11Th Anniversary Issue

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11TH ANNIVERSARY ISSUE

BEAUTY, HISTORY AND TRANSIENCE: THE CAA’S ANNUAL MEMBERS PRIZE SHOW

THE SYRIAN HOMELAND CONNECTION: MOHAMAD HAFEZ AT LANOUE GALLERY AND GROTON SCHOOL | STRETCHING THE BOUNDARIES OF PERCEPTION: SOO SUNNY PARK AT THE CURRIER | UNLOADED AT THE ICA AT MAINE COLLEGE OF ART | PRINTMAKING REIMAGINED AT WHEATON COLLEGE

March/April 2017 Free or $5.99 mailed copy Mark Cooper

a site-specific 2016–2017 (DETAIL), installation Uncertainty UNCERTAINTY

LESLEY UNIVERSITY COLLEGE OF ART AND DESIGN

LUCAD-Cooper-Artscope.indd 1 2/15/17 1:07 PM New England on Paper Contemporary Art in the Boston Athenæum’s Prints & Photographs Collection

Mark Cooper Alex de Constant, Moonlight, Rye on the Rocks, 2011. Reduction woodcut, Boston Athenæum. a site-specific 2016–2017 (DETAIL), installation Uncertainty UNCERTAINTY April 6—September 3, 2017

LUCAD-Cooper-Artscope.indd 1 2/15/17 1:07 PM Artscope_Mar-Apr2017.pdf 1 2/14/17 10:12 PM

Montserrat College of Art's Spring Auction to Beneﬁt Student Scholarships ARTRAGEOUS!

A Night of Live and Silent Auctions, 31 Art in the Moment & Compelling Stories TICKETS ARE EXTREMELYReturn LIMITED. to Our Roots

SATURDAY, APRIL 1, 2017 C M 6-10 PM Y

MY Where It All Began CY North Shore Music Theatre CMY

K A Night of Live and Silent Auctions Art in the Moment Compelling Stories

To sponsor, or for more information, contact Howard Amidon at [email protected] or 978-867-9620.

TICKETS ARE EXTREMELY LIMITED. RESERVE NOW! www.montserrat.edu/auction Artscope_Mar-Apr2017.pdf 1 2/14/17 10:12 PM

Montserrat College of Art's Spring Auction to Beneﬁt Student Scholarships ARTRAGEOUS!

A Night of Live and Silent Auctions, 31 Art in the Moment & Compelling Stories TICKETS ARE EXTREMELYReturn LIMITED. to Our Roots

SATURDAY, APRIL 1, 2017 C M 6-10 PM Y

MY Where It All Began CY North Shore Music Theatre CMY

K A Night of Live and Silent Auctions Art in the Moment Compelling Stories

To sponsor, or for more information, contact Howard Amidon at [email protected] or 978-867-9620.

TICKETS ARE EXTREMELY LIMITED. RESERVE NOW! www.montserrat.edu/auction Sculptor Andrew DeVries

Andrew creates a bronze sculpture: Watch this 5 minute PBS video Created and cast by the artist truly original

JOIN THE CONVERSATION Sculptor CONTENTS News feeds and more

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EDITORIALS & EVENTS http://kaywa.me/0PqVg Artists Corner & Gallery Jane Paradise 36 Welcome Statement 8 Cover Story: 50 DownloadSUBSCRIBE the Kaywa QR Code Reader (App Store &Android Market) and scan your code! TO NEWSSTAND! Barbara Owen 38 CAA Members Prize Show Cornered 9 Mohamad Hafez & Seth Moulton Subscribe Ron Fortier 52 Gallery Spotlight: 70 to Artscope Gallery BOM Centerfold 48 Magazine at the Andrew creates a bronze Donald Beal 58 Wilda Squires’ Golden Abstract Newsstand to Featured Exhibition: 72 receive each sculpture: Watch this 5 Elizabeth Goddard 60 Printmaking Reimagined at Capsule Previews 82 issue instantly. minute PBS video Wheaton Kathy Stark at the Spotlight Gallery, Now available Created and cast Roya Amigh 63 30 Years of Women’s History at URI, worldwide on Triple Candie at the Addison, Selfie your iPad. Search REVIEWS Krzysztof Wodiczko 66 at the University of Bridgeport, Artscope in your App Store. by the artist Soo Sunny Park 14 Gail Irwin at 6 Bridges, I.M.A.G.I.N.E. Duken Delpe 76 at the Currier Peace Now at Society of Arts + To advertise, call (617) 639-5771 or Crafts, Without a Theme at Pequot email [email protected] To subscribe, purchase online at truly original Brian Walters 78 Coded_Couture at Tufts 18 Museum, Denise Driscoll & Kay artscopemagazine.com or email Hartung at Fountain Street, Twisted [email protected] Clew at Lamont Gallery 27 Path IV at the Abbe Museum FEATURES Volume 12 | Number 1 Gallery Director Patricia Purdy Shaken and Stirred at CoSo 32 Published by Boston Publishing House LLC Featured Exhibition: 20 Exhibitions 85 Copyright 2017 Artscope Magazine All Rights Reserved. ISSN#1932-0582. Unloaded at ICA at Om Tat Sat at Endicott 55 DeVries Fine Art artscope reserves the right to edit all material Maine College of Art Classifieds 94 Reproduction in part or whole without International permission is strictly prohibited. Writers Artscope Magazine Publisher KAVEH MOJTABAI LINDA CHESTNEY, FLAVIA CIGLIANO, ELAYNE CLIFT, Lenox, MA Managing Editor BRIAN GOSLOW MEREDITH CUTLER, CATHERINE CREIGHTON, DONNA 809-B Hancock Street Copy Editor ANNE DALEY DODSON, JAMES DYMENT, JAMES FORITANO, GINA FRAONE, Quincy, MA 02170 (413) 238-7755 Mobile App & Tablet Newsstand Media ARTSCOPE DESIGN GROUP MOLLY HAMILL, FRANKLIN W. LIU, J. FATIMA MARTINS, ELIZA- Design & Layout ARTSCOPE DESIGN GROUP BETH MICHELMAN, LISA MIKULSKI, GREG MORELL, NANCY COVER: Stephanie Todhunter, Queen Media Development Associate VANESSA BOUCHER NESVET, KRISTIN NORD, TARYN PLUMB, MARCIA SANTORE, Beth (kintsugi), original macrophotograph www.andrewdevries.com Email Blast! Coordinator RHIANNON LEIGH MARGUERITE SERKIN, LAURA SHABOTT, TOM SOBOLESKI, backprinted onto glass, gold enamel, at the Echoes ©2014 by Andrew DeVries Edition 8, Bronze; $8,000 Account Executive GAIL NEWCOMB JOHN B. STAPLETON, ERIC J. TAUBERT, JAMIE THOMPSON, Intern SONGDI WEI ALEXANDRA TURSI, SUZANNE VOLMER, DON WILKINSON, Cambridge Art Association’s University KRISTIN WISSLER. Place Gallery. seen this spring at the Mitchell•Giddings Gallery in Brattleboro as well as the Next Stage Arts Project in Putney, Vermont. Those craving summer will appreciate Jane Paradise’s “Dune Shacks WELCOME of Provincetown” series at the Galatea Gallery in March that will, along with Laura Shabott’s profile of her, have you Welcome to our Eleventh Anniversary talk about her nomadic installations, which on the phone booking your reservations Issue with special thanks to our readers and Michelman writes, “fold into a carry-on for this year’s stay on the Cape. advertisers, all of the galleries, museums, bag, but their whispers can fill a room.” If you’re looking for an early spring Artscope interactive artists and publicists we have worked with Nancy Nesvet traveled to Galerie adventure, consider setting your GPS for tablet edition gives you pan and zoom, and, especially, our devoted writers whose Lelong in New York City to interview Artists Corner & Gallery in West Acton, slideshows, in-depth hard work has filled our pages. Krzysztof Wodiczko, director of the Mass. after reading Flavia Cigliano’s It would be an understatement to School of Planning and Architecture at audio/video and more, gallery profile on the venue that recently available anytime, say the past few months have been an Harvard University, about his career and celebrated its first anniversary. Cigliano emotional rollercoaster for those living working with his Harvard students. Wodic- anywhere worldwide on talked with owner Margaret Burdine your iPad. To subscribe in the United States, and this has seemed zko’s installations have played an impor- about her decision to leap from her search Artscope in your especially true for its artists. tant role in speaking out against injustice own artistic career as a fiber artist and App Store. Some are addressing their emotions here and around the world. photographer to overseeing directly through artworks whose message Molly Hamill visited Endicott College the work of nearly 50 artists needs no interpretation; others need the to review an exhibition of photographs while establishing a commu- solitude now, more than ever, of a canvas by faculty members Maria Cusumano nity gathering spot for classes, or large installation piece to escape the and Mark Towner taken during a recent workshops and special events. New England's Premier Culture Magazine everyday discourse. trip to India. The bright colors of “Om Tat We always aim to have our 7 16 We’ve attempted to address these Sat: Reflections from Mumbai to Kolkata” stories contain a series of 8 feelings in compiling this issue, which will warm up your late winter day and “touchpoints.” I asked Ron continues our tradition of using the also provide insight into the minds of two Fortier, who recently relocated annual issue to introduce a group of artists documenting a vacation while to Portugal from New Bedford, artists previously not featured in these pondering its place as art. to put together an article pages — including Connecticut sculptor Lisa Mikulski, who returns to these explaining how he not only Brian Walters, whom I’ve been trying to pages after four years in Sweden, interviews found a new home and trans- COPLEY SOCIETY’S LATEST NEWBURY showcase for some time now and who is Haiti-born Duken Delpe, whose recyclable ported his supplies with him, but STREET SPLASH profiled by Kristin Nord — which we’re and found object creations are headed for managed to secure new gallery VERMONT’S NEW SHOWCASE: GLORIA KING MERRITT’S calling, “Eleven for Our Eleventh.” Art Olympia in Tokyo, Japan, and this year’s DIGITAL ART AT BUNDY MODERN | THE LEAGUE OF NH representation overseas while CRAFTSMEN’S LABOR OF LOVE | CAPE COD MUSEUM OF This issue opens with a special pair South Shore Indie Music Festival; his work maintaining his existing ones ART: AT THE CROSSROADS of “Cornered” interviews conducted can currently be seen at Boston’s Liquid here in New England. This is one J. ALDEN WEIR’S CONNECTICUT WANDERLUST | CMCA’S by Lanoue Gallery’s Gina Fraone with Art House and W Hotel. She also previewed NEW BEGINNING IN ROCKLAND | HERA’S SOUTH COUNTY for the dreamers among us. INVITATIONAL Syrian-born Mohamad Hafez, who the Copley Society of Art’s “Shaken and Artscope will be returning as July/August 2016 Free or $5.99 mailed copy addresses the recent tragedies suffered Stirred: 2017 Winter Members Show.” an exhibitor in the Magazines in his homeland through his artwork, and It’s one of a number of juried shows Sector at Art Basel in Basel, Congressman Seth Moulton, whose featured in this issue; James Foritano Switzerland this June for the office is sponsoring the showing of Hafez’s took in the Cambridge Art Association third straight year. Over the past year, work at Lanoue as well as theChristopher Members Prize Show and I previewed we’ve expanded our efforts to explore the Brodigan Gallery at Groton School. the captivating “Wheaton Biennial: Print- New England arts community’s place in the Fraone’s piece is complemented by making Reimagined” exhibition being wider international market. Greg Morell’s profile ofHarriet Diamond, held at Wheaton College in Norton, Mass. This issue’s centerfold winner, with whose “Driven from Their Homes” sculp- Another part of the national discussion, an artificial intelligence theme, isWilda tures are intended to capture the feeling gun ownership, is the focus of “Unloaded,” Squires’ “Gold Abstract.” Thanks to our of being a refugee forced to escape their a nationally traveling show arriving at The judges: Jo Broderick, dean of college home country with what few possessions Institute of Contemporary Art at Maine relations and special assistant to the they can take; they’re are on view this College of Art this spring; J. Fatima president at Montserrat College of Art; March at Northampton’s Oxbow Gallery. Martins, in previewing the show, notes Susan Reid Danton, executive director, South Korea-born Dartmouth professor that it’s a serious exhibition. “It is not a Miller White Fine Arts, South Dennis, Soo Sunny Park has been establishing show that one takes in for pure pleasure.” Mass.; and Vanessa Boucher, artscope’s a name for herself both nationally and It certainly addresses the question of media development associate. For our next internationally, with recent shows at New what role can art play when it comes to contest, we’re looking for your best original Britain Museum of American Art and the highlighting issues of the day. visionary and outsider art work; full details Sharjah Art Museum in the United Arab Suzanne Volmer has been keeping can be found in our Classifieds section. Emirates; Donna Dodson puts the spotlight a close eye on recent developments in This is an issue that was built for on her “BioLath” exhibition on view Boston’s SoWa District; her profile of repeated readings; we hope you’ll through August 6 at the Currier Museum Gallery BOM and its focus on Korean explore the works of our “Eleven for Our of Art in Manchester, New Hampshire, artists is complemented by her profiles Eleventh” artists and take in a number of which promises to be one of the highlights on Rhode Island printmaker Elizabeth the spotlighted exhibitions. May we cross of the region’s 2017 schedule. Goddard and paper artist Barbara Owen. paths along the way…. Elizabeth Michelman visited the studio Marguerite Serkin “campaigned” for her profile on Vermont watercolor and oil of Iran-born artist Roya Amigh, who Brian Goslow, Managing Editor painter David Rohn, whose work can be earned her MFA at Boston University, to [email protected]

8 MAR/APR 2017 CORNERED: MOHAMAD HAFEZ

One of the most divisive issues facing detail as a teenager. But as time went on, [endangered] kid, not one more gruesome our nation today is that of immigration. Hafez began modeling the effects that the shot.” Fanning the flames of that political hotbed bombing was having on Syria’s buildings, I am by profession an architect so are the raging international conflicts that homes and streets as a reflection of his we believe in the power of models, are resulting in staggering numbers of pain at the deep and unfathomable loss sculpture and the self-seen physical refugees. Mohamad Hafez, an architect his country was experiencing. presence of an architectural setting, and artist currently residing with his From April 4 to April 30, Lanoue Gallery, and realism is a big part of this. With family in New Haven, Conn., was born 450 Harrison Ave., Boston, in collabora- high detail in my sculp- in Syria. With horror and tremendous tion with the office of Congressman Seth tures of the remod- sadness, he has watched from afar as his Moulton representing Massachusetts’ eled destruction, beloved homeland is obliterated by a civil 6th Congressional District and Harvard you cannot look war that has turned more than 11 million University’s Middle Eastern Initiative, away no matter Syrians into refugees. will be hosting “A Homeland inSecu- what your When Hafez first moved to the United rity,” a public exhibition of Mohamad views or where States on a student visa to study archi- Hafez’s miniature models. Also, Hafez’s you stand on the tecture, he discovered that his visa was “Desperate Cargo” will be on display at [political] issues. Your only valid for one entry. Being Muslim and the Groton School’s Brodigan Gallery eye is so attracted to this highly having a name like Mohamad in a post-9/11 from April 9 through May 19, with the detailed miniature model; it’s embedded America meant that visiting home was to artist talk being given in the Performing in our subconscious that we get pulled risk never being let back in. Arts Center’s Black Box Theater, on March into details if it’s very realistic looking. So, I He spent the next eight years in the U.S. 7 at 2 pm. realized the power of the model form early without once seeing his homeland. Hafez What follows is a conversation between on in my architectural studies. My hope is coped with his homesickness by creating Lanoue’s gallery director, Gina Fraone, for the viewer to consciously and subcon-

highly detailed and intricate miniature and Hafez about the artwork that will be sciously escape into the piece. If they dive Collateral Damage. models of the neighborhoods he had on display at Lanoue Gallery in April. so into the piece, perhaps they will forget wandered about and sketched with loving that they are looking at a model and that a GINA FRAONE: WHAT COMPELS meaningful connection will be made right YOU TO CREATE SCENES OF there. I sometimes add lights or even have

TRAGEDY IN YOUR ARTWORK? smoke coming from some of the pieces so Baggage Series 4. HOW IS VIEWING ARTWORK OF that all five senses are engaged. BOMBED BUILDINGS A DIFFERENT EXPERIENCE THAN VIEWING THERE ARE NO HUMAN PICTURES AND FOOTAGE OF THE FIGURES IN YOUR ART PIECES. ACTUAL BOMBED NEIGHBOR- AND, YET, ONE GETS A STRONG HOODS IN THE MEDIA? SENSE OF HUMAN PRESENCE MOHAMAD HAFEZ: WHEN VIEWING YOUR WORK. That’s a good question. The human mind is so sophisticated. It People have been desen- fills in details that are not there. There’s sitized to what they see in a hairline difference in something looking the media. There has been detailed artistically and something that so much coverage of carnage might look kitschy, like a dollhouse for — it’s easy for everyone to get example. That’s not something I am overwhelmed and want to just willing to risk and that’s why I don’t add “swipe” to the next article or any scale figures [to represent humans] skip that Facebook feed — it would then look only like an architec- [on the Syrian crisis]. The tural model. If the scale figures are not media even call it “Syria there, undoubtedly the human brain will fatigue.” The viewer then fill in that human presence. of the news can’t help but say, “Oh AND YOU ALSO HAVE OTHER god not one more SIGNS OF HUMAN PRESENCE

MAR/APR 2017 9 Cornered

We Have Won (detail).

IN THE WORK THAT I FIND SO HOW DO YOU FEEL DURING So, like I said, initially all these works POIGNANT — HOME FURNISH- THE PROCESS OF MAKING are just a therapeutic process for me to INGS, LAUNDRY DRYING ON A THESE MODELS OF DESTRUC- get it off of my chest. None of my work is LINE, SIGNS OF GARDENING, TION FOR A PLACE THAT IS SO planned or drawn before I start. I will have COOKWARE, TOOLS, ETC. PERSONAL TO YOU? a rough idea; sometimes I will start with a Yes, I believe that the mark that That becomes in a way a therapeutic found object and design the whole scene humans leave on architecture is a lot process for me. I am not the kind of person on the spot around that found object. But more powerful than adding a scale figure, that talks a lot about turmoil like this, and no matter what, it’s always all done on the especially if it adds to the personal story what we’re feeling, but undoubtedly, the spot. And that’s because destruction is not of the piece. I have also included, in some weight of the emotions is very heavy inside planned, there is nothing that makes sense pieces, Syrian voices and city sounds I all of us. So indulging in high detail, in hours about it. And I keep having these conversa- recorded during my last trip in 2011, just and months of each piece, in an ironic way tions with myself, when I am making these before the war had erupted. alleviates that pressure inside me and even pieces, that something might look absurd, It’s also worth noting that these pieces grows into an art piece. I believe that this might look foreign in the setting, that might are made for me first, to sort of exhale my energy that has been inside me is a real look like it doesn’t belong to the original nostalgic feelings of my home, my deep emotion that has now been embedded building, so I tell myself that’s fine. Because, pain of witnessing the death of home. The inside a new piece, and because it stems guess what? When a bomb falls and obliter- voices, the sounds, it’s an armature for from real emotion, the viewer is seeing it as ates a whole neighborhood, there’s nothing me to put that memory in a capsule, in a real emotion; they’re sensing it. It’s coming that makes sense about it. And that’s what I model, at a moment in history. from real pain. try to model in these pieces.

10 MAR/APR 2017 CORNERED: CONGRESSMAN SETH MOULTON

Seth Moulton, Congressman for Massachusetts’s 6th Congressional District (which includes most of Essex County, including the North Shore and Cape Ann), was introduced to the art of Mohamad Hafez through Chris Mawhorter, the Middle East Initia- tive events assistant at the Harvard Kennedy School. The two offices began to collaborate to help Hafez find a proper venue for a public exhibition of Baggage Series 4 (detail). Hafez’s miniature models. Gallery owner Susan Lanoue became SO THE PROCESS IS THERAPEUTIC FOR YOU, BUT aware of their efforts through mutual THEN HOW DO YOU FEEL WHEN YOU STEP BACK contacts. Moved by Hafez’s message AFTER A PIECE IS COMPLETED AND YOU VIEW and stunned by the work’s quality, WHAT YOU HAVE JUST CREATED? Lanoue volunteered both her space It depends. When I finished the piece called “Collateral Congressman Seth Moulton. and curatorial team toward the cause. Damage,” which showed an open intersection in a city that Gallery Director Gina Fraone, on artscope’s behalf, conducted an email interview was fully decimated, and I played the soundtrack that I had with Congressman Moulton to learn more about his own personal interest in recorded from my parents’ balcony before the war, the first Hafez’s work. time I played that with my wife, we actually collapsed in tears. But then quickly after these objects become strangers to GINA FRAONE: WHAT STRUCK YOU AS SPECIAL ABOUT me. You might find this interesting, but I feel no sense of owner- MOHAMAD HAFEZ’S WORK? ship and pride in these pieces. Once they’re made, we get our SETH MOULTON: Mohamed’s ability to capture the grim reality facing the first conversation with the pieces, and they leave me andI Syrian people is moving. And his commitment to use his work as a platform leave them in peace. for creating awareness of the Syrian Civil War is inspiring. He shows the deep Because of the high level of detail, when I come back and humanity of the people affected by this unimaginable tragedy, and his passion visit these pieces after a month or two, honestly, it’s like I am and mission align with my own efforts to call on Massachusetts, and people looking at the piece for the first time ever, like I had never around the world, to help these refugees. touched it. I mean, I would remember certain areas that I worked on but most of the detail I can’t even recall putting it WHY ARE YOU HOPING THE PUBLIC GETS A CHANCE TO SEE there. So, in that sense, it gives back to me, and I look at it as HAFEZ’S WORK IN PERSON? though I am the viewer, believe it or not. Every day, Americans get just a little exposure to the atrocities occurring abroad through the media. Mohamad’s art helps bring it home by immersing THIS SHOW WILL BE ON VIEW FOR A MONTH AT people in the experience. When he tells the story of how his family escaped, LANOUE GALLERY. WHAT DOES THIS EXHIBITION people feel a more personal connection to the crisis. His art may make people MEAN TO YOU? uncomfortable, but the public will leave with a better sense of the Syrian I feel a great responsibility to use my artwork as a way struggle. And, hopefully, that will inspire them to join in the national discussion to communicate on behalf of refugees who have not had on what to do about it. circumstances as fortunate as mine. I want to use this platform that I have in the West to advocate for those that are deeply HOW DO YOU FEEL ABOUT THE IMPORTANCE OF HAFEZ’S suffering. You don’t risk life and limb, the life of your beloved ARTWORK CONSIDERING THE CURRENT REFUGEE CRISIS? children by crossing the sea in a flimsy flotation device in There is an appetite across this country for taking care of people who find the dead of night unless the sea has become safer than the themselves in unfortunate circumstances. It is our responsibility, as Americans, ground you are escaping. My art is a way for me to convey that to reasonably ensure that all people have an opportunity to live their lives to refugees are normal human beings, with families and dreams their fullest potential. This includes providing a safe haven for those who are and aspirations, just like any American. My art is a voice for the affected by war in the Middle East. We need to distinguish between those who Syrian refugees, for Muslim Americans, for forced migrants. are running from war from those who are waging it. Mohamad’s artwork and I understand the fear of the unknown. But I hope people will story demonstrate that difference; he shows that refugees are decent people come to this exhibit, perhaps meet me and talk about my work just like us here. with me, and let us find the common ground that connects us all as human beings.

MAR/APR 2017 11 Eleven for our Eleventh HARRIET DIAMOND AN EXODUS FROZEN IN TIME

When you walk through the doors the artistic aesthetic contrasted other businesses, has been sold to of Northampton’s Oxbow Gallery on with the horror of man’s inhumanity Lincoln Realty, which recently signed OXBOW GALLERY March 2, be prepared to confront to man so chillingly depicted in her the existing commercial tenants to a 275 PLEASANT something completely different. It highly unusual installations. one-year lease. STREET is the official opening of Harriet This is the first time that Diamond The timing of “Driven from their NORTHAMPTON, MASSACHUSETTS Diamond’s “Driven from their will have an entire gallery space Homes” comes with a note of strong MARCH 2 Homes,” an installation of over 100 to tell her tale. The Oxbow is a immediacy. The plight of refugees THROUGH 26 ceramic figurines retreating from Northampton fringe gallery carved has captured the nation’s conscious- the horrors of wartime destruction, out of an ancient storefront. It is an ness as President Donald Trump seeking escape and a flight from artist’s collective of 36 members battles with the American Civil Liber - oppression in an attempt to survive that is democratically run and ties Union (ACLU), state attorneys and emerge into safety. It is an administered, and unlike many other general, the full legal system and exodus frozen in time. gallery co-ops of similar nature, it members of Congress. They deride I first became aware of the work has survived. Trump’s proposed ban on refugees

of Harriet Diamond at one of Terry The enormous three-story brick from seven Middle Eastern countries Embarking. Rooney’s Amherst Biennials. Diamond edifice that contains the Oxbow, along as unconstitutional, unconscionable, had created a piece called “The Pit,” with a series of apartments and four un-American, immoral, racist, unjust a startling work that became affixed in my mind. In my brief capsule of the “The Pit” in the exhibit catalog, I had this to say: “The centerpiece is a remarkable floor-to- ceiling phantasmagoria depicting the nightmare of the war machine. Entitled ‘The Pit,’ the highly theatrical parade of tanks, soldiers and artillery descend down a convoluted gyre of horror. It is a marvelous construction of molded clays and textured architectural walls that fall into a Dantean inferno of doom. Powerful and intriguing, this is a chasm of poignant commentary.” What is so disarming about the work of Harriet Diamond is the childlike innocence of

12 MAR/APR 2017 PERSISTENTLEGACY MEMORIES Susan Denniston, Kelly Knight, Anne Plaisance,JUNE 3–JULY Lorraine 10 Sullivan

Nina Earley, Stacey Piwinski, Brian Wilson

The Three Cent Memory (Detail), Lorraine Sullivan

OPENINGFEBRUARY RECEPTION: 24–APRIL FRIDAY, 9,JUNE 2017 3, 6–8PM

119119 RIPLEYRIPLEY ROAD ROAD, • COHASSET,COHASSET, MA MA 02025 02025 • •781 781 383 383 2787 2787 • WWW.SSAC.ORG • www.ssac.org

The Long Line. and unholy. The debate is vociferous and fuels the deep political rift in the nation and the grand divide between our two political parties. Lavaughan Jenkins Diamond is firmly committed to her active participation in social issues as well as in her artistic expression. She has been very busy The WATCHERS working on this installation for over two years. Who would have imagined that the installation would open as the debate on the issue of refugees and immigration rages on the front page of every newspaper? Of her work, Diamond stated, “I trying to place the viewer right in a series of scenes, so they can voyage along with these refugees and for a few moments be one of them. Like ‘Oh, I am carrying a huge bundle on my head,’ and ‘Oh no! I am hurrying by dead bodies in the street and I don’t want to look.’” She describes her 8- to 9-inch fired and painted ceramic figurines as, “wheeling suitcases, carrying children, talking on their cellphones. Some are near tears, some are chatting, and some are just trudging. The figures are sculpted as individuals, each with his or her own thoughts and gestures … some are looking for their loved ones, some are running to escape, some are grieving.” Diamond’s working technique is an eclectic expression of mixed media: sculpted clay, wood and latexed Styrofoam, supplemented with February 20– June 1 2017 drawings and renderings. Additionally, many unexpected materials end up in the work that Diamond discovers while working organically. Hess Gallery Pine Manor College Nothing is sacred; if it serves its purpose, she will use it. 400 Heath Street Chestnut Hill MA Hours / directions: pmc.edu/hess-gallery | Greg Morell An artist lecture will take place Wednesday April 12 7:00pm Campus Center President’s Dining Room Free and open to the public

MAR/APR 2017 13 Reviews SOO SUNNY PARK AT CURRIER EXPLORING THE SPACE WITHIN

Soo Sunny Park is one of New porary Connections” series. Her ‘BioLath,’ explores a variety of liminal England’s most talented artists. With project, ‘BioLath,’ will be on view spaces between inside and outside, CURRIER MUSEUM OF recent shows at the deCordova Sculp- through August 6. “I am thrilled to be nature and artifice, sculpture and ART ture Park and Museum and Burlington working with an artist like Soo Sunny drawing, vision and perception, and 150 ASH STREET City Arts in Vermont that launched Park who is visionary, collaborative light and shadows,” Cataldo continued. MANCHESTER, NEW HAMPSHIRE her national and international reputa- and endlessly energetic,” Cataldo said. “Park transforms metal lath (a material THROUGH AUGUST 6 tion, she has been awarded a grant “Sunny is interested in liminal that is ordinarily used to lend unseen from the National Endowment for the spaces, those occupying a position strength to walls) into self-standing, Arts to create new work at the Currier at, or on both sides of, a boundary organic forms that take on biomor- Museum of Art in Manchester, New or threshold. Her installation work is phic, natural associations such as Hampshire. Park’s “BioLath” promises often made from materials that are human organs or glacial boulders. The

to intrigue and delight her devoted themselves interstitial — sheetrock, hybrid title of this work derives from Soo Sunny Park, concept fans and stretch the boundaries of fencing, plastic, glass, etc. Light is these forms, which are also fitted with model for BioLath, perception to reach new audiences. an important element of her work as colorful strips of Plexiglas. installation at the Currier Museum. Assistant Curator Samantha well, as she thinks of it as a sculptural “They will be suspended from Cataldo and the Currier Museum of material that forms a part of the work. the ceiling, resting against walls, Art selected Sunny for their “Contem- “Her new installation for the Currier, and placed on the floor throughout

14 MAR/APR 2017 the museum’s windowed Putnam SOO SUNNY PARK AT CURRIER Gallery. The artist has designed the installation so that shifting sources of natural and artificial light pass EXPLORING THE SPACE WITHIN through and reflect off of the forms, resulting in animated wall drawings throughout the space.” Park embraces new challenges and builds viewer excitement by working with the moiré effect in “BioLath.” Using overlapping layers of metal lath and a traveling light source that will generate projections on the walls, she aims to create intriguing and engaging geometric patterns. Sculp- tures that invite the viewer to shift their visual perspective are at the foundation of her work. Soo Sunny Park is a rising art star. In addition to being a full-time professor at Dartmouth College, over the last 18 months, she has exhibited four major projects nationally and internationally. Never looking back was to create a large-scale floating dancing light, reflection and shadow. Unwoven Light, Rice or repeating herself, she is always piece from a stationary tabletop Park also drew directly onto the walls, Gallery, Houston, Texas stretching, reaching and growing as a maquette. She used clear Plexiglas with charcoal and graphite, creating a (Photo by Nash Baker). sculptor to reach her goals. woven into half-inch metal mesh. The dialogue with the light, shadows and The New Britain Museum of process involved problem-solving as line drawings. American Art commissioned Park’s well as trial and error to create what In January Park closed a major recent work “Boundary Conditions,” she called “sinuous, large, sprawling international project: The 19th Sharjah a site-specific installation and immer- structures that transmit, reflect and Islamic Arts Festival at the Sharjah Art sive experience that closed at the end refract light.” The resulting sculpture Museum in the United Arab Emirates. of February. The challenge for Park transformed the space into a sea of She was invited to create new work for

the festival’s theme of “Bunyan,” Boundary Conditions, New Britain Museum of American Art, New Britain, Conn. Photo credit: Jody Dole. which loosely translates to “structure, or man-made construction.” For this project, she created “Luminous Muqarnas,” an installation using playful, multi-colored cut Plexiglas, mesh steel and light. Muqarnas is a form of architectural ornamented cupola, sometimes also called a honey- comb vault, often seen in mosques and cathedrals. Park laser-cut the Plexiglas panels with Islamic patterns that she mounted onto the small dome shapes and lit from below, projecting shadows onto the ceiling. The play of abstract geometric forms with organic shadows and light is a signature of her work.

MAR/APR 2017 15 Reviews

That same month, Park closed and yellow-green another solo museum installation reflections that at the Marshall M. Fredericks Sculp- both mirror the ture Museum in Michigan. For this shape of the fence project, she created “Unwoven Light,” and restructure the a monumental sculpture composed space they inhabit.” of welded chain link fence sections, Park was born in dichroic cut Plexiglas pieces and Seoul, South Korea natural light. and grew up in “Unwoven Light” refers to the way Georgia and Florida. iridescent Plexiglas unravels the She received her color spectrum of any light source, BFA in painting and how the piece changes with and sculpture from daylight and the angle at which the Columbus College sculpture is viewed. of Art and Design in “We cannot see anything without Ohio and her MFA light. Light allows us to see everything. in sculpture from The sculpture aims to draw attention Cranbrook Academy to light as a material of the sculpture,” of Art in Michigan. Park said. This piece has been one After a residency at of her most popular installations; it Skowhegan School had previously been exhibited at the of Painting and Dennos Museum Center in Traverse Sculpture in Maine, she worked in the Internet for making worldwide

City, Michigan, and Rice Gallery in St. Louis, Missouri as an installation connections. The Currier show will Concept model for BioLath, Houston, Texas, where it originated. artist and lecturer at Washington no doubt bring her work to new installation at the Currier “We see only what light reveals,” University before coming to New audiences, and allow those familiar Museum © Soo Sunny Park, Park said in her artist statement for Hampshire to teach at Dartmouth with her work in New England to see 2017. the work. “In doing this, however, College. Park has won a Joan Mitchell her new work. Soo Sunny Park is the light itself stands aside. We don’t Grant, the Rockefeller Foundation traveling at the speed of light. notice light when looking, so much Bellagio Center Fellowship, and her as the things light allows us to see. work has been written about in Time | Donna Dodson This piece explores light’s potential and Vogue. as a structural element in sculp- Park says that she is fortunate ture. The woven form of a chain link to work outside of the commercial fence, fitted with Plexiglas diamonds, gallery scene, teaching, inspiring unweaves the light. Now we can see others and making new work nation- it — the light — the purple shadows ally and internationally. She credits

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16 MAR/APR 2017 JAN/FEB 2017 17 Reviews IF THE SHOE FITS... CODING AS A DESIGN TOOL AT TUFTS

It is said that every age has its own suppress those lustful thoughts? becomes: will this garment trend, fashion expression, in pleasure, in wit This unique bodice-ensemble is, designed to regulate truth, lead to a new and in manners. Tuft’s cutting-edge in essence, a wearable bio-indicator, affirmation that dishonesty, jealousy, TUFTS UNIVERSITY exhibition, “Coded_Couture” shows an ethical whistle-blower on our true envy, hatred and all negative emotions ART GALLERY fashion design as the impetus for a emotions. This provocative sentry and may be automatically halted via the AIDEKMAN ARTS digital Magical Mystery Tour that boldly the dilemma created are precisely what instant bio-feedback we wear? Are CENTER transgresses the traditional boundary of intrigues artist/designer Rebeccah shyness and coyness to be purged as 40 TALBOT AVENUE couturier. Pailes-Friedman in offering “BioWear,” undesirable emotions? MEDFORD, MASSACHUSETTS This couture-collection explores the 2015, composed of leather, feather and Even the late Yves Saint Laurent, the THROUGH MAY 21 stylish language of personal adornment, electronic components. world-famous, iconic Parisian couture albeit shaped by an imaginative cyber- In her “BioWear,” the garment alludes designer, could not have foreseen this technology theme, reflecting on the to its elegant haute couture origin and quantum leap ahead to an unknowable social impact of the interactive, smart- resembles a pair of angel’s wings, made threshold of a brave new reality. phone-toting, dynamic social-networking of lush, lofty feathers cascading from Another fashion-item in the show that world we wake up to each day. the wearer’s bare shoulders down to her also wrestles with the human psyche and In this cyber-transformed world, what lower back, strapped tightly against the human identity as a theme is a daring if we felt a sudden urge for flirtation and torso. These shiny, black wing feathers collaboration from Dutch designers a tingling surge of desire for another quiver and flutter as you stand motion- Melissa Coleman, Joachim Rotteveel and person whom we had just met? But, we less, detecting and showing the wearer’s Leonie Smelt. Their “Holy Dress,” 2012, were reluctant to express that romantic inner state of arousal and attraction a gold-plated metal dress with commer- attraction. Then, suppose that placed toward another person. Does this cial lie detector, shock-training dog in direct contact with our skin are tiny garment keep us honest to a fault? And, collar, LED lights, fabric dress, custom electrical nodes directly measuring a is this garment an unwitting guardian of electronics and video all take behavior miniscule rise in body temperature, the heart that would lock us out from the modification to another level. triggering a corresponding signal sanctuary of our own secret garden? Through a speech-recognition relayed throughout the garment Pushing this scenario a few uncom- system, the Holy Dress analyzes the we wear, overriding our shyness to fortable steps further, the question wearer’s voice stress level; when a lie

Cedric Flazinski, shoes created from responses to MyDesigner website, 2008-10, shoes constructed of leather and rubber.

18 MAR/APR 2017

Melissa Coleman, Joachim Rotteveel, Leonie Smelt, Holy Dress, 2012, gold-plated metal dress, commercial lie detector, shocktraining collar for dogs, LED lights, fabric dress, custom electronics, video (Courtesy of Melissa Coleman, Leonie Smelt, Joachim Rotteveel. Photo by Sanja Marusik). is detected, the dress lights up and delivers electrical shocks through the dog-collar to the wearer, thus disciplining the wearer to be more truthful. This punitive concept of behavior modification utilizing aversion therapy was first brought to the public’s attention by director Stanley Kubrick through his 1971 British feature film “A Clockwork Orange,” now considered to be a dark and satirical movie classic where law enforcement and psychiatrists deploy shock-therapy techniques to reform violent tendencies and criminal behavior for societal good. Forty-six years later, the Dutch embroidery, acetate scales, silicone burns ever so brightly. Ethereal answers artists’ “Holy Dress” is a timely piece and glass crystals. It is a wearable about life are out there. that would ask us to ponder again piece that uses tissue engineering the difference between the good and and bio-inkjet printing to fashion | Franklin W. Liu the evil of human behavior in a world scales. No natural or synthetic- filled with terrorist bloodshed. Is blend fabric was used here as torture applied in the name of good part of the design. or evil, a matter of mere shifting, Setting the fundamental utili- subjective consideration? tarian purpose of clothing aside, Thompson Gallery Subjective preference is part of it’s clear that “couture” always decisions we make daily as individ- yearns for something more uals. A Swiss artist/designer focuses conceptual and abstract. It was his attention on the concept of inevitable that fashion would branding one-of-a-kind shoe designs embrace digital technology that are produced based on psycho- with a blending of program- logical and personality profiles devel- ming coding as a design tool in oped by the late Swiss psychologist stitching together a process- Carl Jung. The culled info is then fed oriented, digital-hybrid garment into a computer program developed that will raise issues of our by Netherlands artist/designer Cedric existence and challenge the Flazinski. “Mydesigner,” 2008, is a values we hold. shoe-shape object custom made with So, what does it really mean leather and rubber. to be human, warts and all? The Flazinski’s 12 shoes on display are works of these 13 international a metaphor for personality branding. artist/designers will give you a The shoes are Objects of Desire, prophetic, fascinating glimpse much like glass slippers, to be beheld that fits into four categories: but never worn as ready-to-wear biological, cultural, psychological shoes. The shoes’ genesis and design and synergistic. development are digital coding of Do wear something unique that personality traits. makes a statement when you strut British designer Amy Congdon’s to see this exhibition. Join others Aboudia—Light & Dark “Back Piece,” 2012, from “Biological in gazing toward the horizon, for March 28 — June 9, 2017 • thompsongallery.csw.org Atelier SS 2082,” is composed of our future, like the rising sun,

MAR/APR 2017 19 Featured Exhibition A POWERFUL MESSAGE WEAPONS UNLOADED IN MAINE

In the exhibition catalog for “Unloaded,” artist-curator Susanne Slavick writes what we already know to be true: “The American INSTITUTE OF intimacy with guns has many roots, largely CONTEMPORARY ART stemming from the culture’s glorification AT MAINE COLLEGE and protection of individualism and personal OF ART 522 CONGRESS liberties.” STREET “Unloaded” is a traveling exhibition that, PORTLAND, MAINE since 2015, has already been installed in six venues, the most recent presentation MARCH 16 at the Bolivar Art Gallery at the University THROUGH APRIL 14 of Kentucky, Lexington. After its showing at the Institute of Contemporary Art at the Maine College of Art in Portland, it travels to Atlanta and Minneapolis. The use of weapons in art is not new. Modern and contemporary artists have been taking firearms of various kinds and using them as either raw material in their artwork or as inspiration and motif subject for centuries. Some artists use firearms as tools to create a form by “shooting” objects and using the process of destruction via guns as

a method to make unique visuals. Susanne Slavick, (Re)Setting While many artists use the gun motif Sights, 2002; screen prints on because it’s “cool” and it sells, there are Stonehenge; 22” x 30” each. others who approach the subject with great seriousness. These artists depict the firearm form to openly confront the anxiety over ownership and cultural violence, as well as the strange beautiful fabrics, tapestries and crocheted covers, alluding admiration that people have with weapons as symbols of to the normalization and hidden reality of violence within power. domestic spaces. The most intense conversations are those surrounding In “Unloaded,” Slavick has assembled a group of 21 artists guns and children, women and domestic violence. Two New from across the country who “visualize the power of the England-based artists (who are not included in this exhibi- gun as icon and instrument, the damage it can do and how tion but merit mention here to provide local context) come to weapons might be rejected, broken or silenced.” As the title mind immediately when thinking of this subject: Providence, of the exhibition implies, the artwork depicts firearms that Rhode Island-based John Buron, who depicts gun imagery have lost their power; they either have already “unloaded” from vintage 1950s and ‘60s decontextualized pictures of ammunition metaphorically, or they have yet to be “loaded” children playing with toy guns. Buron is also is well-known with bullets. The artists in “Unloaded” examine and present for a hanging mixed media installation featuring the decon- the “role that guns continue to play in our national mytholo- structed image of a gun in black-and-white line drawing, as gies, suicide rates, individual and mass murder, domestic well as other larger prints and videos alluding to American violence and the militarization of civilian life.” “gun culture.” In Somerville, Mass., Yorgos Efthymiadis Artists Lauren F. Adams, Natalie Baxter, Nina Berman, continues a photography series of various types of antique Joshua Bienko, Casey Li Brander, Anthony Cervino, Mel Chin, pistols deliberately arranged in organized patterns on top of Cathy Colman, dadpranks, James Duesing, Jessica Fenlon,

20 MAR/APR 2017

Adrian Piper Imagine (Trayvon Martin), 2013; TIFF formatted digital image on Hahnemühle paper; 10.43” x 10.76”. Collection of the Adrian Piper Research Archive Foundation Berlin. ©APRA Foundation Berlin.

Vanessa German, Jinshan, Andrew Ellis Johnson, Jennifer Meridian, Adrian Piper, Don Porcella, Devan Shimoyama, Renee Stout and Stephanie Syjuco join Slavick in the show. The most alarming works are those conveying innocence, guns as toys and the unsettling behavior of playing war or killing for fun, as well as the casual enjoyment of weapons as decoration, glamorous accessory and collectors’ item. As Slavick points out in her essay regarding children and the work of Nina Berman in the series “Homeland Series: Human Target Practice, All American Day, Ft. Bragg, North Carolina, USA, 2006,” “They are not terrorized; instead they are being the box, a toy gun with ‘ABC’ stamped commits it.’” It’s impossible to not think acculturated to weapons.” on its metal barrel is juxtaposed of the 2012 massacre at Sandy Hook Of the works referencing children, with a cutout of a girl in a pink floral Elementary School in Newtown, Conn., Renee Stout’s “Baby’s First Gun,” dress. Below, flanked by smiley faces, when looking at “Baby’s First Gun.” 1998, is the most disturbing. Slavick is another biting caption: ‘Society Violence as casual play is the describes the artwork this way: “Inside prepares the crime … the criminal subject of Jennifer Meridian’s “A City without Guns,” 2014. The sculpture is an ongoing assemblage of found sticks from trees. Tree branches and sticks are human’s oldest known weapons and they continue to be used by primates during fights in the wild. Children use sticks all the time in play form to hit inanimate objects as well as each other in play-acting situations and fantasy. In this series, Meridian recognizes them as “guns” as “an indicator of both childish and adult urges, urges that may remain harmless within the imagi- nary but harmful in reality.” The idea of “fantasy” is taken up by Jinshan, in “I also like hijacking,” 2008, a photograph taken at Shanghai Airport of a plastic water rifle pointed at an airplane in the sky.

Dysfunctional weapons as decora- Mel Chin, Cross for tion is the theme of Mel Chin’s “Cross the Unforgiven: 10th for the Unforgiven: 10th Anniversary Anniversary Multiple, 2012, 1 of 2, AK-47 assault Multiple” (2012), featuring the AK-47 as rifles (cut and welded), 54’’x54’’x3’’.

MAR/APR 2017 21 Featured Exhibition

a Maltese cross. In this sculpture, the AK-47 is raw material, unloaded of its potential violence, yet still containing poignant meaning. In the exhibition catalog, Slavick shares the backstory as told by the artist: “When the artist Mel Chin approached a local country store for eight AK-47s, the proprietors asked, ‘What you’ens gonna do, start a war?’ Chin recounted that he answered that, ‘There was one going on already and I was going to make a sculpture. Deathly silence followed but they figured a way for me to purchase all eight that day. Word got around when it was done, and a sickly woman came calling on Christmas Eve through the falling snow. She had come to see the cross. I pontificated that the Kalashnikovs, a new international symbol of resistance to the West, formed this Maltese cross from the times of the Crusades, now eternally welded in opposition.’” Lauren Adams also confronts the use of guns as decoration infused with meaning in “Granny Smith & Wesson,” 2003, a photograph of a foot stool, hand-painted acrylic on appropriated fabric and furniture from the series “Domestic Disturbance.” The repetition of the Smith & Wesson handgun in the footstool’s covering suggests how violence is at the foundation of American culture, literally at our feet. Guns, cultural oppression, poverty and race are the subject of Vanessa German’s mixed-media work. German, who lives in Pittsburgh in one of the neighborhoods deemed “the most violent in America,” is a visual artist, writer and poet who builds up sculptures with African American imagery within the American cultural context. Of German’s work, Slavick writes, “‘Unwhipped’ shows a black child with a toy gun balanced on her head. She Egg layers 36” x 48”, acrylic on canvas, is a survivor. The gun’s barrel has the orange tip that distinguishes it from the real weapons that rupture the lives around her.” While the black child in German’s sculpture is a survivor, the one in Adrian Piper’s digital image is not. Piper depicts a faded image of murder Layers & Layers victim Trayvon Martin as target practice. In this work, from 2013, Piper invites the viewer to “step outside themselves, to identify with someone By Jung HUR like Martin,” who was only 17 years old when fatally shot by a neighborhood February 16 -march 31 vigilante. In Slavick’s own work, “(Re)Setting Sights,” 2002, the idea of being a target along with the cycle of violence within soft domestic spaces is the conversation. The work depicts white bed pillows with what look like red blood stains where the head had been resting. Of her piece, she writes, “Would that our aim inspire rather than inflict, nurture rather than annihi- late, and question its own direction.” “Unloaded” is a serious exhibition. It is not a show that one takes in for pure pleasure. Susanne Slavick has done a superb job organizing a stellar group of artists as well as researching and writing the exhibition catalog.

| J. Fatima Martins

Soo jin kim april 1 -may 15 460 harrison avenue b7, Boston, ma 02118 617•651•2664 • www.gallerybom.com •[email protected] ‘Some Semblance Of’ Comeau and Carpenter FineEd Art Oates Museum

April 19 - May 26 Opening Reception: April 22, 5-7pm

ArtSpace Gallery | 63 Summer Street, Maynard, MA 978-897-9828 | artspacemaynard.com | Hours: Wednesday - Sunday, 11-3 pm

Paintings | Prints | Sculptures 896 Sandwich Road PO Box 486, Sagamore, MA 02561 By Appointment 508.737.2015 March 1 - April 14 Opening Reception: March 11, 5-7pm edoatesfineart.com ArtSpace Gallery | 63 Summer Street, Maynard, MA 978-897-9828 | artspacemaynard.com | Hours: Wednesday - Sunday, 11-3 pm Eleven for our Eleventh DAVID ROHN IT’S A WONDERFUL LIFE

The paintings of David Rohn honor Rohn is equally comfortable in Platter,” a 15” x 22” still life epitomizing symmetry and unpredictability. Putney and in Marseille, where he Rohn’s mastery in translating a simple MITCHELL • GIDDINGS Working in watercolor and oil for over has lived and worked as a La Napoule scene into a piece which is at once FINE ARTS seven decades, Rohn creates still lifes, Art Foundation fellowship recipient, archetypal and tender. “David Rohn: 183 MAIN STREET landscapes and portraits by combining and also while on sabbatical. There Watercolors: 1974-2016” runs from BRATTLEBORO, VERMONT radically independent expression with is a distinct identity in Rohn’s French March 16 through April 23. MARCH 16 THROUGH the discreet laws of natural placement. landscapes that conveys just how Born in 1934 in Ludington, Michigan APRIL 23 Form and the illusory play equal deeply the artist internalizes and to a self-described “privileged family,” parts in his paintings, as does his recreates the intangible qualities of Rohn had little exposure to the arts as a inimitable use of light and shadow. As his subjects in a visceral way. The young person. “I was a child of World War though imbued with a reverential gift to immediacy and movement of his water- Two,” he explained. “I was at the age to portray the luminescence of everyday color “Vieux Port, Marseille” perfectly play soldier. The idea of being in uniform situations, Rohn’s watercolors and captures the glinting light and vibrancy was very appealing. I went to a military oils have a low frequency warmth and of this storied coastal city. school which had an astonishingly bad gentle sensitivity, echoing the varied Mitchell•Giddings Fine Arts in Brattle- art program, and I started cartooning. sensibility of 19th century masters. boro is hosting a broad exhibit of Rohn’s “I was an avid cartoonist all through The drive to Rohn’s house in Putney, watercolors, including “Vieux Port, high school, because as a kind of a Fern, Fan and Black Vase, Vermont winds up a dirt road no wider Marseille.” Among the works on view is, scrawny kid at an age when athletic 1999, watercolor. than a logging trail. Leading through “Orange Juice and Glasses on Japanese ability is paramount, I liked to show stands of old trees and opening onto a towering sculpture garden created by neighboring artist Charles Ginnever, one can see why Rohn credits the Vermont landscape with many of his most enduring works. Rohn’s house resembles more a lively and serviceable home than a decorated residence. Behind the hand-pull doorbell hangs a sign with a single painted eye, reading “Door Bell: Agitate.” Inside, the living room welcomes in daylight through bay windows reaching to the ceiling. The walls are lined with paintings by beloved fellow artists, among them Frank Stout, Wolf Kahn, Emily Mason, Laura Erlanger, Ernst Benkert, Keith Haring and Gandy Brodie. Outside, below the trees, leans a small cottage straight out of Tolkien, with “Cleo’s Restaurant” painted above the door. Rohn explained that he built the playhouse himself for his younger daughter. Everything about his home inspires imagination and play.

24 MAR/APR 2017 off. We had an excellent student newspaper, and I did cartoons for it, which was thrilling. In the summer, I did cartoons for the local Ludington newspaper. In those days, the military school newspaper would give me the blocks with the engravings. They were metal plate on a hardwood block. I had those for a long time. “I went off to Florida Southern College because I saw that Frank Lloyd Wright had designed a major portion of the campus,” Rohn continued. “I was there for a pleasant year, and did cartoons for the paper. From Florida Southern I transferred to the Univer- sity of Michigan. They had to take me because I’m from Michigan,” Rohn added, with a laugh. “I went into the Lit. School in the fall of 1953 because I didn’t have a particular plan in life. “That summer, a key thing happened,” Rohn said. “My mother clues. By holding your head completely young artists. Still, Rohn has deep encouraged me to take a summer still, you diminish the available clues. I respect for historical figures, and Hoboken Station, 1978, drawing class. Ed Herrmann from fly airplanes; I am particularly good at speaks of great artists, living or other- watercolor. South Bend, Indiana, was a designer landing. I can’t play badminton because wise, in the present tense. for Studebaker. He had a one-inch the little birdie floats; it doesn’t chisel brush, and he would do demon- have a trajectory that I compute, strations. We would go out to the but I can catch a ball because fishing docks. He would do a demon- the brain fills in, in most cases. stration in watercolor and he would If your head is perfectly still MOHAMAD HAFEZ paint fairly lightly, but definitely block … I can see the background as in the buildings. foreground and the foreground DESPERATE “Then he would load up that brush as background. with a dark blue and he would outline “I have a devotion to Cézanne, CARGO everything. Everything which had been and his stitching of the 3-D sort of dark against the white paper, percept onto the 2-D canvas. The the tans and yellows and beiges of the artists of the Renaissance worked APRIL 9 – MAY 19 buildings would leap out! I said ‘Wow, out a wonderful way to convinc- this is Art power!’ I hadn’t thought ingly render 3-D reality: Cézanne ARTIST’S RECEPTION: of Art with a capital A at all. It hadn’t deconstructs that system, MAY 7, 3:00–5:00 P.M. occurred to me that you can change refuses to let the canvas become people’s heads, because it did mine, just a magic window. He demands to see that relationship leap out. I both the actual 2-D surface and stowed that away deeply,” Rohn added, the illusion at the same time. pensively. “It was a real mind opener in Well, for the monocular person, a way that I didn’t actually recognize.” that play goes on all the time … As a painter, having lost an eye in and the conflict is great material childhood gives Rohn a particular for making a painting.” understanding of perspective, depth For 12 years, Rohn served as perception and distance. He does not professor and chairman of the view this as a limitation. “It seems to art department at Windham me it might be an advantage,” the artist College in Vermont. As an THE CHRISTOPHER BRODIGAN GALLERY said, “because I am working on a flat academic, he helped his students MONDAY–FRIDAY 9:00 A.M.–5:00 P.M. surface, and it’s already flat for me. I bring attention to regionally as GROTON SCHOOL, 282 FARMERS ROW, GROTON, MA www.groton.org 978-448-7637 perceive depth; my brain reads a lot of well as nationally recognized

MAR/APR 2017 25 Eleven for our Eleventh

The artist’s studio attaches to the main house, and predates the home by several decades. Heated by a small wood stove in one corner, there is a weightiness to the ambience here, the result of years of dedicated work. Recent oils and watercolors sit propped throughout the room, with several large works suspended high on rough walls. Every object — chair, easel, glass of water — seems to represent more than itself, being infused with the artist’s creative practice. “I’m probably too experimental in my work,” Rohn concluded. “I tend to think I could paint under a couple of assumed names, because I think, ‘Oh I’d like to try that’ and ‘I might paint a painting like that,’ and then for my own sanity I’ll go back and carefully draw, and paint.” He added, “I do think of painting when I get up in the morning. It’s really a wonderful life. I do feel that I’ve been given extra years, and that gets me up to work.” Rohn’s work will also be on view later this spring at the Next Stage Arts Project in Putney, Vermont.

| Marguerite Serkin

2017 ONE VIBRANT WEEKEND ALL ACROSS CAMBRIDGE SATURDAY, MAY 13TH & SUNDAY, MAY 14TH 12–6PM EACH DAY

PREVIEW PARTY Thursday, May 11th, 6–8pm Cambridge Art Association 25 Lowell Street

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MORE INFO cambridgeartscouncil.org

26 MAR/APR 2017 Reviews GETTING A CLEW MULTISENSORY SURPRISE AT PHILLIPS EXETER

“You cannot move people acoustic accompaniment Until you touch them.” to it all. — Gary O’Neil Using overlays of music, poetry and the visual The above quote was coined by arts, these four artists Gary O’Neil, an icon in the adver - give viewers and listeners tising/marketing industry in New new ways to see, hear Hampshire for 30 years and founder and navigate a tripartite, of the O’Neil Griffin Bodi advertising intricately layered world. firm, who was wildly successful Within the setting of the because he got the bigger picture. gallery, all three formats He understood that unless you touch intermingle freely. The people’s hearts, you won’t accom- experience compounds plish the ultimate goal of change — and expands into a journey no matter what your profession — on of multi-dimensionality a deep, heartfelt level. and surprise. The current exhibition at the The work sparkles. Lamont Gallery at Phillips Exeter Literally. Sometimes Academy, “Clew: A Rich and projectors shoot images Rewarding Disorientation,” delves onto diaphanous fabric into the concept of touching issues, that displays the work and ultimately people, on a deeper as a moving work of art. level. A multi-sensory installation, Or throws the image the show is unique as it simulta- onto a solid, white cube neously addresses the visual, the in the distance where written word and music. So rich, you you become part of the can scarcely take it in. art as you move closer The show is an artistic collabora- to examine it. A multi- tion that emulates the labyrinth dimensional configuration on one world. Her work has been exhibited Deborah Barlow, Vapeerine. with its confluences and unexpected wall holds a massive piece by Barlow, all over North America and Europe. turnabouts. Stepping into the gallery but to participate in it you must peer And yet, she said, of all the exhibi- immediately becomes a surreal through opaque folds of white filmy tions she’s ever done, this is her experience. Futuristic. Transfor- gauze, causing shadows — with some favorite. mative. Ethereal. The stimulation effort on the part of the viewer — to Endlessly enchanted by what it is multi-faceted as the senses are perceive the intended result. became, Barlow shared that what bombarded with visual stimuli by Deborah Barlow’s stunning works touched her, what drew her to be LAMONT GALLERY Boston-based visual artist Deborah bring to mind microscopic forms, or moved by her artistic choice, was PHILLIPS EXETER Barlow, while the ears experi- moonscapes, or simply nonrepre- her attraction to the mystery and ACADEMY ence poet Todd Hearon (an English sentational images of color, texture immensity of space. “I found that FREDERICK R. instructor at Phillips Exeter) reading and scale that you can get lost in. words couldn’t capture what I was MAYER ART CENTER passages from his book, “No Other Through an unexpected combination experiencing. Painting became my 11 TAN LANE Gods,” while the dynamic duo (and of pigments, metallic powders and a way of seeking intimacy with the EXETER, NEW HAMPSHIRE married couple) of Jung Mi Lee and variety of substrates, her paintings infinite,” she said. Jon Sakata, musicians who teach at wonderfully suggest the complexity Barlow keeps inching out beyond THROUGH APRIL 15 Phillips Exeter, provide the diverse, of a multi-layered and visually rich the commonly shared version of

MAR/APR 2017 27 Reviews

Clew, A Rich and Rewarding Disorientation, Deborah Barlow, Todd Hearon, Jung Mi Lee & Jon Sakata, 2017, site-specific installation.

reality. What is above and beyond our own reach? That’s where she This experience is further enhanced by concert pianists and keeps heading. trans-disciplinary artists Lee and Sakata, who believe that art is a So juxtapose the wonderful, large, invasive, sensual pieces by practice of alterity — to introduce the alien in ourselves and to be Barlow with the background sound of Todd Hearon’s poetry. Snippets inexorably changed by it. To be touched and changed — what is life fill the room from a longer work from “No Other Gods,” concerning without this? the migration and diaspora over time at the Quabbin Reservoir in the A series of concerts took Lee and Sakata to China, South America Boston area. The poem’s subject speaks of the wending of water, its and Europe, where they encountered exciting resonances/compli- convoluted and shapeshifting qualities are well suited to the collabo- cations of artistic, social, cultural and political unrest that caused rators’ labyrinthian theme. Phrases float throughout the room, them to ask themselves if they were exploring and utilizing all of knitting the experience into a whole: their capacities. They responded with a resounding “No!” “…through rock & ruck & rill purl, pounce, pronounce & preen the This understanding moved them to a collaboration with architects sourceless flourish of your sundry selves, unseamed anima, antiph- in the United States and Europe who were asking the same question. onal Ursprache, Ensembling in simultaneous tumult the babbling “Out of this,” Lee said, “the five senses became 21, and our ‘resis - Earth’s eternal tongues…” tance,’ which had been until then a single discipline, went trans!” Hearon explained the process of what moves him and what “Clew” helps viewers step outside of their preconceived ideas touches him in the creative process by explaining that, for this and expectations. The disorientations serve as cracks that let in the project, he viewed language as a heightened medium, self-conscious light. I viewed/listened to this experience (it’s beyond “exhibition”) of itself, visceral and viscous, something to pull through very slowly. solo, which enhanced the experience undoubtedly because there “And perhaps to lose a few hairs and layers of skin in the process,” he were no distractions. Ideal. It did indeed touch me and move me said, “while very much enjoying the formal/structural component of toward new dimensions. word-playing-off-word and thereby generating sense and syntax. You cannot move people until you touch them… “The presence and pressure,” Hearon shared, “of the poet become nominal, negotiable and language itself begins to take over. That | Linda Chestney moves me.”

28 MAR/APR 2017 CAMBRIDGE ART ASSOCIATION PRESENTS MONSTERS & MISFITS FEBRUARY 11–MAY 7 MARCH 7 - APRIL 1, 2017 JURIED BY JILL WHITNEY ARMSTRONG AND BOB ARMSTRONG, IARTCOLONY KATHRYN SCHULTZ GALLERY RECEPTION | MARCH 10TH, 6-8PM

SINCERITY AND SUBLIMITY: FROM RIGHT NOW TO NEXT MARCH 31 - MAY 11, 2017 UNIVERSITY PLACE GALLERY RECEPTION | MARCH 31ST, 6-8PM IMAGE COURTESY OF ARIA TUDANGER FEATURED IN SINCERITY AND SUBLIMITY 300 rarely seen MINIATURES APRIL 11 - MAY 6, 2017 photographs of JURIED BY MARNI ELYSE KATZ KATHRYN SCHULTZ GALLERY rock & roll stars. RECEPTION | APRIL 13TH, 6-8PM

CAMBRIDGEART.ORG shelburnemuseum.org CAA [email protected]

ADDISON Spring Exhibitions

Frank Stella Prints: A Retrospective April 22 - July 30 Immediate Sources: Gifts from Frank Stella March 18 - July 30

Eye on the Collection April 1 - July 30

Opening Reception: Friday, April 21, 6-8 pm Free and open to the public

Addison Gallery of American Art Phillips Academy Andover, MA 978.749.4015 addisongallery.org

MAR/APR 2017 29 RiversideArt ad_Feb2017.pdf 1 2/21/17 10:11 AM

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7 16 COPLEY SOCIETY’S LATEST NEWBURY 8 STREET SPLASH COPLEY SOCIETY’S LATEST NEWBURY STREET SPLASH

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Top row: Luiz González Palma, Mobius, Photography on canvas and acrylic paint Bottom row: Dawit L. Petros, Advised by faculty from diverse disciplines, craft a Barella & Landscape #3, Act of Recovery (Part I), Colorscape, Coordinate #27 Archival color pigment prints course of study that integrates creative work into your daily life. Twice a year, assess your direction during MFA VISITING ARTISTS 10-day residencies in Cambridge, Massachusetts. All-star visiting artists, historians, curators, and scholars serve as faculty, guest speakers, and mentors each semester. The professional insights and career connections they provide, both during and after lesley.edu/mfa-create the MFA experience, are unprecedented. Upcoming visiting artists include Luis González Palma and Dawit L. Petros.

30 MAR/APR 2017 fullerCRAFT museumTM Let the art touch you

Thomas Mann, Copper, nickel, silver, and brass pendant, 2014. Playa Made: The Jewelry of Burning Man on view until June 4, 2017 at Fuller Craft Museum

455 Oak Street • Brockton, MA 02301 • 508.588.6000 • www.fullercraft.org Hours: Tues – Sun 10:00 am – 5:00 pm, Th 5:00 – 9:00 pm Leger-Holmes_Artscope March_April 2017.pdf 1 2/15/17 3:55 PM

CMY

MAR/APR 2017 31 Reviews SHAKE, RATTLE AND ROLL COSO’S WINTER MEMBERS SHOW

It’s a pleasure to rejoin the staff at Artscope after four years in Sweden, with a review of the COPLEY SOCIETY Copley Society of Art’s 2017 Winter Members OF ART Show, “Shaken and Stirred.” This year’s exhibi- 158 NEWBURY STREET tion features a range of dynamic artists and works BOSTON, spanning media in photography, oil, acrylic, water - MASSACHUSETTS color, mixed media, pastel, graphite and scratch- THROUGH APRIL 6 board. Seeking to provide respite to the dark landscape of winter and the seriousness of the recent political climate, the Copley Society of Art sought to provide a bit of levity for its viewing public. It serves us to remember that art has always, and will always, reflect current events and social mores while also providing an escape from them. The Copley Society received over 180 submissions for this exhibition. That number was reduced to works by 35 artists, with winners selected by juror Mike Carroll of the Schoolhouse Gallery in Provincetown. Wishing to acknowledge the Copley Society’s longstanding, integral history as a contributor to the cultural conversation in Boston, Carroll began with some very basic notions of the participants successfully completing the submission process free from unintended detractions of structure and execution. Next, Carroll evalu-

Don Dalton, North Shore, watercolor, 14” x 20”.

Barney Levitt, 17 Cups, oil on panel, 13” x 25”. ated how each piece addressed the show’s theme, and whether that could lead to a conversation in the exhibition. Seen in its entirety, the show coalesces the premise of “Shaken and Stirred,” bringing to mind ideas of a metaphorical mixology, but the works also depict notions of ebbs and flows, light and dark, humor and whimsy, chaos and tranquility. In terms of style and/or execution, pieces were selected also for the energy contained within them, or how they served as a metaphor for or connection to society or govern- geese washes Richard John Houghton, ment. As Carroll explained, “No piece frolic in the of grey-green Grey Geese Straight Up was actually selected for addressing snow, all the while eyeing color, Dalton captures light with Ice on the Side, the premise exactly, but one of the an incoming fox. Created in acrylic on and atmosphere, providing swatches acrylic on wood panel, nice things about selecting was being board, Houghton’s style of painting, of red and pink dotted here and 11” x 14”. surrounded by a number of artworks, which he calls “American Primi- there among the rocks of the shore. many of which were in dialogue in tive,” takes us back to a more peaceful Luminescent in its effect, the work response to a single idea. It was a great or quaint time in our history. suggests both power and relief. kind of a ‘language space.’” Don Dalton, first prize winner, Second prize, awarded to Bobby A fine example on this theme is comes to the Boston show from Baker, takes a decided turn to the Richard John Houghton’s ”Grey Geese Vermont with his dreamy depiction of art of photography with “Yesterday,” Straight Up With Ice on The Side.” an overcast day at Mt. Desert Island, a stunning 36” x 36” black-and- Delightful in its presentation, the artist Maine. ”North Shore,” a 14” x 20” white AluminArt print which shows us a view from the tap room watercolor, captures jagged rocks and captures a jumble and maze of of Longfellow’s Wayside Inn as two the ebb and flow of coastal tide. With yesterday’s cameras, lenses and film.

EBAG-ARTSCOPE-QUARTER-FINAL.pdf 1 2/17/17 12:45 PM

M SAT+SUN Y EAST BOSTON 17th annual APR 22+23 CM MY ARTISTS GROUP 12-6PM CY EAST BOSTON CMY WWW.EASTBOSTONARTISTS.ORG MAVERICK SQ K 80 BORDER STREET. EAST BOSTON, MA 02128 OPEN STUDIOS MBTA STOP

MAR/APR 2017 33 Reviews

Bobby Baker, Yesterday, photography, 36” x 36”. Laura Tryon Jennings, Between the Sheets, oil on linen, 32” x 42”.

Third prize, won by Barney Levitt, brings us “17 Cups,” oil “[ART] IS AN ESSENTIAL VOICE ASKING US TO on panel, 13” x 25”. Portraying a tower of teetering porce- REMEMBER THE VALUE OF THE POWER, THE lain teacups set upon a table against a blue sky, Levitt takes his inspiration from the Dutch Masters and the STRENGTH OF KINDNESS, THE NECESSITY OF contemporary realist painters Stone Roberts, Scott Prior EMPATHY AND THE IMPORTANCE OF REAL and Scott Fraser. Levitt’s body of work centers around still ACTION.” life vignettes which provide the viewer much in the form of naturalist details. In doing so, he is able to manipulate the scene while providing quirky elements, lighting enhancement and titles that add a dash of humor to his compositions. “17 Cups” is a fun — if not a bit offsetting in influenced by Bohemia, countercultural ideas and altered its energy and in the weight of the objects — addition to states of consciousness believed that being an artist was the show. a choice to live outside the mainstream, an opportunity Laura Tryon Jennings’ ”Between the Sheets,” oil on to initiate real social change either from the margins or linen, 32” x 42”, has been selected as the juror’s choice. from new societies within society. Art can be a catalyst Depicting a room with a seaside view, the forefront of the or evidence of these changes, but in either case it is an piece shows us a freshly departed bed, sheets pushed essential voice asking us to remember the value of the back. One wonders if the bedding might still be warm from power, the strength of kindness, the necessity of empathy its recently departed human guest. In the background and the importance of real action.” are everyday objects, causing the viewer to pause and The Copley Society of Art is the oldest non-profit arts take a look around — a discarded book, paintings on organization in the U.S. and is committed to the advance- the wall, perhaps of loved ones, and a slightly jumbled ment and promotion of its members and the visual arts. blanket thrown over a couch. The mid-ground is tight in The organization, founded in 1879, is composed of juried composition, and perspective is manipulated to show artists selected by a credentialed art committee. CoSo elements slightly ajar, yet the piece hangs together very provides artists with a gallery for exhibiting and selling nicely and speaks to both calm and chaos. their work, and a platform for engaging and educating the As Carroll explained, it is now more important than community. ever that artists create works of art, and that the viewing public come out to appreciate them: “This is a | Lisa Mikulski time possibly similar to the 1950s and ‘60s when artists

Eleven for our Eleventh JANE PARADISE SHACKING UP IN PTOWN

GALATEA FINE ART 460 HARRISON AVENUE BOSTON, MASSACHUSETTS MARCH 1 THROUGH 29

Mosquito Netting and Chimney Seascape, Provincetown.

In the early 1900s, writers, artists and There is a rich legacy of American Paradise has stayed in five of the 19 families made summer homes on the greats who have sojourned on the dune shacks with the Outer Cape Artists wild back shore of Provincetown, Massa- “backside,” as it is called by locals. in Residency Consortium (OCARC) and chusetts. Affectionately called the “dune Among many others, artists Edwin through public lotteries (Peaked Hill shacks,” some were originally life-saving Dickinson, Marsden Hartley and Jackson Trust and the Provincetown Commu- huts constructed in the late 1890s, but Pollock; writers Mary Heaton Vorse nity Compact.) “It is a place where my most were built in the 1920s and ‘30s out and Josephine Del Deo; poet Harry husband and I have shared welcome of debris and shipwrecked ruins. A cluster Kemp; playwrights Eugene O’Neill and respites from the day-to-day chores of these original structures exists today. Tennessee Williams all credit a dune of daily living enlivened by the day-to- A solo exhibition by photographer Jane shack experience to a breakthrough in day chores of living rustically without Paradise, “The Dune Shacks of Provinc- their art. With the weight of this legacy, running water or indoor plumbing,” she etown: Series 1,” opens March 1 at Galatea it is a daunting task to create a body said. “There is something elemental Fine Art in Boston. Gallery director of work about the dunes. Indepen- about having to pump your own water Marjorie Kaye said, “These photographs dent curator Ewa Nogiec observed, and lug it up to the shack. You forget are full of life and reveal [Paradise’s] “Paradise’s unique vision shows the how heavy water is but remember that intimate relationship with the back-shore personal nature of her images which you don’t need to drink as much as you landscape.” Rich images capture the reflect the long-term scope of her project normally do! Being in a shack reminds artist’s stays and visits at various dune as well as long-time roots in the Provinc- you how time-consuming living simply shacks over the course of a decade. etown community.” really is.”

36 MAR/APR 2017 The artist continues, “This exhibit is also very personal for me, not only because the landscape and its history is close to my heart but also because, in some sense, these images are an homage to my husband [who has Alzheimer’s disease] and a celebration of our times there. It is a remembrance of more lighthearted and carefree times of years past when listening to him play the violin in the middle of the dunes, hearing the music float, laughing with friends, drinking wine, witnessing the sounds of wild animals — all of which is disappearing for my husband and I.” This first show for Paradise at Galatea

Fine Art in Boston will kick off a traveling shown at three International Biennial Mention), Center for Fine Art Photography On The Edge, Dunes, art show and book release slated for of Fine Art and Documentary Photog- (Juror Selection), Worldwide Photog- Provincetown. 2018-19. She is creating a book of photo- raphy events hosted in Argentina, Spain raphy Biennial (Honorable Mention) and graphs and snippets of Provincetown’s and Germany as well as the Gallery of RayKo Gallery in San Francisco. cultural history and the mystique of the Photography in Ireland. Paradise’s photographs are in the collec- dune shacks. A selection of group and juried shows tion of the Southeast Museum of Photog- National solo exhibits for the artist include the New Britain Museum of raphy and in many private collections in include the Griffin Museum of Photog- American Art, Provincetown Art Associa- the United States and Europe. She is repre- raphy, Artspace in Raleigh, North tion and Museum (PAAM), Southeast sented by Galatea Fine Art in Boston. Carolina; Gallery Ehva in Provincetown; Museum of Photography, Danforth Art | Laura Shabott Boston’s Simmons College and Galatea New England Photo Biennial, Fine Art; and Houston Center for Photog- Cambridge Art Association raphy, Houston, Texas. Paradise has National Prize Show (Honorable

Totem, Backshore, Provincetown.

Left: Shelley Reed, Hiding (after Ward), 2014, oil on wood, 48-inch diameter, Right: Shelley Reed, City Bound (after Ward), 2014, oil on canvas, 48-inch diameter

Arthur Fitzwilliam Tait, On Guard, 1896, oil on canvas, Gift of the Clapp Estate Opening Reception: March 12, 2-5 p.m. February 12, 2017 - June 4, 2017

wed-fri 12 - 4 pm; sat-sun 11 am - 5 pm 185 Elm Street Fitchburg, MA 01420 A Feast of Beasts

978.345.4207 fitchburgartmuseum.org February 12, 2017 - September 3, 2017

MAR/APR 2017 37 Eleven for our Eleventh BARBARA OWEN AN EXUBERANCE OF 3-D LINE

For Barbara Owen, whose three- Owen creates with hand-painted Owen’s aesthetic is about flow, big dimensional paper drawings have a papers also. She makes them and then or small, and her style embraces the BRISTOL ART vibrant energy and elegance, 2016 was a stockpiles and mines the stash to create idea of incident in art making. Several MUSEUM productive year in terms of exhibitions, a specific palette. She then cuts the years ago, Owen showed at AS220’s 10 WARDELL STREET and 2017 promises to be a banner year sheets of pre-painted paper she selects Project Space. That show was composed BRISTOL, RI as well. She is an artist hitting her stride. into ribbons. The resulting strands of three different media: drawing, JUNE 1 During a recent studio visit, Owen are then integrated into original new painting and photography. Although THROUGH AUGUST 6 displayed an assortment of huge paper artworks. The artist’s hand is in every it was integrated at points, the look of snarls that read as luxuriant bursts stage of development from beginning this exhibition was more about parallel of glowing color, commanding atten- to end, and that involvement gives her play. It was an intriguing show for its tion like a tractor beam. One of these work a rooted sense of character. The beauty, but it was difficult to wrap 3-D drawings was bright yellow and flourish to chiffonade her papers into one’s thoughts around the idea that glowed from within, luminous like a threads of linear arabesque creates everything in the show emanated from sun; another was creamy opalescent, passages of information that she the same artist. Since that time, Owen and a third seemed vermillion. These assembles into visual compositions. Her seems to have honed her skill sets into a giant skein-like forms were pinned into artistic decisions literally expand the unified binary conversation informing a place to form a wall-hung constella- conversation of the genre. blended approach. tion accompanied by smaller black and As Owen discussed her work beyond She has several drawings on view midnight blue iterations. The particular the preliminary process, she took time — including an arching relief — in “The sightline expressed an exuberance of to unwrap a painting of leafy bud-like Variable Line: Master Drawings from three-dimensional line. blooms. It showed her ability to move Renaissance to Contemporary” exhibi-

Another exciting place my eyes from shapes that she has developed tion that’s at Newport’s Redwood settled during this studio visit happened as narrative imagery to a sense of Library and Athenaeum (the nation’s Barbara Owen in her studio. to be on a stack of collage drawings assimilated context. She described first Athenaeum) through March 5. piled in layers across the entire expanse tracing the outlines of Owen’s work table. Arranged one on of similar leaves top of another, the flattened drawings from outer edge to seemed to convey other, different linear center, carving into stories. The sheer quantity of these the paper with an smaller collages nuanced the sense of X-ACTO knife as she my overall first impression. followed the forms. Unmistakably, Owen’s work connects Basically, Owen is with the lineage of Henri Matisse’s shaving the repre- “cut-out” period when he shaped sentational image pre-painted paper with scissors, down to nothing- creating large works that today are ness and retaining admired for their lyricism of line and its life force. gesture. Regarded as the father of De-construction for Color-aid, Matisse’s idea to paint sheets this artist functions of paper with color led to the develop- as a building block ment of the color-coded, silk-screened and is an approach paper that artists use for convenience that frees her to and control. He liked using painted find something new, expanses of paper to facilitate his vision. which she then can Color-aid just realized the commercial develop beyond the potential and developed into a product. initial idea.

38 MAR/APR 2017 WINTER MEMBERS SHOW: SHAKEN AND STIRRED 2.23.2017–4.6.2017

Nancy Colella, Ship Shapes, detail, oil on panel

Spinning Orange I, 2016, acrylic and ink on cut paper, 41” x 21”.

The show features drawings by male artists from the Renaissance period through the 20h Century and contemporary drawings by three female Carolyn Latanision, The Changes of Time, detail, watercolor artists: Owen, Wendy Wolf and Deborah Zlotsky. The show was curated by Redwood Director Benedict Leca. His wife, Leora Maltz-Leca, an associate professor of contemporary art history, art DEBORAH QUINN-MUNSON: SPARKLE and visual culture at the Rhode Island School of Design (RISD), introduced 2.2017–5.2017 Owen’s work to him. In conversation, Maltz-Leca suggested balancing the historical portion of the exhibit that Leca was planning by adding emerging BOSTON PRIVATE at the PRUDENTIAL female artists, because the period covered was, by default, weighted toward men. Leca liked the idea and went on to curate “The Variable Line” to include Owen, Wolf and Zlotsky. Leca recently updated the Redwood’s Van Alen Gallery, an exceptional space that now has state-of-the-art lighting. It is here that audiences can explore the subtleties of “Variable Line,” including drawings attributed to Guercino (1591-1666), “Ruggiero Seeking Angelica” by Jean-Honoré Frago- nard (1732-1806), and drawings by Piranesi, Hubert Robert, William Trost Richards, Rockwell Kent and others. Beautiful in their own right, these earlier works serve as visual fulcrum to better understand contemporary choices and vice versa. The drawings of Owen, Wolf and Zlotsky definitely hold their Extra Bright, detail, pastel own with the men while adding a strong contemporary perspective. On the heels of her participation in the Redwood Library and Athenaeum show, Owen will have a solo exhibition, “Tangible Line,” from March 4 through April 30 at the Lionheart Gallery in Pound Ridge, New York, and her 158 Newbury St work will be included in “Summer Dreams and Myth” from June 1 through p:: 617-536-5049 Tuesday - Saturday 11-6 August 6 at the Bristol Art Museum, Bristol, Rhode Island. w:: copleysociety.org Sunday 12-5

| Suzanne Volmer

MAR/APR 2017 39 Gallery Spotlight ARTISTS CORNER & GALLERY LOCALLY SOURCED CREATIVITY

When Margaret Burdine opened historic district in the center of West to open Artists Corner & Gallery, Artists Corner & Gallery in January Acton village, an up-and-coming area owner-director Burdine responded, ARTISTS CORNER & 2016, she knew what the gallery’s in the western suburbs of Boston. As “My career has been as a graphic GALLERY mission would be. She wanted to build with any successful real estate under- designer, and I’ve always gravitated 566 MASSACHUSETTS a community of artists, artisans and taking — from purchasing a house to towards art and design. As a fiber AVENUE patrons. She wanted her gallery to be situating a warehouse for Amazon — artist and photographer, I had been WEST ACTON, MASSACHUSETTS a source for local art, and a place for the mantra that rings true for estab- participating in local shows and creative interactions offering classes, lishing a gallery is location, location, events. I had become part of a vibrant workshops, juried shows and special location! “The building, located on community of talented local artists, events. A year in, things are coming a corner, is perfectly suited to a and was ready to take the next step together nicely. gallery,” Burdine said. “People drive and open a gallery.” Combining her aesthetic vision with and walk by all day, and the gallery She began her gallery with a sound business decision, Burdine has wonderful visibility.” 16 artists a year ago. Today, she located the gallery on the edge of a By choosing to represent many showcases 44 artists and artisans artist members who live locally — using a wide variety of mediums. some within walking distance of the Paintings, prints, sculpture, Julia Berkley, River Clouds, hand painted, gallery — Burdine has demonstrated pottery, textiles, jewelry and fine over-painted, and commercial fabric on canvas her commitment to the community. woodworking are all represented. board, 15” x 30”. Integrating the gallery with numerous In choosing works for Artists activities in the village’s retail district Corner & Gallery, Burdine stated and immediate residential neighbor- that she seeks out quality and hood is a priority. At openings, she uniqueness, whether in fine art takes great pleasure in welcoming or fine crafts. An inspiring mix visitors who want to see art made by of abstract and representational their friends and neighbors. work in all mediums is a principal When asked what made her decide criterion for the art selected, and

Ed Franzek, Occasional Table, cherry wood. a combination of traditional and contemporary subject matter is essential also. And, of course, acces - sible pricing for all her clients is a key to the gallery’s success. Burdine gives thoughtful consideration to displaying artwork, stating: “The gallery itself has two large window walls and is a bright and welcoming space. It has a large feature wall that was a key selling point in choosing the space, with one of the first member artists, Richard Kattman, in mind. His abstract paintings are typically on a very large scale, nearly 6 by 6 feet. This created a striking display for the gallery’s grand opening.” The work of numerous artists is notable. Jane Davies’ collection of six small abstracts is terrific. Only 9” x 12”, these acrylic and drawing works are well-designed, show sophisticated use of color and are immediately appealing. They are successful in a small format, but conceivably could work rendered on a larger scale. Julia Berkley, are captivating, initially Virginia mountain range. Anyone Textile artist Lyn Slade’s needle because the designs and colors used who has traveled on Skyline Drive Top Right: Richard Kattman, Lilac, acrylic on felting works display careful handling are so fanciful. A closer look reveals will appreciate the artist’s rendering canvas, 68” x 68”. of her medium and a wonderful color hundreds of tiny snippets of fabric of the low-lying fog blanketing the Bottom left: Tom palette in creating organic forms. assembled to create rich, dense, valleys. At 6” x 6”, Bobbi Heath’s tiny Briere, Anghiari, Italy, photography, 17” x 11”. It’s a struggle to fight the tempta- imaginative compositions. oil on canvas, “The Meadows,” is a tion to touch them. Two whimsical A pastel, “Blue Ridge Mountains,” little gem. The artist has effectively pieces, “Against the Tide” and “River by Alyssa Wise Taylor, sensitively simplified the shapes and color areas, Clouds,” by another textile artist, captures the atmosphere of the producing a very pleasing landscape. Ed Franzek’s woodworking mastery is evident in his several furniture pieces on display. Using cherry or walnut, he has created corner tables, end tables and small occasional tables that are elegant. Two large-format photographs by Tom Briere are stand- outs: “Anghiari, Italy” and “Opuntia Cactus at Spring Mount” are well- composed, thoughtful compositions. The next major event at Artists Corner & Gallery is a juried show opening on April 7, with a reception in the evening. Detailed information about the exhibit will be on the gallery’s website (artistscorner. gallery) starting March 1.

| Flavia Cigliano

MAR/APR 2017 41 Reviews Wanderlust

HILL-STEAD’S SECRET GARDEN CURATING CLASSIC TO CONTEMPORARY

Theodate Pope Riddle could not School. When her father said he’d encountering Manet’s “The Guitar have foreseen that the stipulations bankroll the project, she approached Player” beside the Steinway grand HILL-STEAD MUSEUM she made in her will would pose such the great Stanford White, who liked piano; the not one, but two, Monet 35 MOUNTAIN ROAD a challenge for Hill-Stead. It’s an exqui- Theodate’s drawings enough to abide “Grainstacks” in the living room; or FARMINGTON, site museum, and one of the remaining by them. As one of the country’s first Degas’ “Jockeys” mounted under CONNECTICUT great country estates near Hartford, woman architects, she would later lights above the dining room mantle. THROUGH but until recently, many visitors have design a number of significant projects, Pope collected what he liked, and JANUARY 21, 2018 behaved as if one cursory tour was among them the Westover School and purchased works often before an enough. It’s been up to new leader- Avon Old Farms School. artist had been discovered — and Hill- ship to convince its audiences that Some behind-the-scenes decisions Stead remains a wonderful testament Hill-Stead remains a living, breathing — like thick walls insulated with to one man’s aesthetic tastes and entity worth exploring many times, seaweed — harkened back to her pursuit of beauty. and from many angles. Maine Quaker forebears and assured Most visitors remember, of course, Hill-Stead began as a home for a the building would be warm in the 10 now-priceless Impressionist wealthy industrialist family which winter and cool in summer, as well paintings, but there are a number of moved to Farmington from Cleve- as remarkably soundproof. And she other significant collections, ranging land, Ohio, at the behest of their only decided that its interiors would be from etchings by Dürer, Millet and daughter. Theodate had been drawing dominated by Alfred A. Pope’s exqui- Whistler to Japanese woodcuts, plans for a home on this property while site art collections. Even today, it’s Chinese porcelains and eight Barye she was still a student at Miss Porter’s hard not to take a deep breath upon cast bronzes. One of the most charming Hill-Stead Museum, exterior view.

42 MAR/APR 2017 aspects of this home, designed in the art historians — explained Lisa Lappe, great success was aided early by promo- Colonial Revival style during Hartford’s a young staffer recruited by Ballek for tional efforts. But some 25 years later, Hill-Stead Museum, interior views, featuring works Gilded Age, was the way in which the task. On March 9, Hill-Stead’s Live these Wednesday evening and Sunday by Monet, Degas, Manet, Theodate worked to create interior Poets Society presents Theodate’s afternoon readings have retained a Whistler and Cassatt. vignettes to show off these works to poems as well as works by Marilyn local following. In McQuiklin’s mind, their greatest advantage. Nelson, Connecticut’s former poet there is no question that people are When Theodate died in 1946, her laureate, in Hill-Stead’s library. craving “the sort of reinvigoration that will stipulated that the home would Pop-up mini-exhibits stationed poetry provides.” The Sunken Garden, be preserved exactly as she left it, in some of Hill-Stead’s rooms also lovingly restored and maintained and from the bedroom closet filled with offer some elements of surprise. filled with music and poetry, can make her beaded gowns to the birdcage Later this spring, a paper sculptor’s for a magical summer evening. This that contains her taxidermied parrot. three-dimensional miniatures will be year’s series will kick off with readings And so it has become the mission offering a modern take on the paper by McQuilkin and former United States of executive director and CEO Susan crafts that were embraced by women Poet Laureate Billy Collins. Ballek to challenge public perceptions naturalists in the late 19th century. One evening in the series is devoted about this place through creative Ballek, in a telephone interview, to young emerging artists. “Being programming. Under her tutelage, also noted upcoming collaborative selected to read is a great honor, and it the museum has been hosting the projects with the Hartford Symphony comes with mentoring, introductions kind of grand events that must have and the Goodspeed Opera Company to other poets, and the validation that made an invitation to Hill-Stead in its that will explore the popular culture their poetry is important to the world early days (and nights) so coveted. of Theodate’s time. at large,” McQuilkin said. This house seems to have been made Ballek has also made it a point to The result of these concerted for soirées, elegant dinners, string capitalize on the 152-acre property; efforts has been a decided uptick in quartets and song cycles, and it’s a it’s open to the public seven days a attendance and new memberships. spectacular venue in which to revisit week, offering three miles of winding Ballek was among the young leaders Connecticut’s social history. Works trails and a restorative refuge. Hill- named recently by Connecticut by Monet, Manet and Degas sparkle Stead’s pastureland is once again Magazine for significant contribu- under the lights at night, much as dotted with sheep and lambs in spring tions to the state, and for good they did for the home’s illustrious — just part of the “First Sunday” offer - reason. guests, among them Mary Cassatt ings that are appealing to families, “Susan has brought on board what and Henry James. Lappe added. I think is a wonderful team, and we That these cultural explorations In June, much of the action moves have a shared mission. A major part are tied to the Hill-Stead collections outdoors, as literally thousands of of my job,” Lappe said, “is to make makes it possible to dig deeply into visitors arrive, many with picnic baskets, sure Hill-Stead is no longer Connecti- the museum’s holdings and tailor for the Hill-Stead Sunken Garden cut’s best kept secret.” its programs — from storytelling Poetry Festival. Rennie McQuilkin, for the youngest museum goers to current Connecticut Poet Laureate and | Kristin Nord workshops for artists and amateur a founder of the festival, said that its

MAR/APR 2017 43 Wanderlust MAINE’S ART SHOWCASE GENERATIONS OF WYETHS AND MORE

The rocky coastline and the that a building she owned on Main the nearby island of Vinalhaven and lobsters that inhabit its waters are Street should “serve as an art gallery.” became part of the museum family. WYETH AT 100 the two treasures most tourists want It opened in 1948 with works by George So did Rockland resident and sculptor APRIL 15 THROUGH to experience when they visit Maine. Bellows and Andrew Wyeth, among Louise Nevelson; the Farnsworth DECEMBER 31 But there is another reason to explore others, and soon was showing such boasts one of the country’s largest the state’s midsection - its art scene, artists as Winslow Homer, George assemblages of her works. The WOMEN centered in the Rockport/Rockland Inness, and Jamie Wyeth. In keeping museum has continued to grow its THROUGH JANUARY 21, area. with the museum’s special relationship collection, which now includes signifi- 2018 Many well-known artists have lived with the Wyeth family, Andrew’s late cant holdings of 20th century and FARNSWORTH MUSEUM and worked in Maine and still do. father N.C. Wyeth, the noted illustrator contemporary photography focusing 16 MUSEUM STREET Perhaps most notable among them and painter, also continues to have his on Maine. ROCKLAND, MAINE is the three-generation Wyeth family, work shown. Nearby the museum is Olson whose links to Rockland’s Farnsworth Since the early days of the museum, House, the subject of numerous Museum, specializing in American art many nationally prominent artists works by Andrew Wyeth, including related to Maine, make it a special whose careers are associated with his well-known painting “Christina’s venue. Maine have come into the museum’s World.” (The house is owned by the The Farnsworth Museum was collection, including several from Museum of Modern Art in New York.) Andrew Wyeth, Her Room, 1963, tempera on panel. founded by Lucy Copeland Farnsworth, New York who summer there. In 1969, Also, the 1850 Farnsworth Homestead Farnsworth Museum of Art, the last surviving member of her Robert Indiana, known for his rendi- in which Lucy Farnsworth lived is part © Andrew Wyeth/Artists wealthy family, who wrote in her will tions of the word LOVE, moved to of the museum’s campus. Its Greek Rights Society (ARS).

44 MAR/APR 2017 Revival exterior is augmented by an in works by Washington Allston, “The Olson House: Photographer’s interior in high-Victorian style. Placed Frank Benson, Milton Avery, Louise Muse,” a collection of photographs of Elaine de Kooning, The Living Room, 1948, oil on on the National Register of Historic Nevelson, Will Barnet, Grace Hartigan, the house made famous by Wyeth’s paper laid down on canvas, Places in 1973, it is open to the public. Robert Indiana, Philip Pearlstein, beloved “Christina’s World,” features 24” x 36” (Gift of the Alex The museum typically mounts Andy Warhol, Jamie Wyeth, Alex Katz work by Paul Caponigro, Linda Katz Foundation). two major exhibitions a season, one and Julian Opie. The Library Gallery Connor, Tillman Crane, James Moore, Wyeth-related, along with multiple hosts works by women, including Bradbury Prescott, Peter Ralston, intimate exhibitions featuring Berenice Abbott, Georgia O’Keeffe, Kosti Ruohomaa, George Tice, Brian thematic displays of its large collec- Elaine de Kooning, Beverly Hallam, Vanden Brink and Eva Zembroski, tion. In addition to seasonal shows, Lois Dodd and Joyce Tenneson. each of whose own portfolios stand “the Farnsworth keeps things very On April 15, the centennial of out in their profession. An exhibi- much alive in the off-season too,” Wyeth’s birth will be celebrated with tion of Wyeth’s Maine drawings will said communications officer David the opening of “Andrew Wyeth at complete the series. The show will Troup. “We offer new experiences to 100,” a five-part exhibition that’s remain on view through December 31. our local community which comprises highlighted by “Andrew Wyeth: Maine An “official” birthday celebration a large portion of the over 60,000 Watercolors, 1938 – 2008,” a career for Andrew Wyeth will be held on July people that come through our doors retrospective of the painter’s most 12 with a 3 p.m. party at the museum’s annually.” important Maine-themed pieces, Wyeth Center. Related Wyeth centen- Two spring shows should draw including the study for his final work, nial events and lectures will take place enthusiastic visitors. “Goodbye My Love.” throughout the year; for the latest The recently opened “Women,” Two associated exhibitions will details, visit farnsworthmuseum.org. which remains on view through focus on two of Wyeth’s best-known January 21, 2018, spotlights works tempera works: his “self-portrait” | Elayne Clift from the Farnsworth collection by an entitled “Dr. Syn,” and “Her Room,” enticing collection of the country’s purchased by the Farnsworth in 1964 legendary artists. In the Roschild for what was then a record amount Gallery, women are the subject for a work of a living American artist.

MAR/APR 2017 45 Andrew DeVries

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MAR/APR 2017 47 MARCH/APRIL 2017 CENTERFOLD ARTIST STATEMENT

Wilda Squires ARTIST STATEMENT My entrance into the world of abstract photography began serendipitously ten years ago. Unable to sleep very early one morning, I watched the shadows that the rising sun created within the folds of the bedroom window curtains. The longer I looked, the more I became aware of patterns that resembled things like mountains and faces. I was witnessing a new IN THE CENTERFOLD: Wilda Squires type of creation coming forth from the natural beauty of fabric so I instinctively grabbed my camera and began JURORS: taking one photograph after the other, following the JO BRODERICK Dean of College Relations & Special path of the sun as it traversed across the curtain Asst. to the President material. I then explored the subsequent images in Montserrat College of Art

search of other surprises hidden within all of the SUSAN REID DANTON shadows and fabric folds. It was at this point that I Executive Director, Miller White Fine Arts became totally enthralled with the abstract genre and the opportunity to allow my imagination to VANESSA BOUCHER Media Development Associate take flight. Artscope Magazine I use common elements such as fabric, glass and flowers, coupled with directed lighting to create my abstracts. As my process has developed over the years, I have added dimension to these elements by layering multiple components, lighting them from multiple angles and enlarging segments of the original photos. The resulting images ultimately evolve into what are, for me, evocative images that reference myriad emotions, feelings and recognitions. These images also continually remind me that, even in the mundane and simple, there are extraordinary elements waiting to be discovered and appreciated, much as in life itself.

Artficial Intelligence contest I hope viewers of my work are encouraged to insinuate their own winner: sensibilities into my photographs, thus allowing them a much more WILDA SQUIRES personal experience. Golden Abstract

MAR/APR 2017 49 Cover Story CAA MEMBERS PRIZE SHOW AN ANTIDOTE TO WINTER

Once again, it’s time for the Cambridge Art Association’s annual Members Prize Show. This year’s juror, Randi Hopkins, director of visual arts at the Boston Center for the Arts, selected member artists who hail from Cambridge and beyond. The members’ inspiration comes, necessarily, from wherever they happen to be in the life of their art and in a moment of time. For visitors, likewise, our receptivity comes both from the sum of our lives and the moment we happen to visit. My mood hankered for the rough and homemade. Not the subtle “come- hither,” but the, “Hey, Bub, don’t I know you from somewhere?” approach. Iris Osterman’s “Riverbank” caught my attention from both near and far, pulling me closer with its thick impasto of predominantly black, white and grey oil paints with evocative earth tones gleaming through. My canoe slid by the

banks of the Charles River so close I Erik Gehring, Chinese Witch Hazel, photography, 14” x 18”. could almost trace the infinity of energies competing for soil to root in, space to absorb light and air. From afar, it settled bill with spikes of bright yellow blossoms line fishing gear, this bear, mounted down somewhat but still seethed. whispering from daisy-brown centers. I like a trophy, is an x-ray of musculature UNIVERSITY PLACE Halfway down the long, wide corridor asked the photographer, Erik Gehring, lying alert beneath cuddly brown fur we GALLERY that makes up most of the gallery in the how he captured that perfectly white, yearn to stroke. All probing snout, and 124 MOUNT AUBURN CAA’s Harvard Square venue, University perfectly suited background for such opaque lead sinker eyes, Stone’s bear STREET CAMBRIDGE, Place, I glimpsed the kind of tree most a dainty show on a branch. Turns out, looks for a hand-out — or, to dispense MASSACHUSETTS Gehring haunts the Arnold Arboretum with the niceties, just a hand, please. apt to grow from the hard-scrabble soil THROUGH of “Riverbank.” Jane Sherrill’s powerful in both summer and winter which is, I resisted the urge to pet the work and MARCH 25 acrylic “Looking Up” features a giant surprisingly, the season when “delicate” was relieved to hurry back up the long of a tree. Armored in bark with a 3-D witch hazel blooms against a cold sky. gallery to the toothless, though no less presence, it zooms toward the sky, biceps At the end of University Place’s long lively, pleasures promised by two sculp- bulging, in two hefty panels — strangely gallery there’s usually a surprise on tures bracketing the corridor’s entrance in delicate but, in the aggregate, as persis- the expansive wall that both stops our the vast lobby. I had, of course, seen illus- tent as an upended train on rails of air. progress and opens up our imagina- trations of the “Dying Gaul” before. It’s an After two such “Hey, Bub!” encounters, tions. I wasn’t at all disappointed in this iconic Roman sculpture of an anonymous my next mood yearned for something regard with Gin Stone’s entry, “Santa barbarian, naked, mortally wounded and altogether delicate. “Chinese Witch Maria’s Bear.” Hauled from the deep by a all but ready to sink into the battlefield Hazel” seemed, at first glance, to fill the meticulous construction of retired long- of his defeat except for the prop of one

50 MAR/APR 2017

Jane Sherrill, Looking Up, acrylic on wood panel, 40” x 24”. Stephanie Todhunter, Queen Beth (kintsugi), original macrophotograph backprinted onto glass, gold enamel.

stalwart arm. In a trope of daring origi- package entwined with stone “string” As much a fine drawing as a sculpture, it’s nality, and no little cheek, Jim Banks’ tied in a firm top-knot. an apt symbol of the heart’s well-studied sculpture “Steeved Gaul” references this The package bulges with mystery, anatomy with its still-mysterious reach. iconic masterpiece with a found piece of and, on closer regard, seems to quake I’m also reminded of the many “heart- root and branch which seems to reach, with intent to move. Perhaps the quick- beats” in this exhibition to which I gave

Erik Gehring, Chinese Witch Hazel, photography, 14” x 18”. with only its natural growth pattern, deep silver gleam of mica or a wandering undeservedly limited attention. Bring into both art history and this particular stain of iron just near the surface of your own readiness to listen and look to instance of Gallic spunk. this Chelmsford curbing granite lends those art works that speak to you. The gleam of the Dying Gaul’s marble motion to inertness. Is it a hobo’s bundle original is gorgeously, if somewhat laid down between journeys? Is it the | James Foritano irreverently, mimicked by layers of shiny tightly wrapped few possessions, both wood sandpapered with infinite elbow sacred and worldly, of a wandering grease. I look to the artist for a philo- monk? I look to Mr. Duffy for enlighten- sophical explanation. Obligingly, Banks ment. He makes rubbing motions with makes vigorous rubbing motions with his hand and arm while talking of the his hand and whole arm while offering different grades of sandpaper that put a disquisition on the various types and the gloss and mystery on this prize grades of sandpaper. winning sculpture. Across the way, I meet Kevin Duffy, It’s been a feast of materials and the sculptor of a modestly sized piece of visions. So many visions — 37 to be exact, granite that, on first glance, resembles so many mediums deftly conjured to life a melon or a bumpy squash. Only closer that, as I pocket my pen and notepaper, examination is rewarded by the lively I hear the thrumming of Lynda Fatalo’s and delicate revelation of “Entwined”: evocatively titled “In between my heart- hard granite has been chiseled and beats” sounding from an airy confection rubbed into the bulging curves of a cloth of copper wire studded with glass beads.

MAR/APR 2017 51 Eleven for our Eleventh RON FORTIER FROM NEW BEDFORD TO PORTUGAL: TIPS FOR IMPLEMENTING PLAN B

My name is Ron Fortier and I’m an Nothing unique there. When Rene economic upheaval since the Carter American abstract painter living and Ricard penned his seminal article, “The administration. Being married with one RON FORTIER working on the Silver Coast of the Portu- Radiant Child,” about Jean-Michel child brings with it both responsibility FIGUEIRA DA FOZ, guese mainland. After 40 or so years in Basquiat for Artforum in 1981, he said, and selflessness. PORTUGAL marketing and advertising, I finally had “Everybody wants to get on the Van So, while I was pursuing my MFA at RONFORTIER.NET the chance to do what I’ve wanted to Gogh boat. There’s no trip so horrible the University of Miami, I also picked do since the day I received my MFA in that someone won’t take it. up some advertising layout and design painting from the University of Miami. “The idea of the unrecognized genius skills from a couple of guys who left In less than six months, I’ve been slaving away in a garret is a deliciously good jobs and thought, “What the heck, able to accomplish more here than in foolish one,” Ricard wrote. “We must I’ll teach!” Those skills kept me creative my previous five years in the States. credit the life of Vincent Van Gogh for and afloat for the last 40 years. I have booked three solo exhibitions really sending this myth into orbit.” Well, And then, last year, my 40-year-old here and two back in the U.S.. I’m repre- sometimes truth is stranger than fiction. marriage came to an end. So, now what? I sented in Portugal by Galeria O Rastro My trip, although not horrible, has took a trip to Portugal to visit my parents, (www.galeriaorastro.com) and in been a journey marked by delays, who are in their 90s, and to assess where Massachusetts by the Colo Colo Gallery necessary side trips and frustration. I was and where I wanted to be. in New Bedford. Yet, through it all, the quest to be a I quickly learned that my money My first solo show in Europe was painter was tempered with a dash of could last much longer living there, and at the end of 2016 at the Galeria O optimistic aspiration. the lifestyle was healthy and simple. Rastro in Figueira da Foz, where I Bill Clinton was right — it’s the Figueira da Foz is located on the Silver have a second solo show scheduled economy stupid! My journey as a Coast of mainland Portugal. It boasts Galeria O Rastro. at the Centro de Artes e Espectáculos painter was interrupted by every the largest beach in Europe. One from March 2 to April 2. My first show in Germany takes place this fall at the Galerie Atelier 35 in Landstuhl. Back in the States, I will have a solo show at the Colo Colo Gallery in New Bedford, Massachusetts from May 24 through June 13 and I’m in the process of confirming the details of another in Rhode Island. Picasso said, “The purpose of art is washing the dust of daily life off our souls.” That’s a very true sentiment I think most artists will agree with. But why did we become artists? What compelled us? What keeps us going? I received my MFA four decades ago with one intent — I needed a graduate degree to get a job teaching painting and drawing at the college level to assure a steady income in order to continue painting.

52 MAR/APR 2017 section is three and a half kilometers wide — that’s just over two miles! And even though I’m not a “fun in the sun” kind of guy — what’s not to like? My younger brother Bill, who’s lived in Germany for over 30 years, was visiting Portugal at the same time. I told him about my Plan B of moving there. He took me to look for galleries and we found the O Rastro Gallery where I met the owner Rui Beja. When I moved to Figueira da Foz (actually the village of Praia de Buarcos) in July of 2016, I stopped by the gallery. Rui remembered me. He looked at my work and unknowingly challenged me by asking me to do three large pieces similar to a series of drawings I had done a few years back. Once you’re committed to moving out do was establish myself in the arts One thing led to another, and all of the United States, the next thing to community. Playa de Buarcos. of a sudden I had a champion, savvy concentrate on is getting a passport and You’ll also need a way to make gallerist and new friend in my corner. visa. I was fortunate to have the Portu- money, be it direct online sales, In a very short time, I had accomplished guese Consular Office in New Bedford gallery sales, commissions and more in Portugal than I had in the last and their devoted assistance. anything you need to do to pay the five years when I had decided to pick up Next are communications and bills. the brush again and stick to it. finances. There’s too much I can’t possibly tell you everything in to get into here but you need this one article. But l can tell you what to get yourself a dual SIM you need to do if you are contemplating card phone and an interna- your own Plan B. tional bank credit card with a The first thing is to ask yourself: checking/debit account. e Riiri What do I have to lose? What’s the If you don’t have any contacts worst that could happen? in your new locale, I suggest r i s ri r i i s e s Okay, there are a lot of things that you visit there for a couple of you need to consider. Yes, not knowing weeks, introduce yourself and the language is one factor, but most network as much as you can. Europeans speak English and many are Look for an apartment where multi-lingual. you can set up a studio. The biggest decision, whether you’re In my case, my two-bedroom just starting off or starting over, is what house (one for a studio) is fully possessions are you willing to part with? furnished with linens, crockery, For me, my entire “life”OPEN: was packed First F intorid ays,pots SO W andA e v pansent s, and by appoi fantasticntme nt four 55-gallon fiberboard barrels. landlords. Having a studio Of course, my art, tools and requires supplies. supplies took up a barrel or more. Rui introduced me to his Hey, you can always buy clothes and framer who also sells canvas other items here. and paints. Great service, Open First Fridays, SOWA events Shedding possessions was a superior quality goods and cleansing experience. You really come all for less than it costs in the and by appointment to grips with what’s important. So, you States. May Artwalk: May 6 & 7 11AM - 5PM have to decide what to sell, recycle, So, now I had a place to live, give away to friends and family, or an art supplier and a gallery to Studio #305, 450 Harrison Ave, Boston donate to Savers. represent me. Now, all I had to Email: [email protected] | hopemricciardi.com

MAR/APR 2017 53 Eleven for our Eleventh

In my case, living expenses here are a quarter of what they were in the States. Germany’s prices are higher, with France a bit lower, and then there’s Spain, which is just a bit higher than Portugal. There’s lots to learn and every day is an adventure. But the payoff is that you can brand yourself as an international artist and it has a weird advantage — you’ll perhaps gain the respect back in the States that you couldn’t get before. As long as you show abroad and in the States, you’ll maintain your international artist status. You’ll also be more respected in Europe and oddly, finally respected back home. No place is perfect. Not taking a chance if you have an opportunity will only bring regrets. I was told that my life changed not because I changed places but because I changed. As soon as I committed to being an international artist, things began to fall into place with two solo shows in Portugal, one in Germany and two back in the States. Art, as romantic as it may seem, even if you insist on getting on that Van Gogh boat, is still a business. For some, it’s a full-time business. For others, a part-time business. You get out of it what you put into it. Yes, there are a lot of factors depending on where you are in life at the moment. Half of your time you’re looking for sales, showing and exposure opportu- nities. The other half, you actually get to paint. Poet John Berryman said, “The artist is extremely lucky who is presented Suzanne Moxhay with the worst possible ordeal which will not actually kill him. At that point, Interiors he’s in business.” February 24 - April 12, 2017 The secret is never, ever give up. Anderson Gallery | 40 School Street| Bridgewater, MA 02325 BsuArts.com | Ron Fortier

New Exhibitions at Art League Rhode Island April 7 – May 27, 2017 Boats, Surf and Beaches will be on exhibit at the VETS Gallery in Providence.

Call for Art Open Juried Exhibition: An Integration of Art, Science and Medicine. A collaboration with the Warren Alpert School of Medicine at Brown University. Visit our website at www.artleagueri.org for more Top Left: Paul M. Murray, Nearing information. the Mark, color photography www.harmonicthreads.com

Top Right: Gretchen Dow Simpson Agadir, oil on linen www.gretchendowsimpson.com

Left: Meris Barreto, Ikebana Sleeve: Ko-Raru, enameled bronze mesh, www.merisbarreto.com One Avenue of the Arts, Providence, RI 02903 401-861-0500 • Visit us on Facebook or at Art featured is representative of over www.artleagueri.org 120 elected artist members of ALRI. Art League Rhode Island, One Avenue of the Arts, Providence, RI 02903 • 401-861-0500 • Visit us on Facebook and at www.artleaguerhodeisland.org

54 MAR/APR 2017 Reviews OM TAT SAT A COLORFUL ROAD TRIP THROUGH INDIA

Last year, photographers Maria Cusumano and Mark Towner traveled to India together and brought back the images that comprise their show now on view at Endicott College, “Om Tat Sat: Reflections from Mumbai to Kolkata.” The collection of images offers the viewer a smattering of India’s bold colors and a glance at scenes from a dynamic and complicated country. Both artists are on staff at Endicott, Cusumano a fine arts faculty member and Towner the dean of visual and performing arts. “There was a plethora of sensuous stimuli wherever I went in India. I found while there only one place where my eyes could focus during each day which deafened the constant noise, slowed the incessant bustle, cleared the mind and brought to it any semblance of calm, peace, and introspection,” Cusumano writes in her artist’s statement. “For me, that focal point in India was the sun.” Her image of a glowing solar orb setting behind the Mahabodhi Temple in Bodh Gaya conveys this. The globular star radiates a warm ochre, silhouetting the tall holy structure. It’s an image that holds you. You can almost feel the heat of the sun on your face and the calm of the evening as daylight dwindles. But India is rarely associated with “calm.” Another image, “Peepin Sneakers,” from the same temple, hints portrays a quiet moment you’d never guess was taken in at this. Two little boys sit behind rows of adults, with their the most populous city in India. SPENCER shoes off, smiling as they play on the ground. The 15 images by Mark Towner included in the show PRESENTATION “Morning Smog” offers another look at the sun, this time represent a fraction of the photos he took in India. GALLERY over Mumbai. Towner acknowledged his shifting identity (tourist, artist, MANNINEN CENTER FOR THE ARTS The orange sun journalist) and the effect it had on the photos he took: “So ENDICOTT COLLEGE rises through a the viewer might rightfully ask, what image-maker role did 406 HALE STREET blue and lavender I take on while abroad? The answer is not simple because BEVERLY, sky, under which my relationship to image-making is complex: sometimes MASSACHUSETTS a few faintly a documentarian, sometimes a tourist, sometimes a THROUGH MAY 20 visible rooftops journalist, and frequently an artist. of Mumbai look “However, it should be noted I was not interested in photo- brushed in with graphing the impoverished, the diseased, trash-filled streets, watercolor paint urban skylines with aborted high-rises, the beggars or the at the bottom of world’s largest slums. During the editing process I came the frame. The to realize I wanted to select images that were colorful and image brings to vibrant and share some of the exotic subject matter of India.” mind Armand Towner’s photo, “School Girls at Ajanta Caves,” portrays Top Right: Music Festival at Rajarani Temple, Guillaumin’s a group of around 40 girls assembled under a tree near Bhubaneswar, Mark Towner. impressionist the historic site of 30 rock-cut Buddhist cave monuments Bottom Left: Mahabodhi paintings, and which date from the 2nd century B.C. Tourists in their own Pilgrims, Bodh Gaya, Maria country, you can almost hear the chatter coming from the Cusumano.

MAR/APR 2017 55 Reviews

bunch. Pops of bright pink, orange nearby tree in the foreground and Buddha is said to have attained Left: My Ganga Wakes, and green clothing punctuate the what looks like a modern, govern- enlightenment. The picture, and the Varanasi, Cusumano. frame and contrast the sun-scorched mental building in the background, show as a whole, opens a window Right: Everything Under hills behind them. a reprieve from the “visual smorgas- into a world far from the snowy North the Bodhi Tree, Bodh Gaya, Maria Cusumano. “Statue of Mahatma Gandhi,” bord” Towne said surrounded him at Shore of Boston. a photograph taken by Towner in every moment of his trip. A diverse collection of images, Mumbai, is uniquely devoid of the Another vibrant image, “Khenpo these photographs provide a warmth colors or faces you might expect and Monks at Mahabodhi Temple,” that might be just the antidote you from a Westerner’s photos of India. shows a large group of monks clad in need to melt your New England The black statue of Gandhi is made the iconic maroon and ochre robes, winter blues. small, almost lost in the frame seated at the steps of this UNESCO among the leaves and shadows of a World Heritage Site, the place where | Molly Hamill

OF DESIRE JeweledDazzling gems and jewelry from the vaultsObjects of the Smithsonian National Museum of Natural History and whimsical creations by artist Sidney Mobell, jeweler-of-choice for royalty and celebrities. On loan from the Smithsonian Institution, National Museum of Natural History, through the Smithsonian Affiliate Program, supported by the MassMutual Foundation. Exhibit sponsored locally by Hannoush Jewelers.

800.625.7738 • SpringfieldMuseums.org Smithsonian A liate Photo by Jeff Rogers

56 MAR/APR 2017 ATAT YOURYOUR FINGERTIPSFINGERTIPS Download the tablet edition!

Subscribe Now! search Artscope in your app store In addition to regular features: - Explore interactive images, special artscope elements, audio and video FEATURED MUSEUM - Read each edition specially designed for the tablet in a dynamic, on-the-go format - Receive new issues instantly as they become available - Search Artscope in your App Store and get a Free 30-Day Trial Subscription today! HARBOR ARTS 2013 STILL LIFE LIVESIt’s all in the details! Click to pan & zoom.

Tara Sellios, Impulses, MORE THAN JUST A BOWL OF CHERRIES Untitled No. 2, 2013, ed. 2, digital C-print, 50” x 40” (each panel).

“Still Life Lives!” features current included three worksartscope by museum FEATURED MUSEUM So snugly do the trends in still life as an art form founder Eleanor Norcross (1854- sculptures dotted and also highlights work from 1923): “Art Nouveau,” a painting along the coastline of the Fitchburg Art Museum’s of a collection of art glass and East Boston fit into the permanent collection. “I put objects of the period, along with environment of the Boston works together that seem to have two “Untitled” paintings that Harbor Shipyard that you conversations with each other,” show her love of the decorative Also get the free app! might think they were said curator Mary Tinti, who enthu- arts, depicting fineSTILL china, LIFE a porce -LIVES a result of spontaneous siastically met me at the door for a lain clock, gingerMORE jars THAN and JUST vases. A BOWL OF CHERRIES generation. Well, almost. “Still Life Lives!” features current trends in still life in a curio setting; perhaps they were from her - Connect daily to the art world with guided tour of the exhibit. “Things The objects in asthe an art form andpaintings also highlights work from theare own collections. Fitchburg Art Museum’sSteve permanent collection. Israel “I initiatedIn contrast, another wall featured the photog- that are connected both visually not arranged asput worksthough together that seem carefully to have conver- raphy of Kimberly Witham. The photos are sations with each other,” said curator Mary intimate tablescapes with a little something you multiple live news feeds Tinti, who enthusiasticallyHarbor met me at the Arts door wouldn’tin 2010 expect: most haveby a small, creatively and thematically.” positioned for afor still a guided life,tour of the but exhibit. “Things rather that posed animal as part of the composition. But are connected bothhefting visually and thematically.” his sculpturehow did Witham get these of animals to pose? We started in the foyer, which are lined up withWe started space in the foyer, whichbetween included three The secret, as it turns out, is that the animals are works by museum founder Eleanor Norcross deceased. No, she didn’t kill them. They were - Explore hundreds of featured (1854-1923): “Art aNouveau,” giant a painting cod of a upcollected tofrom nature the in their present condition collection of art glass and objects of the period, and repurposed as art. along with two “Untitled” paintings that show “The juxtaposition of the dead animal to her love of the decorative arts, depicting fine the tapestry, wallpaper and carefully arranged exhibits, galleries and artists china, a porcelain clock, ginger jars and vases. dish ware is a play on the stills you might see The objects in the paintings are not arranged in a Martha Stewart magazine,” Tinti said. It’s as though carefully positioned for a still life, but a reminder of the mortality of life. “Still Life rather are lined up with space between them with a Mouse” is one of the most striking of - Interact and communicate with artscope & cultural outlets through social platforms - Purchase your favorite back issues, swag or subscriptions @ascopemagazine /ascopemagazine DOWNLOAD FOR IPHONE DOWNLOAD FOR ANDROID #artscope Scan this QR Code with your Scan this QR Code with your device to download the app! device to download the app! @artscopemagazine /artscopemagazine #artscope Eleven for our Eleventh DONALD BEAL GO FIGURE!

Early in 2015, I was visiting the floral arrangements, and most signif- Much like de Kooning, Beal revels Narrows Center for the Arts in the old icantly to my eye, the figure. in the female figure. In his loaded FOR MORE INFORMATION: South Coast mill city of Fall River, taking Beal’s influences certainly include painting “Woman and Doll,” a woman BERTAWALKERGALLERY. notes for a possible review. While I was Courbet, Cézanne and Edwin in a low-cut, short dress sits on a bed, COM there, Debra Charlebois, the director Dickinson. But the influence that sheets in disarray, one leg tucked of operations for the gallery, asked me resonates most definitively through beneath the other. Beal has very real if I might consider acting as a guest his paintings is Willem de Kooning. formalist concerns, and that painting curator at some point. Both are exquisite draftsmen who is much about the play of light and The invitation was fairly open- embrace the human figure in all its shadow, about hard-edged triangles ended. The subject of the exhibi- imperfect majesty, and both use and soft curves, and about the tion and the artists to be included color in such a luminous manner that romance between a vibrant green would be entirely at my discretion. it borders on the ethereal. and a chalky mauve. But make no Winter Sky. I accepted the offer and proposed a show that would feature the human figure. It would ultimately be titled “The Tenacity of the Figure” and would attempt to once again affirm the resolute and primal staying power of the human form as one of central significance in artmaking. I imagined a strong coterie of painters and sculptors to pull off my curatorial thesis. But I needed a linchpin, the key player whose involvement would help determine the selection of the rest of the group. That linchpin was an old colleague, Provincetown painter Donald Beal. Beal told me he didn’t “do themes,” but that wasn’t exactly true. What he meant was he didn’t paint to spec — but he always did themes. From his days as an undergraduate student at the long-defunct Swain School of Design in New Bedford, where he studied with the late David Loeffler Smith, to the Parsons School of Design in New York City, from which he earned his MFA and studied with Paul Resika, to the present, Beal has done themes: the landscape, the still life, harbor scenes and seascapes,

58 MAR/APR 2017

Invented Self-Portrait. Woman, Guitar, Cat. Model and Puppy.

bones about it — this is also about a Beal has taught at the Truro of Beal for more than three decades. polite and quiet sensuality about to Center for the Arts at Castle Hill in His landscapes border on the mytho- explode into something else. Truro, the Fine Arts Work Center in logical. His painting, “Winter Sky” Both of Beal’s most important Provincetown and at the Univer- — all black clouds and the electric mentors, Smith and Resika, were sity of Massachusetts, Dartmouth. suggestion of lightningstrike — almost students of Hans Hofmann. The In July, he will teach a one-week veer into full-blown abstraction lessons of the great abstract expres - drawing workshop at the Provinc- without crossing that threshold. And sionist, filtered through Smith and etown Art Association and Museum. his best still lifes evoke Cézanne, with Resika, are dynamically evident. He will exhibit in the group exhibi- carefully considered compositions. Beal’s approach to the painting of tion, “On the Shoulders of Giants,” from But damn — can that guy paint a a figure within a physical space March 4 through 25 at the Westbeth figure. is nourished by the clear under - Gallery in New York City. Beal is repre- standing and headstrong exploita- sented by the Berta Walker Gallery in | Don Wilkinson tion of the “push and pull,” that is, Provincetown and by Thomas Deans how objects, bodies and negative Fine Art in Atlanta, Georgia. spaces relate on the pictorial plane. I have been familiar with the work

Love of Place: Works from Twenty-One in Truro April 8th to May 6th, 2017 Attleboro Arts Museum, 86 Park St., Attleboro, MA 508.222.2644, www.attleboroartsmuseum.org

MAR/APR 2017 59 Eleven for our Eleventh ELIZABETH GODDARD PRINTS OF PEACE

In her artist statement, printmaker Partridge because being situated in considers a print shop environment Elizabeth Goddard mentions that she an artist complex imparts a comfort- perhaps more social than the solitary VISIONS/REVISIONS is interested in beauty as it relates to able sense of shared purpose, the pursuit of painting.) CENTER FOR peace, stating, “Art that is beautiful gentle momentum of which fuels her In April, Goddard will have a CONTEMPORARY brings a great sense of serenity and productivity. two-person show with Partridge at PRINTMAKING joy to those who witness it; these She likes the relational idea of the Providence Art Club’s Dodge 299 WEST AVENUE people share their sense of peace having others nearby and enjoys the House Gallery. “Lay of the Land” will NORWALK, CONNECTICUT with their communities and, by exten- conviviality of occasionally breaking include woodcuts by Goddard and MARCH 19 THROUGH sion, with the world.” from work to perhaps share lunch monotypes and pastels by Partridge MAY 28 The Newport, Rhode Island-based or a brief conversation before going in a visual conversation about artist is showcasing her work at three back to the task at hand. (Goddard landscape. NEW ENGLAND current and upcoming exhibitions. ON PAPER: CONTEMPORARY She always seems involved in a multi- ART IN THE BOSTON faceted collection of projects and ATHENAEUM’S goals. PRINTS AND PHOTOGRAPHS A graduate of Sarah Lawrence COLLECTION College, Goddard entered broad- BOSTON ATHENAEUM casting after receiving a Masters of 10 1/2 BEACON Science from Syracuse University, STREET working in a variety of capacities and BOSTON, MASSACHUSETTS winning a New England Emmy Award APRIL 6 THROUGH as associate producer of “Miller’s SEPTEMBER 3 Court” for WCVB-TV in Boston. She went on to become the execu- LAY OF THE LAND tive director of the Newport Art (WITH REGINA PARTRIDGE) Museum from 2008-2015, during PROVIDENCE ART which time she received a fully CLUB funded competitive scholarship to 11 THOMAS STREET Harvard Business School to study PROVIDENCE, RHODE strategic planning in non-profit ISLAND APRIL 2 THROUGH 21 management. Goddard was extremely well organized to be able to complete her Harvard course work and serve as museum director of Newport Art Museum — all while creating artwork and maintaining Studio Goddard Partridge, a print studio she founded with Regina Partridge 19 years ago in a historic building in the Exchange Street Loft Complex in Pawtucket, R.I. While she has a working home studio in the garage of her well- Distilled Life-1, 2016 maintained Victorian house in Multi-plate color woodcut Newport, Goddard enjoys the feeling 14” x 11”. of working at Studio Goddard

60 MAR/APR 2017

Fall, Fort Wetherill, Jamestown, 2016, Monotype with gold ink, 18” x 24”.

Winter Wave Beats Upon the Shore, 2006, Monotype with gold ink, 18” x 24”, (Boston Athenaeum, 2012 purchase).

Two of Goddard’s hand-sewn, print- catalog of prints, is presented within and handling. Two of these can be based collages will be display from the traditional framework of multi- seen in the “New England on Paper: March 19 through May 28 as part of block color woodcut. The artist’s Contemporary Art in the Boston the “Visions/Revisions” exhibition prerogative, in this case, is for the featuring members of the Print- layers of colors to function makers’ Network of Southern New texturally. The vase of flowers in FINE ARTS WORK CENTER in Provincetown England (PNSNE) at the Center for the scene relates a calm domes- Contemporary Printmaking (CCP) in ticity and peace. SOME OF OUR RENOWNED FACULTY Norwalk, Conn. In contrast, “Comfort Code: MARK ADAMS AMY ARBUS The show’s title, “Visions/ Waste Not Want Not,” as the RICHARD BAKER Revisions” is a contrivance meant to revisionist counterpart, elabo- DONALD BEAL AMY BLOOM trigger inspiration for the show and rates upon the thrift associated LINDA BOND PAUL BOWEN unify the result in terms of packaging with quilt making. The sewn SUMMER WORKSHOPS ADAM DAVIES IN VISUAL ARTS & CREATIVE WRITING JESS DUGAN the exhibit. Framed recent prints by print collage is structured as JOANNE DUGAN 90 weeklong workshops in a historic art LAUREN EWING PNSNE artists, created outside of the a tumbling block design, and colony surrounded by pristine national NICK FLYNN constraints of organized portfolio beyond that looks not unlike seashore. Artist talks, readings, and ROBERT HENRY receptions. Housing available. KRISTIN HERSH specifications, will be displayed. M.C. Escher’s labyrinths. It DANIEL HEYMAN FAWC.ORG/SUMMER DAVID HILLARD Goddard’s more recent “Comfort is also reminiscent of parlor PAM HOUSTON MARIE HOWE Code: Waste Not-Want Not” was games from the Victorian era. ANTHONY KIRK PATTY LARKIN sourced from segments of test While Goddard was working JAMES LECESNE FRED LIANG proofs she saved from another at the Newport Art Museum, FELLOWSHIPS PETER MADDEN FOR EMERGING VISUAL ARTISTS & WRITERS CONSTANTINE MANOS work, “Distilled Life,” which will be Catharina Slautterback, curator Seven-month Fellowships to 10 writers ANDREW MOCKLER EILEEN MYLES displayed alongside it. Both have of prints and photographs at (five poets, five fiction writers) and 10 GREGORY PARDLO roots in her childhood. the Boston Athenaeum, who visual artists. Fellows receive living space JIM PETERS and a monthly stipend. MARIAN ROTH “Mother taught me to sew; my had been following her work for SARAH SCHULMAN FAWC.ORG/FELLOWSHIPS DANI SHAPIRO father taught me to work in wood,” some time, contacted Goddard, JAMES STANLEY PAUL STOPFORTH Goddard said. “I learned Morse code not on museum business, but to JAMES STROUD ROB SWAINSTON as a child [to] signal his ship with a ask to see her prints. VICKY TOMAYKO JUSTIN TORRES large mirror [as it left Newport]. This The result of the portfolio PAULA WILSON BERT YARBOROUGH quilt represents … some of my family review led to Boston Athenaeum AND MORE! heritage.” purchasing eight Goddard prints 24 Pearl Street Provincetown, MA 02657 508.487.9960 FAWC.ORG “Distilled Life,” like many in her with a range of subject matter MARIAN ROTH, Inside the Geodesic Dome, #1 (detail), 2016, camera obscura color photograph – 2017 Summer Program faculty member The Fine Arts Work Center is an equal opportunity provider and employer. The Work Center facilities are accessible to people with disabilities.

MAR/APR 2017 61 Eleven for our Eleventh Christopher K. ho ’92

Athenaeum’s Prints and Photographs Collection” exhibition that will be on view there from April 6 through September 3. The “Winter Wave Beats Upon the Shore” and “A Playful Sea II” prints are distinguished by the prism effect of the sky and the movement in the waves, which Goddard seems to fracture in places — creating an effect reminiscent of broken pottery evocative of the China Trade — and then embellishes with gold ink. These seascape prints project a contemporary handling while showing the assimilated sensibility of historic maritime painting. Their narrative is imbued with a strong sense of place. “For me, creating a landscape or still life … is about more than defining what is known; it is about internalizing a space and recreating it as a place beyond,” Goddard notes in her artist statement, describing her technique and subject matter. “By using flattened shapes, heightened color, textured marks, and the linear elements of pen and ink in my prints, I am able to set the stage for a highly personal view of the natural world.” Dear John | Suzanne Volmer February 25 - April 22

*Please note: the gallery is closed March 11 - 27

11 Interlaken Road, Lakeville, ct | Open Daily | 860.435.3663 | hotchkiss.org/arts

62 MAR/APR 2017 Eleven for our Eleventh ROYA AMIGH IMAGINATION MEETS MEMORY

I first met Iranian artist Roya Amigh on a July afternoon in a September 2017, and at IAO gallery in Oklahoma City in January- converted horse barn in Ghent, New York. I was visiting the February 2018. Amigh’s work will be seen locally in “Close To open studios of Art OMI, an international artists’ residency in Home,” an exhibition next fall at the Art Complex Museum in the Hudson River Valley. The sweaty bodies and the mid-day Duxbury, from September 2017 through January 2018 — a show I heat were overwhelming, so I ducked into a dark stall to catch have the pleasure of guest-curating. my breath. As my eyes Amigh’s work incorpo- adjusted, the scanty light rates texts from Persia’s revealed clouds of paper medieval epics and ART COMPLEX scraps — white, pale romantic poetry, her own MUSEUM pink and rusty yellow writings, visual quota- 189 ALDEN STREET — enmeshed in threads tions from 15th century DUXBURY, that stretched from floor miniature paintings and MASSACHUSETTS to ceiling and across elements of “Kheimeh SEPTEMBER 2017 THROUGH shadowy corners of the Shab Bazi,” an ancient JANUARY 2018 room. Next to a debris- form of Persian puppetry. strewn kitchen table The mythical narra- stood the artist herself, tives of Persian cultural at ease with her work. identity, however, are Amigh came to Boston only a surface ploy for University from Tehran her to explore the subject in 2010 for a second that most moves her, M.F.A. At first exploring the anguished tales of luminous color under women friends who have neo-expressionist survived sexual assault. painter John Walker, Empathizing from she soon turned to difficult experiences in making gestural line her own relationships, drawings reminiscent of Amigh imports reflec- the Persian miniatures tions and imagery from familiar to her childhood. her personal diaries Forsaking traditional into her works. She drawing materials, she composes fragmented began to glue lines of narratives of “works colored thread onto within works” reminis- translucent papers and cent of the traditional Collision Response cotton duck, building “stories within stories” (Overview), 2015, mixed media (paper, thread, strings, these into tenuous she heard passed down wood, nails), 66” x 59” x 18”. structures strung across in her family. Through interior spaces. For these, she bears witness Amigh, these diffuse, delicate constructions are the gateways to to the indignities and emotional pain of women whose cultures the space where imagination meets memory, her true focus. blame and ostracize them for the crime of being female. Her nomadic installations easily fold into a carry-on bag, but Each action in the studio amplifies Amigh’s expressive inten- their whispers can fill a room, as at Amigh’s one-person exhibitions. After gluing, peeling and re-gluing sheets of cotton, lace tion in February at the Iron Tail Gallery in Lincoln, Nebraska, and vellum, she rips them open and attacks them with scissors “Like a Tale We Hear.” She is scheduled for two more solo and sharp knives. She nails colored strings from wall to wall and shows next year, at FiveMyles Gallery in Brooklyn in August- ties together skeletal forms of hoops and sprung rods from which

MAR/APR 2017 63 Eleven for our Eleventh

ruffles of cloth and paper flutter in space. Whether hugging the wall, hovering in corners, or floating at waist level, her fabrications stir feelings of dissociation and disorientation.

ELIZABETH MICHELMAN: YOU’VE SAID THAT RECREATING YOUR DIARY IS METAPHORICAL. HOW IS THIS? ROYA AMIGH: When I want to make work about a specific memory, I go back to read about it in my diary, then start making specific material in relation to the feelings it brings back. I started writing a diary after a difficult event; it was the only way I could cope. The reason for writing is, I didn’t want to forget the terrible time I went through and the great pain I had. Our memory can get distorted during a traumatic time. I wanted to know exactly what had happened to me. “Collision

Response” was the most direct work I lation of green strings studded with black DO YOU FEEL YOUR PROCESS made about it. barbs leaps off the wall. What seem to be IS MORE GROUNDED IN PAINTING No One Goes Down (Overview), “Empty Space,” two years later, is not gauntlets of birch-bark lunge out from an THAN IN SCULPTURE? 2016, mixed media (paper, thread, strings, tree bark, about the specific event but is about when undergrowth of bright green knots and I start my process with the flat surface. cardboard, packing peanuts, you get close to a person but nothing nets. A blue aluminum ladder ensnared But I think of the space and concept when ladder), 77” x 65” x 36”. is really stable, everything can explode, in twine and torn sheeting tips backwards I make the drawings. In my works [in really. It’s not under your control. When in a suggestive “V,” as if resisting an Nebraska], I changed my mind during the you are in the relationship, you think aggressor. One can’t help but shiver.] process based on the things happening everything is safe, you’re good, but at around the space I am in and the work any moment it can explode. It was a very I FIRST THOUGHT YOUR WORK itself. The physicality of the space I am fragile piece, actually. WAS SIMPLY DRAWING LIFTED working in changes because of all the [I examine “Collision Response,” a FROM PERSIAN MINIATURES. IT materials falling and spreading into the rectangular frame of string nailed to the WAS SO LINEAR, FLUID BUT ALSO space. wall, on which sit grids of sticks and struts FRAGMENTED. BUT IT WAS A that jut out beyond the boundaries. Semi- DIFFERENT KIND OF MARK. CAN YOU NAME SOME ARTISTIC abstract drawings on interlocking slips It’s glued thread, not ink. I create, I don’t INFLUENCES? of paper interrupt the open expanses of “copy” — I don’t want them to be stiff, I Judy Pfaff, Joan Jonas, Doris Salcedo, wall-space. One can make out medieval want them to carry the story, the narrative Louise Bourgeois, Richard Serra, Julie scenes: helmeted soldiers wrestling over I’m interested in. The reason I eliminated Mehretu, Sarah Sze, Goya — all very a body, women arguing under a canopy, a the color, I didn’t want to distract from the successful at breaking down the tradi- half-naked man looming over a kneeling mobility and fluidity. tional ways of mark-making. I am very woman, angels and construction workers, interested in how they are making a and shepherds shooting an arrow toward WHAT HAVE PEOPLE FOUND balance between their improvisational a woman cradling a kid in her lap. Two INTERESTING ABOUT YOUR ART? and thoughtful moments. bold vermilion passages cascade toward It’s like meditation to them. We know In a studio visit, Judy Pfaff told me that the center of the painting and tangen- there are many stories here, but it’s not I should pursue my process based on my tially overlap. Could they be a veiled really necessary to read the exact story, narrative rather than formalism. “Just figure fleeing from a snapping beast? because we can build up our own stories. paint the narrative, form comes naturally The unreadable Farsi characters rippling People always ask, “How do you live as an to you.” That advice implied to be brave underneath provide no clues. Iranian woman artist in Iran. Will you be and take challenges and walk into the Looking at “No One Goes Down,” a able to show these works there? Are you space without knowing about it. That room-sized installation, I start imagining able to talk about sexual assault in Iran?” stuck in my mind. ominous connections. A jagged constel- | Elizabeth Michelman

64 MAR/APR 2017 Representing more than 40 local artists creating fine art and artisan crafts. 566 Massachusetts Avenue West Acton, MA 01720 [email protected] www.artistscorner.gallery 774-526-2778 Be inspired. Landscape IV by Ken Kewley

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Plus! Sign Up for the 11th International ENCAUStIC CONfERENCE June 2 - 4 Paid for in Keynote Speaker: Sharon Louden part by the Provincetown Detail of “Climbing” by Julia Berkley, art glass jewelry by Elizabeth Johnson, Pre & Post Conference Workshops May 30 - June 9 VSB & MCC detail of “Freight Car No. 4” by Tom Briere truro Center for the Arts at Castle Hill, 10 Meetinghouse Road, truro, MA 508-349-7511 Highest Heaven Spanish and Portuguese Colonial Art from the Collection of Roberta and Richard Huber

March 11 - July 9, 2017 Sponsored in part by WORCESTER ART MUSEUM media partners

MAR/APR 2017 65 Eleven for our Eleventh KRZYSZTOF WODICZKO PROJECTING LIGHT ON SOCIAL ISSUES

Krzysztof Wodiczko, Harvard He is universally University Graduate School of Design’s known for his projec- professor in residence of art, design tions, although his and the public domain, who also artistic practice involves works with the Interrogative Design other forms of commu- Group at the Massachusetts Institute nication. Members of the of Technology (MIT), combines art community he addresses and technology with emerging social are projected onto a issues to produce creative projects statue or other architec- involving veterans of war, disasters tural form, but he often and other trauma. includes only part of a His artistic practice, which he body, as in the projection, calls interrogative design, incorpo- “Ronald Reagan’s Hand rates sound production, projections, on the AT&T Building,” specially constructed robots and other (November, 1984), four forms to give the viewing and listening days before the election. public an unparalleled awareness of He sees the the issues he presents, and offer an one-handed gesture Homeless Vehicle Project (courtesy Galerie Lelong, New York). impetus to change their perspectives here as pledging loyalty, and future actions. allegiance. That is all “The monument is a mission to that is necessary in this work to survivor. To be Polish in my generation change, in a productive versus a capture the essence of the former means to have suffered during the FOR MORE destructive way,” Wodiczko said. He president. He sees the body as a Second World War. Jewish certainly INFORMATION: has found, in projection, a method- metaphor for the architecture on adds to the dimension, but it’s not as GALERIELELONG.COM/ ARTISTS/KRZYSZTOF- ology that temporarily changes and which he projects, noting that build- important. 800,000 people were killed WODICZKO makes relevant statues constructed ings are bodily metaphors, possessing in Warsaw during the war.” As a result long ago to assume the persona of a central core, with wings serving as of his membership in this generation, a new generation, their issues and arms, and the dome, a head. Supple- he deems himself a war veteran. people. He has invented devices to mentary fragments animate build- He told me that for every one killed enable people to communicate with ings; the body projected on it gives it soldier, seven to 10 survivors psycho- each other and with the public, telling life, makes it come alive, enabling it to logically repeat that death, as was the their stories and their histories. literally speak. case in Warsaw. He says the soldiers This writer was fortunate enough His own history began with his and others killed are not war veterans, to be able to interview him at Galerie birth in the Warsaw Ghetto during but those who survived are war Lelong, New York, and to discuss some the Warsaw uprising. Growing up and veterans, and their children are also of his past, present and future projects receiving his education in Poland, he veterans, like himself. and his teaching at Harvard. witnessed the devastation of the nation “I am actually a war veteran At Harvard, Wodiczko said, “my due to the destruction of the war, and twice because I am a survivor of students mostly develop their own observed the inability of survivors to the Holocaust, even though I don’t work, and I develop mine, but we discuss their experiences or verbally remember the war,” so he deems the confront similar issues. I do some tests express their feelings. His work, children of war, like himself and those in Boston, at Harvard, and in New York. emanating from this history, deals with who remember the war, all veterans. I do a lot of thinking in coffee shops memorials, veterans and survivors. He went on, “I don’t know how many and planes, and I set up situations in Although he is Jewish, he insists, traumatized victims are in Afghanistan. those cities.” “One needn’t be Jewish to be a So the definition of war veteran, even

66 MAR/APR 2017

Krzysztof Wodiczko (courtesy Galerie Lelong, New York). Nelson projected onto the statue of Abraham Lincoln in Union Square, New York City, as part ofThe Veterans Project, video and sound installation (courtesy Galerie Lelong, New York). of urban wars, is worthy of rethinking. voices, gestures, faces and bodies of was suffering melancholia. We have The situation we live through now helps 14 veterans of those wars. Speaking no proof because he could not write us to understand the human casualties through Lincoln’s mouth, in a square his memoirs, because he was killed. of war more. I have had direct contact known for social protest, they were, Artscope_Mar-Apr2017-quarterpage.pdf 1 2/21/17 6:54 PM with some of those refugees from Syria according to Wodiczko, “partially and Iraq and I can assure you they are themselves and partially war veterans.” Lincoln,” with all the veterans’ We discussed the various ways trauma that entails. he enables people to speak of the “My initial thought was that where creativity works® “THE SITUATION WE LIVE THROUGH NOW HELPS US TO UNDERSTAND THE HUMAN CASUALTIES OF WAR MORE. I HAVE HAD DIRECT CONTACT WITH SOME OF THOSE REFUGEES FROM SYRIA AND C

IRAQ AND I CAN ASSURE YOU THEY ARE WAR M

VETERANS.” Y

MY traumatic experiences impacting their Lincoln was a war veteran CY MONTSERRAT COLLEGE OF ART SUMMER lives, the mission of his work. We began himself,” Wodiczko elaborated. CMY with his projection onto the Abraham “He had fought in a war before IMMERSIVE PROGRAMS K Lincoln statue in Union Square, New he became key in triggering the 5-day and weekend workshops for teens and adults in York for Veteran’s Day, 2012, which explosion of the Civil War, so June and July was extended from a planned several he knew what war was, but he Commute or stay on campus in a historic, coastal setting nights to one month. The War Veterans’ also was a war veteran because Full tuition + housing fellowships available for Art Educators Project, (November 8-December 9, 2012) he participated in another war dedicated to the returned soldiers from and in the Civil War, visiting FOR MORE INFORMATION, CONTACT wars in Vietnam, Iraq and Afghanistan, battlefields. He was suffering [email protected] or 978-921-4242 x 1202 consisted of a video projected onto some traumatic condition, we OR VISIT the Lincoln statue, animated with the have no proof, but I think he montserrat.edu/summer-immersive-workshops

MAR/APR 2017 67 Eleven for our Eleventh

But there was a sense of guilt, which is organized by the City of Denver during a barrage of questions — “What are part of protection.” the 2008 Democratic Convention. you doing? What is this?” and eventu- “Out of Here, The Veterans’ Project,” “Almost all were war veterans, or ally “Who are you?” — engaging in was shown at the Institute for Contem- ex-soldiers who didn’t go through war, dialogue, responding and becoming porary Art in Boston (2009-10) wherein although in America, they are entitled instructors, actors, operators, the artist simulated a mortar attack to call themselves war veterans,” performers and storytellers. in Iraq with sound and projections, Wodiczko said. “Many of them kill “When they have a specially with the innocent public suffering themselves. The largest department designed vehicle, they are legitimate the consequences. The eight-minute at the Veterans Affairs hospitals, after workers, because they have a tool video projection, full of loud sounds of surgery, is psychotherapy. Those who that is clearly not stolen. So there is blasts and chaos, and projections of were psychologically able to partici- more opportunity with this equip- light emanating from bombs, ends in pate in the project took advantage of ment to be agents.” an eerie silence, extending again his vehicles, shopping carts, which I devel- According to Wodiczko, “It is often definition of veterans to the victims oped with them. easier to speak to someone foreign to and their survivors. “These homeless residents of cities me than to the closest person. I create In this country, our cities are unfor- are then equipped psychologically ways for people to confront their tunately full of homeless people, and physically to recycle and collect desires and develop a different level many of them war or trauma veterans. cans to sell. It’s a very difficult job so of consciousness about what to do Wodiczko worked in Denver with the they have to present themselves in with their lives, because the agency Colorado Coalition for the Homeless, public space as people of action with of those people develops.” developing a vehicle for the homeless survival skills. Although only a small For the “Weimar Projection” (for to carry their possessions and articles number of homeless people can make Kunstfest Weimar, Bauhaus Univer- to sell or recycle for money. use of these vehicles, those people can sity, 2016), refugees from Syria, The War Veteran Vehicle was communicate with non-homeless to Afghanistan and Iraq spoke through

68 MAR/APR 2017 AT A TIME WHEN IMMIGRANTS, OFTEN VICTIMS OF GLOBAL WAR AND VIOLENCE, ARE THREATENED IN OUR NATION, WODICZKO’S WORK BECOMES EVEN MORE RELEVANT. WE ARE ALL VETERANS, AS WE ARE ALL IMMIGRANTS WHOSE ANCESTORS CAME TO ESCAPE CIRCUMSTANCES IN OTHER LANDS.

the Goethe and Schiller statue, their noted that, “after September 11, with future work by developing public bodies, faces and gestures projected authorities lost the sense of difference projects to “contribute to world peace onto those eminent men. Developed between projection and projectile, so as artists,” quoting the text describing at Bauhaus University with about 30 even unpacking equipment might get the prize. students and people from outside you into trouble.” He continues his investigations the university, it involved social work, In “Zoom Pavilion,” shown first into allowing people to communicate media and more traditional work. at Art Basel 2016, Rafael Lozano- with each other, to overcome their “I set up various workshops and then Hemmer and Wodiczko developed traumatic experiences and those we had two evenings of projections,” face recognition software to bring passed on to them, to enable us to Wodiczko said, describing the process together people in couples. They were move on to create a better world that made the work possible. “What was automatically picked, determined where we care for and about each important is that members of the family by their position in space and their other. This is the very definition of could speak in real time, so it became a body language, using technology social justice, and Krzysztof Wodiczko vehicle of speaking in real time, making and psychology to pair them. When is the epitome of a social justice artist. it a project of mapping, so each member people saw their faces shown on a His next project opens in Seoul, South became the level of Goethe and Schiller, screen, in couples, they enjoyed it. Korea, in July. who were those refugees.” Wodiczko noted, “We are incredibly The projection was captured with a upset at being under surveillance but | Nancy Nesvet camera and available for viewing next our narcissism demands that someone door. People said things from conflicting is watching us. So protecting positions and points of view. Wodiczko ourselves from the cameras commented on the need for such inter- is usurped by our need to be actions: “It seems debate is no longer recognized. Nobody asked us if Massachusetts Chapter • www.NAWAMA.org possible within parliamentary proce- there was a record. People were dure because one party dominates, so drawn into this.” sponsored by very little can really be discussed, so the At a time when immigrants, real debate and voice must be projected often victims of global war and or exchanged outside of parliament.” violence, are threatened in our He emphasized that, as the last resort nation, Wodiczko’s work becomes for the democratic process, public space even more relevant. We are all still has an aura of protection as a space veterans, as we are all immigrants for telling the truth. whose ancestors came to escape The mall in Washington, home circumstances in other lands. We of massive protests from umbrella must all see ourselves projected coalitions, has made democracy upon our statues of liberty and very visible in Washington. Although justice and realize our responsi- he pointed out that “protesters bility to ourselves and our nation speak to make the situation better, to welcome all victims, commu- it is not enough to give someone a nicate with each other and treat microphone.” His projects don’t lend each other with dignity. Wodiczko themselves to the open mic arrange- personifies these tenets in his ment as they require appearing, projections and other work. recording and developing the project Wodiczko has created well The Arrival, (detail) Lorrie Berry over a period that often takes a year over one hundred projects. He 'Art and its ability to elevate people is what inspires the members of or longer. When I suggested that accepted the Hiroshima Art NAWA’s Massachusetts chapter every day.' Apply at thenawa.org by 3/15 and 9/15 of each year. he could perhaps project onto the Prize in 2005 on the condition NAWAMA Artists exhibit at Hills Gallery, Newburyport Art Association Washington Monument. Wodiczko that he would try to deserve it in Upward Trend 3/28–4/23 & The Trustman Art Gallery in Natural Force 4/17–5/21, 2018

MAR/APR 2017 69 Gallery Spotlight IT’S THE BOM A GALLERY OF ENERGIZED CONTENT

Yunmin and Kurt Zala debuted as a destination of energized content. inaugural show, has been scheduled Gallery BOM in Boston’s SoWa District in Her background includes the study of to take place in Washington, D.C. at the November 2016 with a two-part exhibi- art history in Korea and course work Korean Consulate in 2017. Yunmin right- GALLERY BOM tion of works by Jung Woo Cho, the in museum studies at Tufts University. fully views the recent booking of this 460 HARRISON AVE., highlight of which was Cho’s installa- Along with her Gallery BOM duties, she exhibition as an accomplishment. UNIT B-7, tion, “Purity,” that explored the idea of is the art exhibitions curator at The Gallery BOM’s second exhibition, “Full BOSTON, water’s renewable potential and related Korean Consulate General in Boston Bloom,” introduced the vibrant pop art MASSACHUSETTS to the artist’s nuanced spiritual under- and volunteers with the Korean Cultural riffs of Sumin Son. These acrylic paint- standing of earth as habitat. Society of Boston. ings on canvas comment on lux-life A series of accompanying aqueous- Her enthusiasm for the artwork she consumerism. The artist’s visual remixes looking wall reliefs offered a compelling represents comes across in conversa- blend together influences of Roy Lichten- invitation for audiences stein, Andy Warhol to step inside Gallery and James Rosenquist BOM for a closer look with Sumin Son’s and perhaps begin a distinct perspectives conversation about the on the branded allure of meaning behind the product culture. work. It also signaled Son’s paintings, the gallery’s intentions while expressive of in moving forward. the sensory pleasure Although large in size, implicit in bright shiny “Purity” was intriguingly objects, hit a concep- compact enough for tual note by exploring residential placement. cultural and personal Yunmin Zala is BOM’s attitudes toward director, and her vision abundance versus the drives the direction of alternatives. Yunmin the gallery’s content. was introduced to She and husband Kurt Sumin Son’s work attended the Art Week online. She followed Miami fairs to scout for his career for seven new talent this past years before opening

December. The trip this gallery and having Sumin Son, Collection, acrylic itself was a commit- a platform to show on canvas, 59” x 59”. ment of their diligent his paintings. “Full planning; the Zalas are Bloom,” “I Love You” collectors of contemporary art as well as tions about concepts. It is the artists’ and “Collection” were some of his most gallery owners. In Miami, it was a thrill for stories or their underlying frameworks notable paintings on exhibit. them to see Matt Neuman’s work among of conceptual meaning that Yunmin Jung Hur’s artworks are featured artists at the Scope fair, because they had relates. As a gallery director, her vision at Gallery BOM through March 31. This purchased a piece of his work within the is to nurture the careers of the artists exposure rides the crest of a wave of last couple of years at an event in Boston. she represents. She looks forward to interest for the artist’s work created by Yunmin’s focus in running the gallery providing audiences with a provoca- his recent solo show at Maine College is to forward the work of contempo- tive sense of cultural immersion that of Art’s Institute of Contemporary Art. rary Korean artists, and she plans showcases contemporary Korean Yunmin went to see the exhibit before on developing and re-working that artists. An exhibition of Jung Woo Cho’s inviting the artist to show in Boston. He synergy by maintaining Gallery BOM work, resulting from Gallery BOM’s appeared on Yunmin’s aesthetic radar

70 MAR/APR 2017

Sumin Son, Full Bloom, acrylic on canvas, 51.5” x 51.3”. Soojin Kim, conceptual idea for upcoming show. after a friend at the Korean Cultural artwork for this show as “American ration to her, and she hopes other art Society of Boston suggested she take a branded confections [which] became enthusiasts and emerging collectors look. The artist’s paintings often have the memento mori of … father [to] will feel equally inspired not only by the signature feature of being punctu- artist … not just physically consumed the exhibitions mentioned, but also by ated by a motif of keyhole images, which [but] emotionally processed [as] ritual, those which lay ahead. in their multitude connect with a Zen monument and religion.” The artist way of thinking. explained that the upcoming show is a | Suzanne Volmer Gallery BOM will show artwork by memorial “where I can’t define emerging artist Soojin Kim from April 1 time and place” — the framework through May 15. The Zalas first noticed is about “holding memories.” this artist’s work when at an AIDS At the moment, Gallery BOM is CODED_COUTURE benefit auction in Boston. The instal- gravitating to showcasing immersive JANUARY 24_MAY 21_2017 lation for this show will involve green statements that explode with visual grass as one of its components. warmth. Excitement is wrapped up Beyond that, Kim described the in Gallery BOM’s focus and the preci- sion of its artists to express fresh

Jung Woo Cho, Purity (installation view at approaches. Yunmin Zala seems to Gallery BOM). be building bridges with each exhibition that she presents, warming audiences and collectors, and she is always available to discuss the artists she has shown, is showing, or will exhibit in the future. Boston is evolving as an emerging market, and a significant factor in its transformation as an art hub relies on a play of diverse cultural backgrounds that are contributing to the intel- lectual and cultural life of the area; Gallery BOM is a part of that aspirational flow. Yunmin Zale has prepared | herself well for the challenge of TUFTS UNIVERSITY ART GALLERY MEDFORD, MA ARTGALLERY.TUFTS.EDU running a gallery. The art she Organized by Pratt Manhattan Gallery, Pratt Institute, NY, NY shows is a deep source of inspi- Amy Condgon, Biological Atelier: S/S 2082 “Extinct Collection,” 2014 MAR/APR 2017 71 Featured Exhibition 2017 WHEATON BIENNIAL PRINTMAKING REIMAGINED

The “2017 Wheaton Biennial: Printmaking Reimagined,” faculty and staff, particularly with featuring work by 60 artists from 30 states, Canada and faculty teaching courses in the Sweden, is an exciting humanities, science, and show thanks to the social sciences,” L’Heureux many facets and said. “Not only will there techniques of be plenty of opportuni- the print- ties for cross-disci- making plinary dialogue, but genre it the show will be very presents. handsome, with lots F r o m of work that is quite traditional beautiful and also techni- linocuts and cally accomplished, so I lithographs think it will appeal to a wide to the more cross-section of our college modern relief population for different reasons.” prints and works The show was juried by Andrew Raftery, presented on tissue, a printmaker himself and a painting professor at the Rhode cotton and Asian-made papers Island School of Design. He said he approached his review of the that have found a welcoming audience in the expanding entries by looking through all of the images without considering BEARD & WEIL craft shows and markets that have blossomed over the any of the text, names or descriptions. “This gives me a feeling GALLERIES past decade, along with the screen prints that became for the range of applicants and potential themes for the exhibi- WATSON FINE ARTS such a major part of the art and culture component of the tion. A second pass is slower as I try to shape the exhibition while CENTER WHEATON COLLEGE 1960s and are making a comeback, as both an advertising acknowledging excellence on many different levels.” He was 26 EAST MAIN STREET and political tool, plus works created in the new frontier of not surprised to find that print artists were taking on the most NORTON, digital and 3-D printmaking, this show promises to be a rich pressing issues of our time. “Remember Goya, Daumier, Kollwitz MASSACHUSETTS experience for its viewers. and Dix, and closer to our time Coe, Walker and Ligon,” Raftery THROUGH APRIL 10 When the call for entries for the 2017 Wheaton Biennial said. “It is an essential part of our tradition.” went out in mid-August, the country’s political discourse was Asked to break down the entries between those with “a growingly caustic, although nothing like its current state. message” and those created with more traditional printmaking, LEFT: Linda Behar, By the time the November 15 deadline arrived, we were in a Raftery noted that, “All art has a message. I am grateful to those Untitled, 2016, very different place. The works in this show with a political printmakers who address the injustice that is painfully evident in etching, relief and flavor remind us is that the issues that have brought out our world. At the same time, I strongly believe that print artists embossing print, 19 3/4” x 19 3/4”. such loud passion over the past months didn’t arrive on who survive on the margins of the art world and continue to RIGHT: Margi Weir, We January 20; they’ve been bubbling underneath us for years. make works of great beauty and integrity are performing impor- Are All Targets, 2015, The timeliness of the work, addressing issues of tant acts of resistance.” vinyl on gallery wall, importance to students and the community at large, will L’Heureux said she was partial to Eric Millikin’s portrait of Eric 93” x 93”. encourage discussion among those visiting the exhibition Garner (who died in police custody in July 2014 in Staten Island, and provide starting points in Wheaton classrooms. “There New York) imposed on a street map (giclée on cotton paper), as is some overtly political work — addressing police violence, well as Justyne Fischer’s two woodcuts that comment on police for example, work that explores the environment and the violence. body, and work that considers cultural diasporas — all of Millikin, of Royal Oak, Michigan, calls himself, “an experi- which feels very current and relevant,” said gallery director mental, politically active artist,” who works in a variety of and show curator, Michele L’Heureux. mediums. His “Street Portraits” series contains, he wrote, “I think these topics — and many of the other subject “portraits of black Americans who have died after an encounter matter in the show — will resonate a lot with our students, with our police. Each portrait is one continuous line through

72 MAR/APR 2017 2017 WHEATON BIENNIAL PRINTMAKING REIMAGINED

Justyne Fischer, Suspicious Suicide, 2016, woodcut on volle, 50” x 68” x 2 1/2”.

their city that cuts through key places in that adds grit and perspective. “Grids, space arouses inspiration, captures their life, death and the aftermath.” units, systems, proportions, repeti- our imagination, and has the ability Fischer, who lives in Washington, D.C., tion, labels, generic-ness, masses, to ease our stress. It also has the wrote that her “Social Memorials” of standardization, power, control, power to shape our consciousness by “unjust events involving unarmed Black society, community and the individual energizing our spirit, stimulate our men, women and boys” acknowledge are some of the objects and matrix thinking while creating bonds between the passing of Sandra Bland, Laquan for my work,” wrote AWG, who lives strangers, enabling children to ask McDonald, Walter Scott, Freddie Gray, in Moberly, Missouri, in his submis- questions and become more curious Eric Garner, Tamir Rice, Trayvon Martin sion statement. “I use the matrix to and aware of their environment.” and Jordan Davis, whose likeness reestablish an environment so I can David Sheskin, of Bethel, Conn., is featured in her graphic political examine our roles within them and the calls his work, “Artxt (or alterna- statements. “Each piece is meant to dependent and independent relation- tively, Art that Speaks), which is highlight the absurdity of each event ships developed.” the creative integration of art and while respectfully memorializing the While Quebec artist Marc-André text.” His original digital print, “Voter human being beyond the headlines,” she Fortier calls his work, “by nature, Registration,” created through use explained. whimsical, witty and playful,” his of Adobe Photoshop software, looks AWG’s striking “Continuous States “Peace Over War” digital print of a like a gigantic crossword puzzle, one (Black)” features a rifle placed over a shirt embroidered with guns of various that will demand its viewer stop and finely detailed map of the 48 contiguous shapes and sizes — with a flower devote time to understanding, if not states; the bluntness of the rifle outline power tie over it — and a background solving, its message. He wrote that the allows the work to stand out, where other wallpaper mix of the two, is a political images utilize the format of a Scrabble attempts to convey a nationwide feeling statement in itself. board, “to provide a unique and/or sometimes feel like they fail due to the “The way I use the digital print- humorous perspective on a fictional or enormity of the issue being tackled. making process is directly influ- topical subject, or alternatively, one or The monotype collagraph includes enced by the traditional silkscreen more people viewing one of my Artxt a toner transfer on packaging tape technique,” he writes. “Art in a public commentaries in a museum.”

MAR/APR 2017 73 Featured Exhibition

While not defining what “it” is, tion, featuring screen Briar Craig’s ultra-violet screen print, printed cubes, the “It Will Be Clear Soon,” suggesting a result of a combina- monumental understanding will soon tion of digital and be upon us, feels relevant to the times. printmaking media, is Margi Weir’s vinyl “We Are All Targets” intended to symbolize needs no explanation. and examine, “the inter- The wide range of interpretations dependency throughout of “printmaking” includes a video of societal systems by a performance piece by Kara Dunne visualizing networks (Swansea, Mass.), who documented of relationships to “Dress Me NYC” of printed-out paper approach coexistence dresses being fitted on passersby. An from multiple perspec- installation of printed signs by Dennis tives,” she wrote. Peterson utilizes the familiar shape “Though each element of road markers, but they have been may first seem to exist given new directions and wordings in isolation, by inves- – “So that you remember them” on a tigating relationships stop sign and “They weren’t really” and mapping networks on a yield sign, for example; he’s we can more clearly exploring the inner interactions of observe patterns of “visual communication.” consequence in the Mizin Shin’s “Virtual City” installa- context of the web of interconnectivity.” The Wheaton Biennial Anne Luben, The Singular Spectrological celebrates the wide variety of current show. His “Nameless Deeds,” hard- Seamstress of the West, 2016, linocut, David Sheskin, Voter artists who have taken printmak- ground etching with engraving, at letterpress, silkscreen, cyanotype, cotton cloth, Registration, 2016, original 90” x 42”. ing’s past and combined formats first seems to hold a traditional print- digital print, 24” x 24”. that have survived for centuries with making tableau – until you realize those still in their very early the wild scene being conveyed. He stages of development, once certainly succeeds in his goal of again showing that, reversing creating figurative landscapes of Marshall McLuhan’s renowned individuals traversing a harsh, post- statement, the message is the civilized environment. “These etchings medium. and drawings examine one’s relation- “Printmaking is an incred- ship within a society increasingly ible self-renewing repository devoid of shared meaning or conse- of historical methods that quence. Detached figures are left seems to have the ability to to meander through an anonymous absorb so much that is new,” world, performing extreme acts of Raftery said. “Who would have violence and debauchery,” he wrote, thought that letterpress, stone perhaps looking into a crystal ball. lithography or — in my case — Tony Lazorko (New Mexico) stated copperplate engraving could that the focus of his work has always continue to be compelling for been to depict the American experi- the present? This can only ence, “no matter how ordinary.” occur if printmakers accept His “Going Home” color woodcut is and integrate new technolo- a beautiful print of a breathtaking gies and approaches to making American Southwest sunset scene art. Fortunately, we have been divided by a huge truck driving down a doing this for at least 600 desert highway. years.” Anne Luben’s “The Singular Joshua Johnson, of DeKalb, Spectrological Seamstress of the Illinois, has two works in the West,” a combination of linocut, letterpress, silkscreen, cyanotype and Jackie Kennedy cotton cloth, at first looks like a late- or Andy Warhol’s 1800s poster announcing an upcoming tributes to her. event. But if you go deeper and read The New York the Kansas artist’s work statement, City artist has you’ll find a fascinating inner voyage is updated the “time- being conveyed through her work. honored processes “Drawing from the fantastical of painted sources of visual and narrative culture stained glass” within county music and Western by incorporating Americana, my work proposes a silk screening magical realist relationship between techniques; his the embellished garment and the final product is set inflated identity,” Luben writes. “Sewn into wall-hung light charms of the Sooth Stitcher offer boxes with internal improbable cures to the demands of LED lighting. It rugged isolationism through physi- should be striking cally transformative sympathetic to see in person. magic. Artifacts of this metaphysical I found John sewing service, including quilted Holmgren & Nick hyperbolic advertisements and Conbere’s “Bonnev- embroidered garment fragments, ille #8,” etching, inkjet print and chine from nearly all 50 states and from Joshua Johnson, Nameless suggest a mysterious figure capable collé work a bit haunting in the way several foreign countries. Deeds, 2016, hard ground of conducting transfiguration through it captures a different kind of power. This has served to greatly expand etching with engraving, 16” needle and thread.” The collaborative work is part of a the visibility of the college. “Moreover, x 21 1/2”. Contributing an “Untitled” etching larger “River Relations: A Beholder’s as at least several of the final selec- relief and embossing print, Linda Share of the Columbia River Dams” tions have been from the northeast Behar wrote that her latest work, series portraying the Pacific West and United States, many of the artists “explores a new approach to feminist Canadian west waterways. “A central concepts that are being explored by theme of our project is the struggle many artists: the female pose, the to comprehend the implications of male gaze, and the objectification of human constructions that drastically the women’s bodies.” alter forces of nature,” the Washington Rachel Bruya’s lithograph construc- state-based duo’s mission statement tion, “Meeting The Ground,” uses reads. “The 14 dams on the Columbia buildings as her messenger to show River are heralded for massive energy how our mind tries to place meaning production and economic benefits, but and understanding to all that we they also incur environmental costs view. “The buildings I create are mere to the river basin, reducing wildlife facades, delicately standing by the and aquatic habitat, and impacting weight of the paper they are printed the lives of many in the region. on … They are constantly searching Approaching the dams as both cultural for the perfect surroundings, moving phenomena and as a metaphor for & shifting until they are comfortable,” large-scale intervention into nature, she wrote. “By depicting a place that is our project explores aesthetic not clearly real or imagined, I strive to responses as a means to reflect the freeze the viewer in a state of inquiry character and ecology of the Columbia and longing.” River landscape over time.” “Mermaid Parade,” a lithograph by L’Heureux said the Beard & Weil Karen Brussat Butler (Norwalk, Conn.) Galleries began the Wheaton Biennial have been able to visit the exhibitions, has a pop art, bit of Peter Max-ist feel six years ago for two reasons: “First, either to deliver work, attend the Dan Wood, Manuscripts to it, adding a warmer, lighthearted to enhance our curriculum empha- opening, or view the exhibition, often Don’t Burn, letterpress, 18” touch to the show. Similarly, Joseph sizing connections across disciplinary with friends and colleagues in tow,” x 24” x 1”. Cavalieri’s “Jackie in Jade,” a combi- boundaries, and second to draw she said. nation of silkscreened and kiln-fired broader regional and national atten- enamels on glass, is an easy sell to tion to our outstanding gallery spaces anyone who loves the memory of and the college.” Each has drawn work | Brian Goslow

MAR/APR 2017 75 Eleven for our Eleventh DUKEN DELPE MOSAIC OF ART AND SCIENCE

450 HARRISON AVE., #310 BOSTON, MASSACHUSETTS

Artist Duken Delpe is a very busy Using recyclable and found objects, through a seemingly magical process, man these days, with a spate of inter- he sands, shapes and weaves together turning under-appreciated, unwanted national and local events. In 2016, thin strips of metal from aluminum and rejected materials into precious Delpe designed the main stage for the cans and utilizes old computer compo- objects and venerated relics,” he said. South Shore Indie Music Festival with nents, combined with pigment, to Delpe sees art and chemistry as two the theme “Art Sustains Us,” and he create mosaic pieces of brilliant color. sides of the same coin. And indeed, will do the same for the 2017 show. Much of Delpe’s work — which he art and science have had an enduring Also this year, the award-winning artist calls ”Painting Sculpture” — runs in relationship through the ages, from will participate in Art Olympia in Tokyo, mid-range dimensions, about 24” to exploration of ideas and theories to Japan while also undertaking his long 48”, although he has created large- transformation and investigation. Both list of submissions and projects. scale pieces at 96” x 192”. fields ask the same questions, “Who With a degree in chemical Delpe considers it a challenge to are we? What is the meaning of life? engineering from the University create work that speaks to some of Where do we come from?” Some of the of Massachusetts, it is not the first today’s current social issues, and also world’s greatest thinkers have striven time an artist has combined scien- feels it is his duty to create works which to embrace both truths, and many tific and artistic vision, but as Delpe will help with the reduction of the carbon agree that there is a meeting between explains, he not only uses his scientific footprint upon the planet. the two realities. background for artistic methodology “Because of my background as a Albert Einstein once wrote, “The and technique, but also in the selection chemical engineer, I feel like an alchemist most beautiful thing we can experi- Sculpture, found and recycled objects. of his materials. who transforms or creates artworks ence is the mysterious. It is the source

76 MAR/APR 2017

Duken Delpe in his studio.

of all true art and all science. So the and interpellation of spirits and higher work is locally available for viewing or unknown, the mysterious, is where art powers for good or bad actions. I see acquisition by visiting his studio at 450 and science meet.” my art practice, and recycling neglected Harrison Ave. (#310), Boston every first Delpe explains his work: “In materials and pigments, as a way to Friday of the month from 5-9 p.m., or chemistry, we understand that all make artworks similar to spiritual by appointment, or at the Liquid Art that we are, and all that we are ceremonies to reach an exponential House and W Hotel, both in Boston. For surrounded by, is chemically based. result or a resolution to a dislocated more information, visit dukeofart.com. Art, for the living being, is also in all social tête-à-tête position.” aspects of our life — it is an inescapable Delpe sees the challenge in bringing | Lisa Mikulski reality in much the same way chemistry his message to his audience. How does is for the living. Therefore, in my one show the value of what we artistic practice, my inspiration comes encounter in life? He believes that from everywhere. I feel like I am being once he has isolated the subject bombarded from all angles. My inspira- matter for any given dialogue, tion is exponential and I can even say the right materials present infinite … as infinite as the universe.” themselves. When researching and Born in Carrefour, Port-au-Prince, designing his work about whistle- Haiti, under the regime of Jean-Claude blower Edward Snowden, accused Duvalier, Delpe began exploring art as of espionage and theft of govern- a child. He came to the United States ment property, “the unavoidable in 1999 and resides in Brockton, Mass. material that presented itself was Over the years, his artwork evolved a computer mother board. I started as he first worked with traditional using that material to investigate art supply materials and later began the convolutions of digital life in expanding and experimenting with our contemporary time.” found objects. Increasingly, his aware- Duken Delpe’s work has ness of social conditions expanded as received several awards, and one well and he made a decided decision of his works is presently among to address such issues as Edward the public collection at The Living Snowden and the NSA surveillance National Treasures Museum in scandal, gun violence, and digital Ikebukuro, Tokyo, Japan. His was life and death. His childhood in Haiti ranked #1 out of 737 artworks — being exposed to Voodoo, and his from the United States in the ancestors’ fights and origins – also final Art Olympia International informs his work. Competition in 2015. “Personal belongings, and person- Delpe also creates vases, pots ally neglected and rejected objects, are and urns, endowing neglected used for spiritual ceremonial purposes, pottery with new mosaic life. His

MAR/APR 2017 77 Eleven for our Eleventh BRIAN WALTERS TAKING HISTORY TO HEART

Brian Walters’ metal sculptures “It used to be that you could hunt,’” he explained. What was have been stored over the years wander around junk yards, but with initially a matter of economics has behind a stand of old-fashioned lilac potential liabilities, just about every become an artistic necessity. HARTFORD ARTSPACE GALLERY bushes on the Bethel, Conn. property junkyard in Connecticut is off limits “Most people don’t get why I am 555 ASYLUM ST., where he grew up. Even in winter, the to people who want to ‘treasure interested in their cast-off junk,” he HARTFORD, bushes provide a natural screen of CONNECTICUT branches and buds that protects his MARCH 11 THROUGH works-in-progress. MARCH 23 Within the next few days, works from his “Urban Totem” series will be loaded up and transported to Hartford’s ArtSpace Gallery for a month-long exhibition that uses “Behind the Lilac Bush” as its title and its cue for collaboration. Curated by poet Jim Whitten and more than a year and a half in the making, this show will give visitors the chance to encounter fractals, or recurring patterns of beauty that surface in nature, and sun-drenched color that will change as sunlight traverses origami sculptor Ben Parker’s 90-foot sheets of rice paper. Abstract landscape painter Christa Whitten is working with a limited palette of lavender and blue hues, and their complementary colors, using a drip process that takes its inspiration from Jackson Pollock. In effect, these artists’ and Walters’ efforts explore the creative act as it moves from the liminal to the fully realized. I caught up with Walters recently at the circa 1700s home where he grew up, on property that once was part of an old Yankee subsistence farm. He is only 38, but seems to have been an old soul in a young man’s body for much of his life, fasci- nated with Connecticut’s industrial history and using his training as a welder to fabricate his often intri- Urban Totem, salvaged materials, 14” x 14”. cate, poetic pieces.

78 MAR/APR 2017

Origami, salvaged materials, in Waterbury, 8’ x 11’ x 13’.

Hand Hewn Burst, salvaged materials, 27” x 9” x 6 1/2”.

said good naturedly, “but for the most simply. “They have always been the like sculpture in the family living part they are happy to either give it to country’s foundation, making things, room; it was made of raw steel and me or take a few bucks for it.” fixing things, and helping to keep our was part of his “hand hewn series,” Walters’ grandfather labored in society running.” a factory for his full working life in David Behnke of Behnke nearby Danbury, and it was from this Doherty Gallery has been a exposure and early relationship that significant mentor over the his admiration for simple materials years, “helping me to see grew and the skills of the working myself as an artist who welded man first captured his imagina- rather that a welder who tion. His totems harken to a time sculpts,” Walters said. when many of Connecticut’s cities At the same time, he has were known by the products they committed himself not only to produced, whether it was Danbury his working life as an artist, the Hat City, or Waterbury the Brass but to devoting himself to City, or Meriden the Silver City. a lifetime of studying great Look closely at the elements he has works. He is within easy driving combined and forged into his works, range of major museums, and for many brim with stories. he has been fine-tuning the At an exhibit in Waterbury not long business side of his operation ago, a group of these totems stood with sights on becoming a self- as sentries in the Mattatuck Museum sufficient artist soon. Corpo- garden, flanked by a low brick wall. rate, private and public art Just minutes away, brick factories commissions and commissions littered what once was a region from the film industry have of makers, with a workforce that been coming his way, and he ranged from tool-and-die makers to is poised to take his work from designers, and waves of immigrants New England to other regions who made their livings in these in the United States and quite often-dangerous settings. possibly Europe. “I’ve got a lot of respect for As we finished our visit, I the blue collar worker,” he said noticed a stunning asteroid-

MAR/APR 2017 79 Eleven for our Eleventh

he said. The piece had been forged from metal that had as his “True North,” it will be guiding him, no matter how been cut, shaped, distressed and sanded repeatedly. far afield he travels. Left: Brian Walters at work in his studio. “I’m not finished with it yet,” he said, but in this setting “Behind the Lilac Bush” will be running from March 11 Right: Brian Walters it was not hard to see how he had transformed humble through March 23 at the Hartford ArtSpace Gallery, 555 with Origami sculpture materials into art that that evoked the hand-hewn beams Asylum St., Hartford, Conn. commissioned by the City of Waterbury, Conn. of his childhood home. It would seem that this veneration of place and history remains at the heart of his art — and | Kristin Nord

THROUGH APRIL 30, 2017 PortlandMuseum.org/Wagstaff-Collection

Carl Van Vechten (American, 1880-1964), [Jacob Lawrence], 1941, gelatin silver print, 15/16 x 7 15/16 inches. The J. Paul Getty Museum, Los Angeles. © Van Vechten Trust

The Thrill of the Chase: The Wagstaff Collection of Photographs at the J. Paul Getty Museum has been organized by the J. Paul Getty Museum, Los Angeles. Generously supported by Paul and Giselaine Coulombe. Corporate Sponsor:

(207) 775-6148 | PortlandMuseum.org

80 MAR/APR 2017 Solomon’s Collection & Fine Rugs

809 Hancock Street (Rt 3A), Quincy, MA 02170 | 617.770.1900 | [email protected] | solomonrugs.com Capsule Previews

Kathy Stark, Checker Board Series, at the Spotlight Gallery. Throwing Up Bunnies: The Irreverent Interlopings of Triple Candie, 2001-2016 at the Addison Gallery of American Art.

“… and the journey continues …,” Color Poems, White Works, Words, 30 area women artists in celebration “Throwing Up Bunnies: The mixed media works by Northeast Collage and Checker Board. “I have of the 30th anniversary of March Irreverent Interlopings of Triple Kingdom artist Kathy Stark repre- been working with pattern, mark being Women’s History Month, is Candie, 2001-2016,” which pulls senting the progression of her work making and repetition for the past on exhibit from March 1 through 31 together new works and a series of from the 1980s to the present, will be 35 to 40 years,” said Stark. “I work in at the University of Rhode Island modified versions of past installa- on display through March 30 at the series, each series lasting three to six Providence Campus Gallery, 80 tions by the curatorial agency known Spotlight Gallery at the Vermont years, often with transitional pieces Washington St., Providence, Rhode for irreverent presentations that Arts Council, 136 State St., Montpe- bridging the change.” Island. “The master artists are exhib- included shoddy reproductions and lier, Vermont. The five series being “30 Years of Women’s History,” ited along with some significant shows featuring fake artists, includes shown, in chronological order, are featuring fine art in all media by over up-and-coming artists. The common “David Hammons: The Unauthor- thread of the exhibit is that this is a ized Retrospective,” “Undoing the group of fine artists who happen Ongoing Bastardization of The

Judy Volkmann, Visionary, at University of Rhode Island Providence Campus Gallery. to be women. More than focusing Migration of the Negro By Jacob on feminism(s) Lawrence” and “The Workshop of or what is the the Harrogate Seven,” remains on ‘femaleness’ of view through April 2 at the Addison their work, the Gallery of American Art at Phillips art speaks for Academy, 180 Main St., Andover, itself and the Mass. The brainchild of art historians masterful execu- Shelly Bancroft and Peter Nesbett tion is inspiring. (Phillips Academy Class of 1984), The intention is the agency had a Harlem gallery neither to break that closed in 2010 to shift its focus genre stereotypes to museum exhibitions. “Rather than nor is the work find new marginalized communities confined to those for which to advocate, Triple Candie ‘precious crafts’ decided to start working without women were once artists, offering up a new model relegated to work that ironically had, and continues to in.” The show’s have, more in common with artist- artist reception run organizations that similarly takes place on challenge traditional notions about Thursday, March art,” said Addison Gallery curator 16 from 5-9 p.m. Allison Kemmerer. Far from tradi- as part of the tional, the show had found great first Gallery Night appreciation amongst those looking Providence of 2017. way outside the box for inspiration.

82 MAR/APR 2017 “During her lifetime, Frida Kahlo “NICHE: Cyanotypes created some 200 paintings, 55 and Constructions” of which are self-portraits. When show that’s on display asked why she painted so many self- through April 15 at 6 portraits, Kahlo replied: “Because Bridges Gallery, 77 I am so often alone — because I am Main St., Maynard, the subject I know best,” noted the Mass. “This series call for participants for “Selfie: started with a photo- An Exhibition of Self-portraits” graph taken in a ruined that runs through April 8 at The monastery,” Erwin Schelfhaudt Gallery, University of explains. “It shows four Bridgeport, Arnold Bernhard Center, openings or niches 84 Iranistan Ave., Bridgeport, Conn. whose original purpose Over 50 artists from around the can only be imagined. United States responded to the Perhaps they were for call for this “special opportunity a sacred statue or a for artists to express themselves — reliquary. The photos literally!” The show was curated by have been created gallery director Peter Konsterlie and in the 19th century author Dominick Lombardi. photographic process Last year’s “Cyanotypes: Photog- of cyanotype. Digital raphy’s Blue Period” exhibition negatives are used in at the Worcester Art Museum printing. Twenty first Tony Moore, Aperture, Selfie: An Exhibition of Self-Portraits at Schelfhaudt Gallery. was one of the region’s surprise century technique shows of 2017, gaining widespread meets 19th century process. These attention. The genre gets a fresh blue prints defy time, making the Over 90 guns decommis- New Expressions moniker revamping by Gail Erwin in her images seem timeless.” sioned through a Pittsburgh to make a powerful state- gun buyback program have ment about the gun violence been turned into art objects epidemic in America. The show now on display through June 10 “is a call to arms, hearts and Gail Erwin, Open Door, Marksburg Castle, Germany, at 6 Bridges Gallery. in “I.M.A.G.I.N.E. Peace Now” hands intended especially for at the Society of Arts + Crafts, contemporary metal artists” 100 Pier Four Blvd., Suite 200, with the work on display Boston. Providence-based responding to, and hopefully metalsmith and activist Boris initiating, “conversations Bally has brought together over regarding the gun violence so 100 artists under the Innovative prevalent in American culture Merger of Art & Guns to Inspire today.”

Harriete Estele Berman, at Society of Arts + Crafts.

MAR/APR 2017 83 Capsule Previews

Courtney M. Leonard, Breach #2, at the Mashantucket Pequot Museum & Research Center.

“Without a Theme,” an exhibi- of each piece move the individual,” tion featuring approximately 20 said curator Tahnee Ahtoneharjo- vibrant, large-format installations Growingthunder. “Our focus on from seven premier North American color and composition — rather than artists, opens on March 31 at the theme — allows the artists’ connec- Mashantucket Pequot Museum & tions to their community and their Research Center, 110 Pequot Trail, purpose to speak for itself.” The show Mashantucket, Conn. Acrylic, mixed runs through November 2. media, glass, sterling and organic “Conceal and Reveal” perfectly materials constructed works by Jeff teams Denise Driscoll and Kay Kahm (Saskatchewan, Canada), Bob Hartung, whose paintings “obscure

Haozous and Russel Frye (New fully rendered patterns and trust Denise Driscoll, Inner Garden, at Fountain Street Fine Art. Mexico), Allan Houser (Oklahoma), what lies below to re-emerge as they Courtney Leonard (New York), scrape, carve, sand, torch, incise Remember those mitochondria meandering quality. “It is symbolic Isaac Dial (Utah) and Joe Feddersen and otherwise manipulate their from biology class? Hartung’s work of native artists alternating between (Washington) will be displayed. “We materials” for a show that opens blows up microscopic imagery, in two cultures, striving to preserve strategically immerse visitors in April 16 and continues through May the process, “creating colonies of historical and spiritual traditions large, vibrant installations – letting 7 at Fountain Street Fine Art, 59 cellular shapes that migrate, flow and while experiencing modern lifestyles the purpose, message and emotion Fountain St., Framingham, Mass. multiply,” pulling viewers into “the and new art forms.” The museum’s beauty of this mysterious world” of mission is to inspire new learning the human cell. Driscoll’s shapely about the Wabanaki Nations David Moses Bridges, Etched Birchbark Box, at the Abbe Museum. creations “create playful diagrams” with every visit. “Twisted Path IV” that initiate a Rorschach-like test of participating artists include Jason the imagination where, “Physical K. Brown (Penobscot), David Moses experience intermingles with intan- Bridges (Passamaquoddy), Chris gible ideas, world events, literature, Pappan (Osage, Kaw, Cheyenne memory and dreams.” River Sioux), Hollis Chitto (Laguna/ “Twisted Path IV: Vital Signs,” Isleta, Mississippi Choctaw) and an invitational exhibition featuring ShaaxSaani (Tlingit), who were artwork that reflects personal stories chosen based on the aesthetics of about tribal identity and balancing their work, their ability and willing- life in a complex world, opens April 7 ness to tell stories through art, at the Abbe Museum, 26 Mt Desert and the unique and contemporary St., Bar Harbor, Maine. The exhibi- natures of their forms. tion’s title is based on a traditional beadwork pattern of the same | Brian Goslow name, describing a back and forth or

84 MAR/APR 2017 EXHIBITIONS PLUS LIVE FEEDS AROUND THE NORTHEAST AT ARTSCOPEMAGAZINE.COM AND MOBILE APP

Boys. Adults: $10 Hours: Jan 2-April 30: Wed-Sun, 10am-5pm. 6000 Shelburne Rd. Shelburne, VT (802) 985-3346 shelburnemuseum.org Colby College Museum of Art. Photo © trentbellphotography. Natalie Jeremijenko. GreenLight. 2017. Colby College Museum of Art Glass chandelier, tyvek, and living plants. Thorne-Sagendorph NORTHERN Closing March 19 Art Gallery NEW ENGLAND “Rivane Neuenschwander: Zé Through March 26 Helen Day Art Center 2125 Stanley Street/Traces - Carioca and Friends” Through April 8 explores the dynamics of Through June 4 Natalie Jeremijenko. This NYC hybridity within and across “Zao Wou-Ki: No Limits” based international artist will generations of immigrant Through Sept. 3 families. Brattleboro Gallery Walk activate the galleries with “Graphic Matters: George Bellows past work and new initiatives Sympathetic Vibrations: March 3 & April 7 Selected works by Rachelle and World War I” focused on the environment. You’re invited to a year-round Beaudoin, Janet Bleiken, Sally Select Saturdays, 11am–noon first-Friday celebration of the Through the end of September, Bomer, Brian Cohen, Glen Art + Storytelling arts, featuring 40 or more we simultaneously present Scheffer, Craig Stockwell – April 12, 7pm exhibit openings in galleries, Jeremijenko’s site-specific six area artists connecting local Lecture: Luis Camnizter and global issues. cafes, and other venues. installation at Spruce Peak April 13, 6pm Hours: Sa-We, 12-5pm, Th/Fr, Many feature meet-the-artist which explores movement, Live Music Celebration for “No 12-7 pm. receptions, several offer live interconnectedness, and social Limits” Keene State College music, and most are within a interaction. Attend The Black & Wyman Way Hours: Tue-Sat: 10am–5pm three-block area of the Victorian White Ball, HDAC’s annual Spring Keene, NH 03435 Sun noon–5pm brick-front downtown. Monthly Benefit at Stowe Mountain Lodge (603) 358-2720 Open to 9pm on Thursdays [email protected] guide includes listings, a map, Saturday, April 29. Museum tours Saturday at 2 pm keene.edu/tsag articles, and gallery ads. 90 Pond St. Free and open to the public. Hours: 5:30-8:30. Free. Stowe, VT 05672 5600 Mayflower Hill Brattleboro, VT (802) 253-8358 Waterville, ME 04901 University of New Hampshire (802) 257-2616 helenday.com (207) 859-5600 Museum of Art Joy Wallens-Penford colby.edu/museum Through May 19 (closed March GalleryWalk.org Portland Museum of Art 10-19 & April 10-20) Through April 30 Closer Readings: New Mitchell • Giddings Fine Arts The Thrill of the Chase Hampshire Writers Respond to Catamount Arts Gallery Through March 12, Spring The Wagstaff collection of Art Through March 12 April 21 – May 19 Visions, a group exhibit featuring photographs at the J. Paul Getty Arts Connect At Catamount Arts Reception, Friday, April 21, 2017 27 gallery artists. Opening with Museum. Annual Juried Members Show. 6-8:00 pm artist reception March 16, 5 - 7 Congress Square Juried by Fleming Museum MFA Thesis Exhibition and BA 7pm, David Rohn Watercolors Portland, ME 04101 Curator Andrea Rosen Exhibition 1974-2016, a special gallery-wide (207) 775-6148 March 18 - April 29 This annual exhibition retrospective of Rohn’s work. portlandmuseum.org/ Rosie Prevost: Under the Surface. celebrates the achievements of Artist talk Saturday, March 25, wagstaffcollection Opening Reception: Saturday, the candidates for the Master 5pm. Continues through April 30 March 18, 5-7 pm of Fine Arts degree and the Hours: Wed. - Mon. 11-5pm. Bachelor of Arts degree. Artist Talk: Friday, April 7 pm. Shelburne Museum 183 Main Street Paul Creative Arts Center Hours: Daily: 1-9:30 pm. Through May 7 Brattleboro, VT 05301 30 Academic Way Catamount Film and Art Center Backstage Pass: Rock & (802) 251-8290 Durham, NH 03824 115 Eastern Avenue Roll Photography features mitchellgiddingsfinearts.com (603)862-3712 St. Johnsbury, VT 05819 more than 300 rarely seen photographs--studio portraits unh.edu/moa (802) 748-2600 and candid outtakes--of famous [email protected] catamountarts.org rock and roll stars and jazz greats from Miles Davis, Elvis and The Beatles to David Bowie, Prince, and The Beastie

MAR/APR 2017 85 Exhibitions and Sale Senior Studio Art Majors’ Art Complex Museum Annual springtime studio tour of exhibition showcasing work by Through April 23 nine pottery studios in western graduating Wheaton students. Duxbury Art Association Annual Massachusetts brings you Opening reception: Thurs. April Winter Juried Show through the beautiful Asparagus 20 from 5:30-8:30 p.m. Rotations: Objects from the Valley...through farm fields, Hours: Mon. – Sat. 12:30-4:30 permanent collection. charming small towns, old factory Through May 14 mills and converted barns. Visit p.m.; closed March 11-19 for J. Michael Sullivan: A Magical over 20 potters each year on this spring break. Narrative, photography as a free, self guided tour. Wheaton College conceptual narrative. The perfect New England 26 East Main Street 189 Alden Street weekend getaway from Boston, Norton, MA 02766 PO Box 2814 Hartford, NY, and beyond. (508) 286-5412 Duxbury, MA 02331 Tiffany Hilton wheatoncollege.edu/gallery (781) 934-6634 (413) 824-6506 artcomplex.org www.apotterytrail.com CENTRAL NEW ENGLAND ArtSpace Maynard April 19 - May 26 ‘Some Semblance Of’ Comeau and Carpenter 6 Bridges Gallery Opening Reception: April 22, Through April 15 5-7pm. Gail Erwin: “Niche” March 1 - April 14 Cyanotypes and Constructions. ‘Left Behind’ Explores mystery in the empty Joanne Tarlin niche, the partially opened door. Opening Reception: March 11, Reception March 11, 2017, 7-9 pm. 5-7pm April 18 - May 27 Hours: Wed-Sat., 11 am-3 pm. Brent Mathison: “Seeing the ArtSpace Gallery and Studios Forest Through the Trees” 63 Summer Street Reception April 22, 7-9 pm. Maynard, MA 01754 Photographs. Receptions are (978) 897-9828 ArtsNight Maynard events. artspacemaynard.com Illustration by Hilary Knight for The Hours: Tu-F 11 - 6pm, Sat 10 - Plaza Hotel’s children’s menu (1956- 5pm. 1957). Collection of Hilary Knight. 77 Main Street Arts League of Lowell Attleboro Arts Museum Copyright © by Kay Thompson. Maynard, MA March 10 – April 23 Through March 4 (978) 897-3825 It’s About Time Invited artists share their The Eric Carle Museum of 6BridgesGallery.com We cherish and dread time, time interpretations of Museum flies and drags. We measure holdings in Then and Now 2017. Picture Book Art time with clocks, alarms, and March 4th Through June 4 Addison Gallery of by milestones in our lives. We Annual All School Show. This exhibition includes 90 American Art tell time mechanically, digitally March 23 – 26 artworks from the Eloise and biologically. This open show Through March 19 Flower Show – Jewels of the collaborations and art from the features time inspired work in Garden. Taking Shape: Sculpture at the rest of Hilary Knight’s prodigious Addison 2D, 3D, video and digital media. April 8 - May 6 Through March 19 Sponsored by Clark Insurance Each fall twenty-one women career as a children’s book artist, Eye on the Collection. & the Arbella Insurance gather on Cape Cod for an poster artist, magazine illustrator, Through April 2 Foundation. artist’s retreat. View the and painter. Never-before-seen Throwing Up Bunnies: The Artists’ Reception: Saturday, creative results in Love of Place artwork includes his 1954 trial March 18, 4-6 pm Irreverent Interlopings of Triple – Works from Twenty-One in drawings for the first Eloise book, The ALL Arts Center displays Truro. Candie, 2001-2016 two Eloise In Paris sketchbooks, March 18 - July 30 work by 30+ artists in our co-op 86 Park Street and the 1993 Eloise watercolor Immediate Sources: Gifts from gallery, working in all mediums: Attleboro, MA 02703 Frank Stella photography, ceramics, textiles, (508) 222-2644 for New York Is Book Country. April 1 -July 30 wood, painting, drawing, and attleboroartsmuseum.org Also for the first time since its Eye on the Collection, Spring jewelry, plus themed exhibitions infamous disappearance from 2017 in our main gallery. the Plaza Hotel in 1960, Knight’s Hours: Wed–Sat: 12–6 pm April 22 - July 30 Beard & Weil Galleries original 1956 Eloise portrait will be Sunday: 12–4 pm. Frank Stella Prints: A March 1 - April 10 on public display. Retrospective. 307 Market Street Wheaton Biennial: Printmaking 125 W. Bay Road 3 Chapel Avenue Lowell, MA 01852 Reimagined, featuring work by Andover, MA (978) 221-5018 Amherst, MA 01002 (978) 749-4015 [email protected] 61 artists from 30 states and two carlemuseum.org [email protected] artsleagueoflowell.org foreign countries that explores addisongallery.org the boundaries of printmaking, juried by Andrew Raftery; Asparagus Valley Pottery Trail Opening reception: Thurs. March April 29 and 30, 2017 2 from 5:30-8:00 p.m. Thirteenth Annual Studio Tour April 20 – May 12

86 MAR/APR 2017 Fitchburg Art Museum Through June 2 A Curious Nature: Paintings by deCordova Sculpture Park & Shelley Reed Museum Through September 3 April 7 – September 17 A Feast of Beasts Expanding Abstraction: New Mr. Reinford’s World: opening England Women Painters, 1950 reception on March 12, 3 – 5pm Ongoing to Now Evoking Eleanor: The Art, Life, This exhibition revises the male and Legacy of FAM Founder narrative of abstract painting Ellen Schiffman: The 52 Box Project. Eleanor Norcross; More Recent by focusing exclusively on New Acquisitions: Photography; England women artists including Fuller Craft Museum Global Africa: Creativity, Through March 26 Taking The Veil. Maud Morgan, Natalie Alper, and Continuity and Change in African Ann Pibal. John Bisbee: Material Obsession Art; Discover Ancient Egypt. Through April 16 The Conant Gallery at Lawrence April 7 – September 10 Hours: W-F 12-4, Sa & Su 11-5. Bartram’s Boxes Remix Academy Let It All Hang! 1982, A Year of Fitchburg Art Museum Through June 4 Janet Hulings Bleicken Collecting at deCordova 185 Elm St, Fitchburg, MA Playa Made: The Jewelry of Opening Friday, April 7 How and why do some works (978) 345-4207 Burning 6:00 PM – 7:30 PM enter museum collections fitchburgartmuseum.org Through June 25 Conant Gallery, Richardson-Mees and other don’t? With total Cary Wolinsky: Fiber of Life Performing Arts Center transparency, this exhibition March 18 - June 25 Lawrence Academy, Groton, MA pulls back the curtain to account Living Traditions: The Handwork Gallery Talk, April 9, 2017, 2:00 PM for every work acquired by of Plymouth CRAFT On display through Wednesday, deCordova during a single year. March 25 - July 30 May 10, 2017 51 Sandy Pond Road Ellen Schiffman: The 52 Box Gallery hours: 8 AM – 5 PM, Lincoln, MA 01773 Project Monday–Friday (781) 259-8355 April 16 - October 1 Entrance on Rt. 40 decordova.org Future Retrieval: Permanent Groton, MA 01450 Spectacle Hours: Tues. -Sun. 10am– 5pm, Thursday until 9pm, closed Mon. MBTA Commuter Rail to Brockton station, then take Bus 4A. 455 Oak Street Brockton, MA 02301 (508) 588-6000 fullercraft.org Tamalin Baumgarten, Barges Beach Fire, Denise Driscoll, Inner Garden 18, 2016, 2016, oil on panel, 4” x 7”. acrylic, 40” x 30”. At Fountain Street Fine Art. Dedee Shattuck Gallery Dedee Shattuck Gallery will be on Fountain Street Fine Art vacation January through March March 9 - April 2 Concord Art of 2017 and will reopen with our Place and Memory: Two Views. Main Gallery first exhibition of the season in Iris Osterman and Kathy Soles. early April. Through Mar 26, Member’s Jury Reception: March 18, 5-7pm. 2 – Collage, Craft, Drawing, Mixed 1 Partners’ Lane Westport, MA April 6 - May 7 Media, Photography, Printmaking. (508) 636-4177 Conceal and Reveal. Kay Jim Holland, Hopper’s House, 2008, Oil Juror Randi Hopkins, BCA. DedeeShattuckGallery.com Hartung and Denise Driscoll. on canvas, Collection of Elizabeth English April 6 to May 14, Walden: Window April 8 - Artist Talk 4pm, and Leigh Williams. & Mirror, Protest Art, c-art Reception 5-7pm. installation, reception April 6, 6 Thru May 26 Heritage Museums & Gardens -8pm, Artist’s panel: April 12th, Wish You Were Here! Original April 15 - Oct. 9, 10 am-5 pm Lecture: April 26th postcard-sized art by artists Painted Landscapes: Member’s Gallery from around the world. Contemporary Views offers a March 7 to April 2, Marjorie Glick, Hours: Thu – Sun, 11–5 and by range of styles, subjects, and reception March 12. appointment. approaches which, when taken April 4 - May 7, Wendy Gonick and 59 Fountain Street, together, form an intimate and Doron Putka, reception April 6, Framingham, MA startlingly beautiful collection 6-8pm. (508) 879-4200 that addresses contemporary 37 Lexington Road Shelley Reed, Hitched (after Desportes), [email protected] landscape painting. Each featured 2013, oil on canvas. fsfaboston.com Concord, MA 01742 artist takes acute notice of (978) 369-2578 the physical world at a time of concordart.org heightened awareness of the

MAR/APR 2017 87 Exhibitions

Lexington Arts and landscape and today’s concerns Crafts Society Paula Estey Gallery of climate change, environmental March 12 MARCH: “TERRITORY,” health, conservation, and the Sam Vokey, Demonstration in featuring Miranda Updike, green movement. Guest curator: Oils Stoney Stone, Paul Kerepka Lauren Della Monica. Hours: 2–4, Free Heritage Museums & Gardens and Jen Groeber. March 18 - April 2 Reception 3/10 6-8pm. 67 Grove Street Polymer/Bead & Photography Sandwich, MA 02563 APRIL: “TWO STEVES AND Show A BENTLEY,” featuring the heritagemuseumsandgardens. Hours: Tues - Sun: 12-4 & Sa org collaborative genius of Steve 10-4 Martin, assemblage sculptor April 8 – 23 and Steve Bentley, portrait Metalworkers Show artist. Opening 4/7 6-8pm. Hours: Tues- Sun: 12-4 & Sa 10-4 A contemporary art gallery in April 29 & 30 Downtown Newburyport. Lexington Open Studios Hours: Tues - Sat 12-5pm. Mother of God Vladimirskaya c1680. Hours: 11-5 3 Harris Street April 29 - May 14 Museum of Russian Icons Newburyport, MA 01950 Painters & Ceramics Show March 11 – May 21 (978) 376-4746 Hours: Tues- Sun: 12-4 & Sa 10-4. Presenting Pondering Mary: Facebook/paulaesteygallery 130 Waltham Street Her Story Through Icons. paulaesteygallery.com Lexington, MA 02421 . (781) 862-9696 An exhibit of 38 Russian lacsma.org icons–sacred art–spanning six centuries. Learn how the Powers Gallery Mother of God’s relationship Through March 25 Diversity Works Lexington Open Studios with her son has defined her A group show of new work, April 29 & 30 and how the Russian Orthodox from pastel landscapes to Visit 60+ artists in their studios. church views her complex role large oil abstracts, celebrating Free and open to the public. in salvation. 11 AM - 5 PM Hours: Tues-Friday 11AM-4PM, a variety of styles and media 130 Waltham Street Sat-Sun 11AM-5PM. First Thurs. to enhance your surroundings Línea Punteada, 2007-2014, Claudia Lexington, MA 02421 of the month 11AM-8PM, Closed and build your collection. Visit Vásquez Gómez. lexingtonopenstudios.org Mondays. the website to view artwork Museum of Russian Icons from our large group of artists. Iris & B. Gerald Cantor Art Home visits and museum Gallery 203 Union Street Montserrat Gallery Clinton, MA 01510 quality framing also available. Through April 13 Observance: As I See You, You museumofrussianicons.org Hours: Tuesday - Saturday Last Frontier / Última Frontera: See Me 10am - 6pm. La Subjetividad del Territorio George Frary: A Borrowed Closed Sunday and Monday. April 27 – May 26 Landscape Nesto Gallery 144 Great Road Senior Concentration Seminar Kevin Townsend Acton, MA 01720 Derek Lerner April 7 – May 12 Exhibition 2017 (978) 263-5105 3/20–4/15 NEW PAINTINGS: Observer The Last Frontier presents the powersgallery.com Carol Schlosberg Alumni Gallery Effect. Grant Drumheller. work of Latin American artists (23 Essex, Beverly, MA) Grant Drumheller’s paintings whose work explores the concept Reception: 3/22, 5–7 p.m. are a painterly chronicle of of borders from various points Hours: Mon-Wed, Fri. 10am-5pm. public gatherings. His long Smith College Museum of Art of view. Thurs. 10-8pm, Saturday 12-5pm. views of the plaza, the beach Through August 13 Senior visual arts students Senior Thesis Exhibitions and the promenade are filled Leisure and Luxury in the Age exhibit a body of work they Weekly with the characters of our of Nero: The Villas of Oplontis have developed through March 20–May 10 time and become a repertoire near Pompeii. Four floors of Various locations, information participation in the year-long of activity that marks us as galleries including new Asian will be available: montserrat.edu/ SeniorConcentration Seminar. social beings. Drumheller’s art and digital media galleries. Hours: Mon-Fri. 10 a.m. – 5 p.m., galleries SCMA’s collection includes Receptions: Every Wednesday, deft brushwork energizes that Sat Noon – 5 p.m. activity. more than 25,000 artworks 5–8 p.m. created from antiquity to the College of the Holy Cross Hours: Mon-Wed. Fri. 10am-5pm. Opening reception: Friday, April present day by artists from O’Kane Hall, 1 College St., Thurs. 10-8pm, Saturday 12-5pm. 7, 5:30-7:00 pm Worcester, MA 23 Essex Street Hours: Monday-Friday 8:30am– around the world. Tel: (508) 793-3356 Beverly, MA 01915 4:00pm. Hours: Tu–Sa 10–4, Su 12–4. holycross.edu/cantorartgallery montserrat.edu Milton Academy Art & Media 20 Elm Street at Bedford Find us on Facebook and follow (978) 921-4242 x3 Center Terrace, Northampton, MA us on Instagram & Twitter [email protected] 170 Centre Street (413) 585-2760 Milton, MA smith.edu/artmuseum (617) 898-1798 milton.edu/arts/nesto-gallery

88 MAR/APR 2017 South Shore Art Center Through April 9 Legacy – Susan Denniston, Kelly Knight, Anne Plaisance, Lorraine Sullivan DILLON GALLERY: Students of Bill Flynn— Deedee Agee, Kim Alemian, Martin R. Anderson, Abigal Tulls. View of Lek, Netherlands. Ann Conte, Allison Crowe, Sally Dean, Joan Drescher, Larry Aboudia, Nightmare Collage, 2016, Williams Fine Art Dealers Guilmette, Esther Maschio, mixed media on paper, 48” x 59”. Showing the very best Jan McElhinny, Anthony Pilla contemporary realism and MANNING LOBBY FEATURE: Thompson Gallery Russ Pope, Aloha Friday, acrylic on representational art from top- canvas. Anne Heywood March 28 - June 9 tier emerging and established Aboudia—Light & Dark Apr 17 –May 28 artists. Reception: Friday, April 7, 2017, University Gallery at UMASS National Juried Show – 4-7 p.m. Lowell Not Black & White: works on White|Black|Monochrome-Juror Gallery Talk: Saturday, May 6, March 21 – April 15 paper. Check our web site for - Beth Urdang 1-2 p.m. Russ Pope specifics. Apr 21 Aboudia—Light & Dark Who’s Who? Williams Fine Art Dealers DILLON GALLERY: Color examines Aboudia’s (b. 1983 Artist’s Talk: Tuesday, Mar. 21 at 300 Main St., 2nd Floor Abidjan, Ivory Coast) multi- Theories—Robert Brodesky, 3:30 p.m. in O’Leary 222 Wenham, MA 01984 Sally Dean, Ray Genereux, layered paintings, suggestive (978) 944-2218 of the vivid, complicated Reception follows 5 – 7 p.m. in Andrea Kemler, Judy St. Peter the University Gallery. williamsfineartdealers.com OPENING RECEPTION: 6–8PM pageant of contemporary Africa. Aboudia’s raw visions University Gallery at UMASS MANNING LOBBY FEATURE: of Light & Dark suggest Lowell Brian Fitzgerald aesthetic redemption with the Mahoney Hall 119 Ripley Road possibilities of transforming 870 Broadway St., Lowell, MA Cohasset, MA 02025 chaos into vitality, painful uml.edu/dept/art/galleries (781) 383-2787 events into a renewable hope. (978) 934-3491/3494 ssac.org Hours: M–F 9–4:30, or by appointment. School calendar applies. Thompson Gallery University of Massachusetts The Umbrella Community Dartmouth Arts Center The Cambridge School of Weston March 8 - April 4 March 2 – April 2 45 Georgian Rd., Weston, MA Women, Art and Fibers: Then and Now: 34 Years, 55 (781) 398-8316 Contemporary Responses to Artists thompsongallery.csw.org Abolition and the Journey Opening Reception: March 2 North from 6:00 to 8:00 pm Reception: Wednesday, March On view during Open Studios Three Stones Gallery 8, 4-6pm, Discussion: 5pm. March 15 – May 5 on April 1 and 2, 2017 Fiber art stories of the St. Michael the Archangel, Peruvian, April 6 – May 7 Our spring show, Visual Lyrics, 1700s, From the Collection of Robert and is evocative of the beauty Underground Railroad. Gathering Places: Annual This program is supported Richard Huber. Musketaquid Earth Month and harmony of lyrical dance or an inspiring poem. Visual in part by a grant from Exhibit Worcester Art Museum arts relay their own lyrical the Dartmouth Cultural Opening Reception: April 6 beauty and harmony in the art Council, which is a local Through April 9 from 6:00-8:00 pm. of three artists whose work is agency supported by the KAHBAHBLOOOM: The Art and 40 Stow Street featured in this show: Concord Massachusetts Cultural Council. Storytelling of Ed Emberley – Concord, MA 01742 residents Monika Andersson Hours: M-Th 10-4, F 10-noon. first museum retrospective of [email protected] (digital mixed media) and Ilana College of Visual and one of the country’s most Manolson (sculptural painting), Performing Arts, prolific picture book artists. and Paris resident Hilary Opening March 11 Johnson (pastels). For more 285 Old Westport Road North Dartmouth, MA 02747 Highest Heaven: Spanish and information: 978-254-5932 or Portuguese Colonial Art From www.threestonesgallery.com. Umassd.edu/cvpa/galleries the Collection of Roberta and Opening Reception: Saturday, Facebook.com/ March 18, 6:00 - 8:30 pm UMassDartmouthGalleries Richard Huber -- discover this Hours: Monday—Friday, 10-6 stunning private collection p.m. Saturday, 10-5 p.m. during its only New England 115 Commonwealth Ave. visit. West Concord, MA 01742 55 Salisbury Street Gallery: (978) 254-5932 Worcester, MA Mobile: (978) 399-8611 (508) 799-4406 threestonesgallery.com worcesterart.org

MAR/APR 2017 89 Exhibitions MassArt & Brickbottom Meet. 28 Gallery). At Boston Private at the Boston Athenæum artists who are both Brickbottom Circulating and special Prudential Center through May Artists’ Association (BAA) collections library and fine 2017. Members & MassART alumni art museum founded in 1807. Deborah Quinn-Munson: Sparkle. or faculty. Reception: March 12, Norma Jean Calderwood Save the Date for the Fresh 3-5pm. Gallery and select building Paint Gala 2017 on May 4, 2017. April 27 – May 27 spaces open to the public. #Bid2Benefit. Myth & Magic, a BAA members’ Opening April 6: New England Co|So is the oldest non-profit art exhibition. Check website for on Paper: Contemporary Art in association in the United States, more information. the Boston Athenæum’s Prints representing over 300 artist Hours: Thursday – Saturday, & Photographs Collections members from around the globe. noon-5pm. showcases prints, drawings, 158 Newbury Street 1 Fitchburg Street and photographs documenting Boston, MA 02116 Somerville, MA 02143 BOSTON a diverse array of artistic (617) 536-5049 (617) 776-3410 METRO AREA responses to New England’s [email protected] [email protected] built and natural environment. copleysociety.org brickbottom.com Free to members, $5 for non- members. Hours: Mon.-Thurs., 9-8; Fri., Galatea Fine Art 9-5:30; Sat., 9-4; Sun noon-4. 2017 Cambridge Arts Open Through March 29 Studios 101/2 Beacon St. Jane Paradise: Dune Shacks of May 13 & 14 12-6pm Boston, MA 02108 Provincetown, Series 1; Vanessa Artists across Cambridge (617) 227-0270 R. Thompson: gob-bet; Francis open their homes and studios membership@ Domec: The Purring of the Soul. offering a unique insider’s bostonathenaeum.org Reception: March 3, 6-8pm look at the artists’ process. bostonathenaeum.org April 1 - 30 It’s a wonderful way to spend Philip Gerstein: Wild at Heart: the day with or even find that Works on Paper and Other perfect last minute gift for Boston Sculptors Gallery Adventures; Louise Weinberg: the special “Mom” in your life. Through April 2 From Darkness, Light; Michael Preview Showcase Reception, Marilu Swett, Drift and Susan Shores: Cloud Creatures and Thursday, May 11th 6-8pm at Lyman, Sculpture in the Other Delusions. Cambridge Art Association; Unmaking. Reception: March 11, Reception: April 7, 6-8pm. catch a glimpse of all the 2–5 p.m. Artist’s talk at 3 p.m. 460B Harrison Avenue, #B-6 wonders this amazing weekend Second Sunday Concert Series: Boston, MA 02118 will hold! March 12, 4 p.m. with John Cage (617) 542-1500 Cambridge Arts Players. galateafineart.com Carmen Sasso, Leigh Hall, Melissa Shook, 344 Broadway, 2nd Floor Opening April 5 and Walter Kopec at Atlantic Works Cambridge, MA 02149 Christina Zwart, Pussy Tower Gallery. (617) 349-4381 (Direct) and Christopher Abrams, Orifice Gallery 344 (617) 349-4380 (Main) and Oculi. Reception: April 22, Through April 7 Atlantic Works Gallery (617) 349-4621 (TTY) March 4 - 25 5–8 p.m. Protected Trees- New Work by [email protected] Then and Now, group show by April 9, 4 p.m. Joel Janowitz cambridgeartscouncil.org Atlantic Works Gallery members. Second Sunday Concert Series Joel’s paintings and monoprints Receptions: Saturday, March 4, April 29, 10 a.m.–1 p.m present a poetic response to 6-9 pm., Thur. March 16, 6-9 pm. 3D Printing Workshop the street construction in his April 1 - 28 April 29, 7–9 p.m. neighborhood. Opening April Landscape of Memory, work by BEAMS Concert 24: Kelly Sherman: We Were Melissa Shook, ...And Things April 30, 10 a.m.–12 p.m. That Remain, work by Walter Here- Stories and memories of Kopec, Receptions: Saturday, Creating Your Vision Dance the Cambridge Common. The April 1, 6-9 pm, Thursday, April Event first of three gallery exhibitions 20, 6-9 pm. Hours: Wed–Sun 12–6, First connected to Common Hours: Fridays 5–8. Deborah Quinn-Munson, Extra Bright, Exchange, a series of temporary pastel, 36” x 18”. March 2-25: Sat-Sun 1-5 486 Harrison Avenue public art projects that respond April 1-28: Sat-Sun 1-5 Boston, MA to the historic Cambridge Copley Society of Art or by appointment. [email protected] Common. Through April 6 80 Border Street bostonsculptors.com Hours: M 8:30-8, T-Th 8:30-5, F East Boston, MA 02128 Shaken and Stirred: Winter 8:30-12. (857) 302-8363 Members’ Show (Upper Gallery 344 [email protected] Gallery), juried by Mike Carroll Brickbottom Gallery Cambridge Arts atlanticworks.org of the Schoolhouse Gallery, March 9 – April 15 344 Broadway, 2nd Floor Provincetown, MA. Creative Crossroads: Where Cambridge, MA 02139 Small Works: Shake It Up (Lower

90 MAR/APR 2017 (617) 349-4380 Art and its ability to elevate [email protected] people is what inspire cambridgeartscouncil.org the members of NAWA’s SoWa Artist Guild Massachusetts chapter every March 3 & April 7 day. Apply at thenawa.org by 5-9 pm, the First Friday of each Mar. 15 and Sept. 15 of each year. month, Guild member artists HallSpace NAWAMA Artists will exhibit at open their studios at 450 March 25 - April 29 “Upward Trend.” Harrison Ave. Free, and parking Joe LoVasco thenawa.org available Until It Feels Right Beverly Rippel and Charyl Opening reception: Saturday, Weissbach Encaustic Art in the Twenty- March 25, 3-6pm. New Art Center First Century, through March Hours: Friday + Saturday 12 - Through March 25 25, Receptions: Sat. Feb.11 from 5pm, Monday - Thursday by The Newest Romantics’ artists 4-6 p.m. and Sat., March 4 from appointment. harness the illusive qualities 4-6 p.m. at Francesca Fine Art 950 Dorchester Avenue of photography and sleek lines Gallery, 56 Adams St. Lexington. Dorchester, MA of architectural sculpture to Thirteen New England area MakeSpeak @ North Bennet artists working in the ancient (617) 288-2255 manipulate environmental Street School art of encaustic painting were mbta: Red Line to JFK/UMASS images through photography, April 6 sculpture, video, and site-specific selected to be in this show in conjunction with the newly MakeSpeak: Youth edition. installation. Concurrently, Karine published coffee table book of Join us for a collection of 7 Kadiyska & Sandra Mayo explore The Hess Gallery the same name by Anne Lee and presentations in 7 minutes by identity through figurative works Opening February 20 E. Ashley Rooney. local young artists, tradespeople including sculpture, monoprint, The Watchers, new paintings by 450 Harrison Ave, and craftspeople. This free event and collage. Boston, MA 02118 Lavaughan Jenkins. Lavaughan is on April 6th at North Bennet Opening April 2 gives the Nicholson Memorial Street School. RSVP in advance International Encaustic Artists Lecture on Wed. April 12, 7pm in to reserve your seat. Organized presents In Flawed Abundance, StoveFactory Gallery the Campus Center (President’s by the Commonwealth of Craft. in which artists use translucent March 31, April 1, April 2 Dining Room). Free: public “MakeSpeak” characteristics of encaustic is invited. Check Annenberg The “Annual Spring Art @ North Bennet Street School painting to express varying Exhibition” a juried exhibit of local Library hours for all Gallery (617) 227-0155 subjects. artists hours including Spring Break. Hours: Tu–Sa 1–6pm. Opening Reception: Friday, March http://www.pmc.edu/library. 61 Washington Park, 31st, 7 - 10pm Hess Gallery Lanoue Gallery Newtonville, MA Exhibition Hours: Saturday & Pine Manor College March 3 - 30 (617) 964-3424 Sunday, April 1st & 2nd, 11 - 5pm 400 Heath Street Canadian, abstract painter newartcenter.org April 14 th - April 16 an “Exhalation” of work; the Chestnut Hill, MA 02467 Karine Léger, and introducing facebook.com/newartcenter result of a week-long impromptu pmc.edu.hess-gallery bent wood sculptures by New twitter.com/newart1977 York artist Jeremy Holmes. collaboration between local artists April 4 - 30 across disciplines. Opening Reception: Friday, April HOMELAND inSECURITY by Piano Craft Gallery Kingston Gallery Syrian architect and artist, 14th, 7 - 10pm MFA First-Year Exhibitions, SMFA Exhibition Hours: Saturday & March 1- April 2 Mohamad Hafez. Featuring at Tufts University Sunday, April 15th & 16th, 11 - 5pm Susan Alport: Exactly What I multi-media installations April 28 - April 30 Want inspired by the destruction Group 1: March 2 - 7 Group 2: March 10 - 14 “Serenity in Nature” Lavaughan Jenkins: Reflections and resulting humanitarian New Painting by Barbara J. Torrey Group 3: March 17 - 28 of Power, Center Gallery crisis in the artist’s homeland. Opening Reception, Friday, April Linda Leslie Brown: Wall Holes, Hafez creates photorealistic Receptions: March 3, 10, & 17, 6-8 28th, 6 - 9 pm three-dimensional scenes that (free) Exhibition Hours: Saturday & Members’ Gallery architecturally represent the First Friday Opening Reception: April 7 - 30 Sunday, April 29th & April 30th, urban fabric of the Middle East “Inner Direction: Lines, Bodies, 11 - 5pm March 3, 5:00-7:30 and serve as his backdrops for Color,” paintings by Izzy VanHall. All exhibitions are free admission, April 5 - 30 political and social expression. VanHall’s work is driven by her Open to the public, handicapped Barbara Moody: Inside/Out Hours: Tues - Sat: 11-6pm. accessible. Luanne E Witkowski, Burning 450 Harrison Avenue, No. 31 love of movement—physical and StoveFactory Gallery Desire, Members’ Gallery Boston, MA 02118 visual. 523 Medford Street First Friday Opening Reception: (617) 262-4400 Saturday, April 8 Charlestown, MA 02129 [email protected] (617) 241-0130 April 7, 5:30-8:00 DJ Yoga 5:30-6:45 (by donation) lanouegallery.com [email protected] 450 Harrison Avenue, No. 43 Opening Reception 7-10 (free) Gallery hours: Fri, 6-8 pm, Sat artistsgroupofcharlestown.com Boston, MA 02118 & Sun 12-5 p.m. (617) 423-4113 National Association of Women Free and open to the public. kingstongallery.com Artists, MA Chapter Piano Craft Gallery March 28 – April 23, 2017 793 Tremont Street Hills Gallery at Newburyport Art Boston, MA 02118 Association pianocraftgallery.com April 17 - May 21, 2018 The Trustman Art Gallery: facebook.com/galleryPF “Natural Force” [email protected]

MAR/APR 2017 91 Exhibitions Chazan Gallery at Wheeler Through March 8 Public Domains, featuring works by Sammy Chong, Elizabeth Ferrill, Robert Morgan and Brian Shure. March 13 - April 9. SOUTHERN An American in Paris: Drawings NEW ENGLAND Lisa, 2010, digital photograph, 30”x40”. by Mary Colman Wheeler. Photo Credit: Jill Brody. The Chazan Gallery at Wheeler 228 Angell Street Towne Art Gallery at Wheelock Providence, RI 02906 College Heidi Whitman, Game of Thrones, Ink, ArtProv Gallery (401) 421-9230 Through March 30 gouache, acrylic, paper, cast shadows. [email protected] Hidden Plain in Sight Thru March 18 Jill Brody explores the faith- Wedeman Gallery at Lasell “Henry’s Kids” Current work from based community Hutterites of College 30 students of Enrico “Henry” Liberty County, Montana. Pinardi spanning the years he Hours: T-W-Th 12:00-5:00 p.m.; March 21 – April 12 taught at RIC from 1967-1995. Sat. 1:00-5:00 p.m. Abstract Systems Talk: Mar. 21, 5:30-6:30 p.m. Opening Reception: Thursday, Gallery Night Providence: March Reception: Mar. 18, 2:00-4:00 March 23, 6-8 pm. 16, 5-9pm. p.m. A group exhibition featuring April 5 - May 20 Closed: Mar. 4-13. work by Barbara Grad, Barbara “The HorseShow” featuring Towne Art Gallery at Wheelock Eskin, Jennifer Caine, Wally Alecia Underhill, Brian Fox, College and Melissa Mason. Opening 180 Riverway Gilbert (photographer and Nobel prize winner in biology), Reception: April 7, 5-9pm; Gallery Boston, MA Adolf Dehn, Spring in Central Park, wheelock.edu/art Jennifer Moses, Stephanie Night Providence: April 20, 1941. Watercolor on paper. Lent by The McMahon, Lisa Reindorf, Taylor 5-9pm. Metropolitan Museum of Art, Fletcher Trew, Debra Weisberg and Check website for hours, or by Tufts University Art Gallery Fund, 1941. Heidi Whitman. Curated by Lisa appointment. Through May 21 150 Chestnut Street, CODED_COUTURE proposes a Reindorf and Andrea Foggle Fairfield University Art Providence, RI, 3rd Floor new interpretation of couture Plotkin. Museum where coding is the ultimate Hours: Tuesday–Saturday, (401) 641-5182 through April 7 design tool for creating garments. 1–4pm. [email protected] Bellarmine Hall Galleries Evelyn Rydz: Floating Artifacts Wedeman Gallery at Lasell artprovgallery.com ADOLF DEHN: Midcentury examines the life cycles of ocean College Manhattan debris - from ancient organisms, Hours: Tuesday-Friday, 11am- to manufactured plastic toys, 47 Myrtle Avenue Auburndale, MA AS220 4pm. then back to the ocean as floating opening March 24 fragments of our contemporary (617) 243-2143 IN THE GALLERIES | MARCH 4-25 Walsh Gallery (Quick Center) lives. wedemangallery.com Reception | March 4th, 5-7 p.m. Hours: T-Su 11-5, Th 11-8. AS220 Project Space @ 93 H.A. SIGG: Abstract Rivers Hours: Wednesday-Saturday, Aidekman Arts Center Mathewson St. 40 Talbot Avenue 12pm-4pm. Please Touch installation by Fairfield University Medford, MA 02155 Allison Paschke (617) 627-3518 1073 N. Benson Road [email protected] The Reading Room: Fairfield, CT artgallery.tufts.edu Textures of Time installation by (203) 254-4046 Liliana Fijman fairfield.edu/museum PEA040_artscope_8thH.qxp 2/14/17 11:15 PM Page 1 AS220 Main Gallery @ 115 Empire St. NOT Compatible GALLERY 175 John Paul McCaughey March 5 – April 28 Arena – Passions of the Two Weeks of Sunday Electorate, studio photographs Douglas Breault by Gary Duehr that recreate the Open Window intense behaviors, gestures, and New Work by Denis Wagle expressions of people attending AS220 Resident Gallery @131 recent political rallies. Washington St. Gallery 175 is located adjacent January 20 – April 15, 2017 Group Show to the Blackstone Valley Visitor (401) 952-7037 Center in downtown historic [email protected] Pawtucket. Open daily 10am-4pm. as220.org 175 Main Street Pawtucket, RI 02860 [email protected] Lamont Gallery 603-777-3461 / www.exeter.edu/lamontgallery Hours: Mon: By appointment. Tue-Fri: 9-5. Sat: 10-4. Closed Sundays & between exhibitions. Gallery175.com CREDIT: Image by Barlow, Hearon, Lee & Sakata 76 Bellevue Ave. REPRESENTING LUCA RICCÒ Newport, RI 02840 (401) 848-8200 newportartmuseum.org

Providence Art Club March 5-31 The Women Artists of the Providence Art Club, 1880. Symposium on March 25, 9:30 am - 4 pm. Both events free and open to the public. Reservations recommended. Gallery Hours: M-F 12-4pm, Weekends 2-4pm. 11 Thomas St Uli Brahmst, Fortitude, 15” x 13”, digital Providence, RI 02903 polaroid, 2017. (401) 331-1114 providenceartclub.org Hera Gallery March 4 – April 1 The Feminist Opposition, an intersectional exploration of GALLERY SEVEN contemporary feminism’s role in opposition to the current CONTEMPORARY FINE ART cultural and political climate. Reception: March 4, 6 - 8 p.m. April 8 - May 6 Advising in The Fine Art of Collecting Wings, a collaborative exhibition featuring Uli Brahmst and Mara 7 Nason Street. Maynard, MA 01754 Trachtenberg exploring a world • where Angels and other winged 978.897.9777 creatures guide us through www.gallerysevenmaynard.com Josef Albers, To Mitla, 1940. Oil on diverse realities. Masonite. The Josef and Anni Albers Reception: April 8, 6 - 8 p.m. Foundation, Bethany, Conn., 1976. © 2017 10 High Street The Josef and Anni Albers Foundation/ Wakefield, RI 02879 Artists Rights Society (ARS), New York. (401) 789-1488 Photo: Tim Nighswander. [email protected] heragallery.org Yale University Art Gallery The museum features more than 4,000 artworks, including Jo-Ann Boback ancient, American, European, African, Asian, and Indo-Pacific art, as well as photography and modern and contemporary art and design. Through June 4 It Was a New Century: Reflections on Modern America. Through June 18 Small-Great Objects: Anni and Jay Lacouture, Celadon Teapot, 2015, Josef Albers in the Americas. soda vapor glazed porcelain, Courtesy Through July 9 of the Artist. Let Us March On: Lee Friedlander and the Prayer Newport Art Museum Pilgrimage for Freedom. Through May 14 Through July 16 Jay Lacouture, Looking Modern Art from the Middle Forward, Looking Back, East showcases two distinct bodies Through July 23 of work: one assembled from Lumia: Thomas Wilfred and the What Will Happen When We Meet, oil/graphite/Charcoal/Canvas, 30” x 30” 2015 pieces made over the course Art of Light. of his career that explore the Free and open to the public. teapot idiom, and another that Hours: Tues- Fri 10-5; Thurs until brings together works from the 8pm (Sept-June); Sat-Sun 11–5. past several years that reflect 1111 Chapel Street www.joannbobackart.com the artist’s visits to China. New Haven, CT Hours: Tues-Sat 10-4, Sun. 12-4. (203) 432-0600 Newport Art Museum artgallery.yale.edu

MAR/APR 2017 93 Classifieds

Centerfold

Your work can be Artscope’s next Centerfold. Work by established and emerging artists welcome. For the May/June 2017 issue we will be accepting submissions in the category of Outsider/Visionary Art. Send up to three images and your statement with contact information to: [email protected] by April 10, 2017.

Submit low resolution images for review. High resolution images must be available to be reproduced up to 9” x 12” according to the orientation of the work selected. The centerfold will be selected based on visual and/or conceptual quality, by a panel of three arts professionals.

Call for Entries

StoveFactory Gallery Call for Artists: Annual Spring Art Exhibition at the StoveFactory Gallery, March 31st, April 1st, April 2nd. Application can be found on our web site: www.artistsgroupofcharlestown. Application Deadline: March 8th. [email protected]. Subject line: 2017 Spring. StoveFactory Gallery, 523 Medford Street, Charlestown, MA 02129 (617) 241-0130.

August 1 Deadline for Artist’s Resource Trust (A.R.T.) Fund Grants available in painting, sculpture, printmaking or mixed media to mid-career artists with financial need in New England and Columbia and northeast Dutchess counties, NY. Nonprofit organizations wishing to show, commission or purchase work by mature artists living in New England may also apply. Grants range from $2,000 to $10,000. Applications and artwork must be submitted online. Learn more at berkshiretaconic.org/ART. Deadline: August 1.

ArtSpace Maynard invites artists in all media (except video) to submit proposals for one month solo or group exhibitions for the 2017-2018 season. The proposed exhibit should be based on a unifying concept that is social, historical, philosophical, cultural, political or other. The ArtSpace Gallery is one of the largest nonprofit exhibition spaces in Massachusetts. Preference will be given to New England artists. For guidelines to go: artspacemaynard.com/proposals. Deadline: May 15, 2017

Newburyport Art Association 20th Annual Regional Juried Show, May 5 - June 3, 2017, Juried by Janis Sanders, janissanders. com. Call for Entry Details newburyportart.org. Digital submissions only. New Entry Submission Deadline: Monday, March 6, 5 pm.

Art League Rhode Island Artists are invited to submit to our CSF Symposium Exhibit: The Integration of Art, Science and Medicine. Deadline is April 1. Exhibit runs from June 16 – August 30 at Brown University. Visit artleagueri.org for more information.

Greater Haverhill Arts Association’s ART FESTIVAL 2017: Fine Arts Exhibit and Sale, September 9, 10am-4pm on Bradford Common (Bradford MA), rain or shine. Open to all: non-refundable entry fee $40 ($30 members); deadline September 1. Information and registration at haverhillartassociation.org.

Northeast Art Workshop Retreats: Nationally-acclaimed art mentoring workshops in all mediums and for all levels. It’s art R&R: northeastartworkshops.com

SEEKING ARTISTS: Gallery 175 in downtown Pawtucket, RI is scheduling 2017 shows. No sales commission. For more information, visit: gallery175.com/about

94 MAR/APR 2017 Steven Spazuk, Smoky Owl, 2017, 36 x 36 inches, Fumage (soot from fire)

04 7 17 | 05 28 17

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