His recent canvases are full of childlike joy about what light can do: the way it radiates and bends over barriers, refracts, mixes colors, and alternately sorts, blends, and elevates objects in its path. It’s hard not to get swept up in his enthusiasm. “Through the Looking Glass,” an oil painting on a square panel, might remind you of an empty storefront window of a shop, or a revolving door, or a ticket-taker’s booth. Gorman’s angles his images of tinted, transparent sheets to draw the eye the past surface lines and into an undefined interior space. This is one of the special property of glass: it promises honesty. It lets us in. We may not know what we’re looking at, but we believe that there’s a space for observation and we’re seeing what there is to see.
Mystery in plain daylight: “Through the Looking Glass”
That same openness — and invitation to stare — is present in a Gorman triptych in which shapes that suggest a building corner on a wraparound sidewalk are visible through floating panes that are given dimension and presence through the inclusion of a black shadow. As we apprehend the colored blocks through the hovering frame, they make immediate sense to us. It’s uncanny, and maybe even a little disturbing, how familiar the scene feels, and how quickly it coheres into a streetscape.
Only someone attuned to the deep code of architecture and the relationship between light and the city could have painted “Metropolis,” with its radiance expressed as long see-through wedges brightening the rows and columns of the built environment. This is the urban core he’s showing us: diagonal lines suggestive of light intersecting with vertical ones suggestive of glass and concrete. It’s not so different from the shadow-play he’s given us in his paintings of specific bridges. It is merely, as he’s put it elsewhere, a different way of seeing.
Find myself a city to live in: Gorman’s “Metropolis.”
As Gorman gets elusive, Bryant Small has become more specific. He’s hung the names of global cities on his dramatic alcohol ink paintings, each with fields of vibrant color, smears, drips, and pressurized streaks that make it look like a squeegee was applied to the paper. “Berlin,” for instance, looks like a nest of long blue-gray thorns atop a nimbus of aqua, pink, and orange. Are we staring down a busy street that’s all angles, sudden illuminations, and brisk activity, or does Small mean to suggest something about the emotional weather in eastern Germany? Probably both. The mesmerizing “London” is all dazzling color in the background and grey horizontal lines in the foreground that resemble plane-window moisture pulled sideways through the force of acceleration. Visitors to England will surely sympathize. There’s lots to see, but it’s raining out.
Take my breath away: Bryant Small’s “Berlin”
Small is a chromatic maximalist, saturating every inch of his pieces with bright pigment and adding black lines and splatters to make his hot pinks and Caribbean greens all the more intense. Because of its evenness and its tendency to ripple and pool and dry that way, alcohol ink on paper bears an eerie resemblance to stained glass. Sensing an opportunity to take us to church, Small drenches his pieces so thoroughly it’s like he’s dipped them in a rainbow. In “Tokyo,” the most remarkable of his globetrotting series, an icy blue-green surface seems to mask neon lights, headlamps, and a downtown-district glow. It’s like we’re apprehending a streetscape, darkly, through a shattered pane. Cracks are everywhere, but the sheet of glass seems thick and unlikely to budge.
Dream in Shibuya: Small visits (or thinks about) Tokyo
Yet glass — or the impression of glass — will have its way. Even though much in “Tokyo” is obscured, the translucency that Small is able to generate puts us right in the scene. We feel like there are sources of light just beyond our apprehension. Like Gorman, he puts our faith in glass to narrative ends. There’s a city waiting for us on the other side of the window. We can trace its outlines and sense the contours of its architecture and the emotional experience of living there. Slip past the invisible barrier, if only with our eyes, and we can be part of it.
(Although it’s open during St. Peter’s regular hours, the MacMahon Student Center can be tricky to get into. Tell the security guard you’d like to go to the fifth floor to see the art exhibition. Or just wait for a friendly student to let you in.)
Tris McCall regularly writes about visual art (and other topics) for NJArts.net, Jersey City Times, and other independent publications. He’s also written for the Newark Star-Ledger, Jersey Beat, the Jersey City Reporter, the Jersey Journal, the Jersey City Independent, Inside Jersey, and New Jersey dot com. He also writes about things that have no relevance to New Jersey. Not today, though.
Eye Level is an online journal dedicated to visual art in Jersey City, New Jersey. A new review will appear every Tuesday morning at 8 a.m., and there’ll be intermittent commentaries posted to the site in between those reviews.
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The 2026 New Jersey high school softball season has come to an end. Now is the time to answer the question: Who should be the New Jersey Softball Player of the Year?
Here are High School on SI’s New Jersey Softball Players of the Year for 2026. Scroll down to read about the list and cast your vote below.
Voting ends Sunday, July 5th, at 11:59 p.m. PT.
Madison McDougall, St. John Vianney
McDougall was named Gatorade New Jersey Softball Player of the Year after leading St. John Vianney to a perfect season and the Non-Public A state championship. The senior and Monmouth commit went 29-0 with a 0.30 ERA and 312 strikeouts in the circle, along with a .626 batting average and 17 home runs at the plate.
Gabby Gonzalez, St. John Vianney
Gonzalez also helped the Lancers go undefeated in softball. The senior and FIU commit batted .500 with 51 hits, 43 RBIs, 12 home runs, 13 doubles, and 35 runs.
Brooke Douglas, Ocean City
Douglas led Douglas to the South Jersey Group 3 championship. The senior and Rhode Island commit batted .543 with 51 hits, 42 RBIs, 12 home runs, seven doubles, two triples, and 25 runs.
Mackenna Savage, Red Bank Catholic
Savage put up impressive numbers for Red Bank Catholic in 2026. The sophomore notched 15 wins in the circle with a 1.43 ERA and 286 strikeouts in 176.2 innings pitched.
Jordyn Ambrosius, West Deptford
Ambrosius stepped up for West Deptford this past season. The junior went 15-7 with a 1.75 ERA and 247 strikeouts in 143.2 innings pitched.
Audrey Amoruso, Indian Hills
Amoruso led Indian Hills to its second straight state sectional title. In the circle, the senior and Fordham commit went 20-5 with a 1.01 ERA, 248 strikeouts, and 32 walks in 159.2 innings pitched. At the plate, she batted .476 with 26 RBIs and four home runs.
Gemma DeJoseph, Delran
DeJoseph was very impressive for Delran in 2026. The sophomore led the state with 62 hits, while batting .620 with 48 RBIs, three home runs, 14 doubles, and 37 runs.
Jillian Cianfrocca, Mount St. Dominic
Cianfrocca led Mount St. Dominic to the Non-Public A state finals. The senior and Villanova commit hit .534 with 47 hits, 54 RBIs, 16 home runs, 15 doubles, and 54 runs.
Ava Kelshaw, Mount St. Dominic
Kelshaw also played a major role for a strong Lions team. The junior and Michigan commit notched an impressive 26 wins in the circle with a 0.63 ERA and 257 strikeouts. Additionally, she batted .388 with 33 RBIs.
Chloe Jacobson, Summit
Jacobson played a pivotal role on a strong Summit team in 2026. The sophomore hit .553 with 52 hits, 54 RBIs, 15 home runs, 10 doubles, and 39 runs.
Gylian Hixenbaugh, Donovan Catholic
Hixenbaugh was very solid for Donovan Catholic this past season. The junior and Dartmouth commit went 17-3 with a 1.86 ERA, 161 strikeouts, and 21 walks in 128 innings pitched.
Ella Redheffer, Clearview
Redheffer led Clearview to the South Jersey Group 3 finals. The sophomore stepped up by batting .583 with 56 hits, 40 RBIs, six home runs, 17 doubles, 48 runs, and 26 stolen bases.
About Our Athlete of the Week Voting
High School on SI voting polls are meant to be a fun, lighthearted way for fans to show support for their favorite athletes and teams. Our goal is to celebrate all of the players featured, regardless of the vote totals. Sometimes one athlete will receive a very large number of votes — even thousands — and that’s okay! The polls are open to everyone and are simply a way to build excitement and community around high school sports. Unless we specifically announce otherwise, there are no prizes or official awards for winning. The real purpose is to highlight the great performances of every athlete included in the poll.
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Yellowcard played the Stone Pony Summer Stage on Friday June 12th. It was an astounding set. The band performed nineteen tracks from every era and iteration of the band. It was a special night for anyone who is a fan.
Openers Plain White T’s and New Found Glory also deserve special credit for fitting the bill flawlessly. It was the perfect way to set the stage for the show to come. Both bands have a strong stage presence and were able to captures the crowd’s full attention.
Yellowcard opened with a video of the Paramount stars. They continued their set by playing interlude snippets of other major movies such as “Back To The Future,” “Top Gun,” “The Goonies,” and the “Ghostbusters.” It really felt like we were watching a cinematic experience as well as a concert. The production was second to none. There was even pyro during certain moments of the show.
The band played six tracks off their new album Better Days. This was a huge highlight of the show. Better Days is not only the best Yellowcard album since Ocean Avenue, it’s one of the best pop-punk releases of the decade. The band worked tightly with Travis Barker, Avril Lavigne, and Alkaline Trio to enhance all aspects of the genre. The new tracks warranted even more of a reception than older tracks. We were truly watching a band in their prime.
Overall, Yellowcard are showing us the new heights bands can reach within the pop-punk genre. Their breakup and triumphant return displays to us that anything is possible. Please enjoy our gallery below from photographer Anthony Vito Cosentino.
Plain White T’s
New Found Glory
Yellowcard
All Photos by Anthony Vito Cosentino
From Camden and Cherry Hill to Trenton and the Jersey Shore, what about life in New Jersey do you want WHYY News to cover? Let us know.
The borough of Lawnside in Camden County will be honored with a historical marker from the New Jersey Historical Commission as part of the state’s Black Heritage Trail.
A ceremony unveiling the marker will take place at 10 a.m. Friday at Lawnside Borough Hall on Dr. Martin Luther King Jr. Road.
Marsharee Wright, aide to Lawnside Mayor Mary Ann Wardlow and long-time resident, said everyone is thrilled about the marker unveiling.
“We’ve invited the entire community and neighboring towns to come share the celebration with us,” Wright said.
Linda Shockley, president of the Lawnside Historical Society, said it’s “an extreme honor” for the borough to be included in the state’s program, especially as Lawnside is amid a year-long celebration of its centennial.
“It really lifts our profile and hopefully more people will understand and know what Lawnside is about and what it means in the nation,” Shockley said.
Lawnside was one of six sites selected in Camden County in 2024, including “The Point,” a historic Black neighborhood in Haddonfield. Its marker was unveiled last June.
During the ceremony, the borough’s history will be showcased, along with the original documents signed by Gov. A. Harry Moore in 1926, which made way for the borough’s creation.
Though there are many Black enclaves in South Jersey, the borough is the state’s only incorporated antebellum Black community. First known as Free Haven, and later Snow Hill, it was a stop on the Underground Railroad. Peter Mott built a three-floor dwelling in 1844 that was once part of sprawling farmland where he helped slaves escape.
Mott’s house, now owned by the Lawnside Historical Society, serves as an Underground Railroad museum.
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