While best known for her self-portraits addressing identity, guise and self-confrontation, Susanna Coffey has pursued landscape painting for many years. Several years ago, inspired by nocturnal images of Jean-Francois Millet and James Abbott Whistler, Coffey embarked on a series on night landscapes. This exhibition presents a selection from that body of work.
SATURDAY, SEPTEMBER 7 FROM 3:00 - 6:00PM
Brother Thomas Bezanson graduated in 1950 from the Nova Scotia College of Art and Design and in 1968 received an MA in Philosophy from the University of Ottawa. In 1953, he began working as a potter and six years later entered the Benedictine Monastery in Weston, Vermont, where he spent 25 years as a potter. In 1976, Thomas was a visiting lecturer at Alfred University School of Ceramics and in 1983, was awarded a National Endowment for the Arts grant. During his time at the Benedictine Monastery, Thomas traveled to Japan, where he met five Living National Treasure potters appointed by the Japanese Government. These craftsmen deeply influenced Thomas's work, process, and thought. It was a few years after this influential journey that he felt the need for greater artistic freedom, and left in 1984 to become an artist-in-residence in the community of Benedictine Sisters in Erie, Pennsylvania, where he shared his life and art for 22 years. Brother Thomas’s elegant forms are completed by a vivid array of glazes, which he created from natural materials. His works are in numerous galleries and museums, and are included in over 80 international collections, including the Metropolitan Museum of Art in New York, the Art Institute of Chicago, the Museum of Fine Arts, Boston, and the Victoria and Albert Museum in London.
THE BROTHER THOMAS FUND
The Brother Thomas Fund was established at the Boston Foundation in 2007 to honor the legacy of Brother Thomas, who wanted the sale of his work to support struggling artists. The goal of the biennial Brother Thomas Fellowship program is to support and celebrate a diverse group of Greater Boston artists working at a high level of excellence in a range of disciplines and to enhance their ability to thrive and create new work. Each Brother Thomas Fellow receives an unrestricted award of $15,000. Fellowships are given without stipulation as to how the funds are spent, and match the needs of artists as well as the wishes of Thomas, who wanted to help other artists as his friends had helped him. Brother Thomas Fellows are selected on alternate years based on an inclusive process of nomination and panel review by a diverse group of nominators from the leaders in Boston’s art scene. The fellowships are awarded to individuals who have made a firm commitment to their art and are working at a high level of achievement. The Fellowship program acknowledges that even established artists often struggle for the resources needed to advance their art. Over time, as former Brother Thomas Fellows welcome the new award winners, the awards create a community of artists of recognized excellence.
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Bernard Chaet (1924-2012) was a master watercolorist as well as a painter and professor of art at Yale University for many decades. This survey focuses on seascapes and still lifes executed between 1986 and 2004.
Solo show of photographs by John Goodman.
In 2019, the Addison Gallery of American Art had a solo exhibition of Goodman’s photographs
from not recent color. Goodman has exhibited widely in the United States, notably in the
exhibitions Naked Before the Camera at the Metropolitan Museum of Art and Exposed at the
San Francisco Museum of Modern Art. His work resides in the permanent collections of the Art
Institute of Chicago, the Harvard University Art Museums, the Metropolitan Museum of Art, the
Museum of Fine Arts/Boston, the Museum of Fine Arts/ Houston, and the San Francisco
Museum of Modern Art. His photographic series depicting a New York boxing gym were
published in the monograph The Times Square Gym.
Tatiana Flis & Elizabeth Alexander
August 28–September 29, 2019
Reception: Friday, September 6, 2019, 5:00–8:00 PM
Tea and Talk: Saturday, September 7, 2019, 3:00–4:00 PM
Remainder Remains offers a rich combination of abstract and concrete imagery. In highlighting that which has been left behind, the exhibit evokes the memory of what has been taken, forgotten, lost, or stolen. An initial impression reveals other potential realities, as in a counterfactual narrative, and gradually discloses their layers of meaning.
Through the use of found imagery and collage, common threads emerge between the two artists. They each unearth elements of human behavior and emotion that we culturally tend to ignore. In addition, “Remainder Remains” features drawing and sculpture, and includes a sound and image series referencing the Gardner art heist. Throughout the gallery, the artists’ shared themes of disappearance and desire take hold. The result is an exhibition of generational loss and the marks of what remains.
August 14 - 25, 2019
Opening reception: Friday, August 16, 6 - 8pm
Pinky Promise is a special 10-day group exhibition curated by up-and-coming Guest Curator Shelby Feltoon and features her own interdisciplinary work along with found object, collage, and mixed-media by artists Cameron Boyce, Meagan Hepp, and Katie Lane. This special project was spearheaded by the 2018-19 Kingston Gallery Emerging Artist Emily Brodrick. The term “pinky promise” references a simple and innocent gesture that holds deep belief and truth for children. The sacred ritual of linking pinkies is learned on playgrounds as a binding contract. The works in Pinky Promise center around pledges the artists make with themselves and their viewers. This vibrant, high-chroma, and playful exhibition is a nod to moments when trust is placed in external forces, and times when skepticism is acknowledged. The human tendency to believe that things will work out even when disappointment is a part of daily life can be felt through the myriad of mixed-media works in this show
Cameron Boyce, Daisy, 2017, acrylic, chalk, charcoal on paper, 4’ x 4’
Associate Member Group Show, Curated by Daniel Zeese and Mia Cross
July 31 - August 25, 2019
Reception: First Friday, August 2, 2019 | 6:00 - 8:00 pm
The show of painting, photography, and mixed media highlights the unique abilities of artists to interpret and tell stories. Through visual imagery, specific details of a story are either recalled or forgotten, brought to light or buried, minimized or exaggerated. These portrayals tell us not only their importance within a story, but also what is significant to the individual doing the telling.
Artists have the ability to translate what they know through the language of art-making; what is remembered takes root in the act of creation. The duty of artists is to use their toolsets to reflect a distinct place, person, emotion, or story—muting some information while intentionally favoring aspects which become embedded as truths. In this, honesty equates to exaggeration.
John Baker, Katherine Borkowski-Byrne, Robin Colodzin, John Daly, Linda DeStefano Brown, Traci Harmon-Hay, Nan Hass Feldman, Anita Loomis, Brigid McGivern, Pat Paxson, Anne Sargent Walker, and Tracy Spadafora.
Linda DeStefano Brown, Dissolving, digital photograph
Saturday, July 7 from 3:00 - 6:00PM
Our Fine Choices exhibition provides us with an opportunity to take each of you on a tour of the state of our collections each year! This year’s event will be an Open House where you can:
Win raffle prizes such as books, Red Sox tickets, and more!
Take an in-depth guided tour of the Fine Choices exhibition with a Gallery staff member
View documentary screenings of featured artists such as Shoji Hamada, Mark Davis, and Hongwei Li
Enjoy light snacks and refreshments, including our signature cocktail
We also use this as an opportunity to feature an artist or tradition. This year Young Jae Lee's work invites you to beauty.
Young Jae Lee graduated from Seoul’s Academy of Fine Arts in 1972, and moved to Germany to complete a number of internships and further her studies in ceramic arts. Since 1987, she has served as Director of Keramische Werkstatt Margaretenhöhe GmbH in Essen, Germany. In this studio, Lee creates works for her large-scale ceramic installations and independent exhibitions while simultaneously presiding over several apprentices who are responsible for manufacturing tableware sets. In recognition of her ceramic career, Lee was awarded an honorary doctorate by the Eugeniusz Geppert Academy of Art and Design in Wroclaw, Poland, in 2016. Her works are featured in numerous international public collections, including the Israel Museum in Jerusalem, the Art Institute of Chicago, and Munich’s Pinakothek de Moderne.
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Paul Caponigro is renowned as one of America’s most significant photographers. At the age of thirteen, he began to explore the world around him with his camera and has subsequently sustained a career spanning six decades. Acclaimed for his spiritually moving images of Stonehenge and other Celtic megaliths of England and Ireland, Caponigro has also photographed the temples, shrines, and sacred gardens of Japan, and inspires viewers with glimpses of the mystical woodland of his native New England. Approaching nature receptively, Caponigro prefers to utilize an intuitive focus rather than merely arranging or recording forms and surface details. An unparalleled ability to engage the viewer in the mystical presence concealed in nature continues to leave a lasting contribution to photography. Currently, Caponigro has exhibited and taught throughout the United States and abroad. As a recipient of two Guggenheim fellowships and three National Endowment for the Arts (NEA) grants, in 2001 he received the Centenary Medal from the Royal Photographic Society in recognition of his significant contribution to the art of photography. Caponigro’s images are included in most history of photography texts and numerous museum collections, including The Metropolitan Museum of Art, New York, and the Museum of Modern Art, New York.
Shoji Hamada was one of the most influential potters of the 20th century. Hamada graduated from Tokyo Technical College in 1916 and enrolled at Kyoto Ceramics Research. During the years from 1919 to 1923, Hamada travelled extensively to learn about diverse ceramic and folk craft traditions, and built a climbing kiln in England at St Ives with Bernard Leach (1887–1979). In 1952, Hamada travelled with Soetsu Yanagi (1889–1961) and Bernard Leach throughout the United States to give ceramic demonstrations and workshops. Hamada's work was influenced by a wide variety of folk ceramics including English medieval pottery, Okinawan stoneware, and Korean pottery. His works were not merely copies of the styles he studied, but were unique products of his own creative energy. Hamada’s great respect for artisan crafts led him to draw as much as possible from folk traditions. After receiving the Tochigi Prefecture Culture Award and Minister of Education Award for Art, Hamada was designated a Living National Treasure in 1955. Thereafter, he was appointed Director of the Japan Folk Art Museum and awarded the Okinawa Times Award and Order of Culture from the Emperor. In 1961, Shoji Hamada: Collected Works was published by Asahi Shimbun. In 1973, Hamada received an honorary Doctor of Art degree from the Royal College of Art in London, England. Shoji Hamada died in 1978, four years after the completion of the Mashiko Sankokan Museum, which was built in his home. Hamada's influence on potters around the world is incalculable, and the village of Mashiko has become synonymous with Japanese folk ceramics.
Shinsaku Hamada was born in 1929 in Tokyo, Japan as the second son of Shoji Hamada. A year later, the Hamada family moved to Mashiko in Tochigi Prefecture. Hamada studied industrial art at Waseda University in Tokyo and thereafter traveled with his father to assist him during demonstrations and lectures. The first Shinsaku Hamada solo exhibition was held at the Mitsukoshi Department Store in 1970, and he has since had numerous landmark exhibitions there, including a 2009 show to celebrate his 80th birthday. In 1978, Hamada became a Kokugakai National Art Association member and was named Director of the Mashiko Sankokan Museum. In 1999, he received the 27th Shimono Citizens Award. Hamada’s work is included in the collections of the Prefectural Governor’s residence and the Brooklyn Museum of Art. Hamada continues to exhibit internationally and work alongside his son, Tomoo Hamada, in the original compound built by his father.
Tomoo Hamada was born in 1967 in Mashiko, Japan, as the second son of Shinsaku Hamada and a grandson of Shoji Hamada. In 1989 and 1991, Hamada received undergraduate and graduate degrees in sculpture from Tama Art University in Tokyo. Hamada has exhibited, lectured, and given workshops internationally and was integral in helping the pottery community of Mashiko rebuild from the devastating Tohoku earthquake of 2011. His ceramic works are included in the permanent collections of numerous museums including the Tochigi Prefectural Museum of Fine Arts, the Museum of Fine Arts, Boston, the Victoria & Albert Museum, London, and the Asian Art Museum, San Francisco. Hamada currently lives in Mashiko, Japan on the original compound his grandfather built, and works alongside his father. In 2012, he became Director of the Shoji Hamada Memorial Mashiko Sankokan Museum.
JOSEPH BARBIERI, JEFF DOWNING, CIG HARVEY, WILLIAM IRVINE, DINORA JUSTICE, JUDY KENSLEY MCKIE, TODD MCKIE, GEORGE NICK, SAGE SOHIER, ED STITT, WILLIAM WEGMAN
JUNE 7 – JULY 12, 2019
FRIDAY, JUNE 7
6 – 8 PM
Opening Reception, Friday June 7, 2019, 5:00 - 8:00 pm
Image: Rhonda Smith, Building 7 Interior interior with Annex, wire and clay 9H x 5 W x 4.5D inches
Marie Craig and Allison Maria Rodriguez
Through installation, video, photography, animation, drawing and performance, “Secrets of the Unseen” explores the possibilities of transcendence and rebirth through a conventionally unrecognized, hidden power. Craig and Rodriguez draw attention to the manner in which this power is linked to the survival instincts of all lifeforms, highlighting that existence is both delicate and ferocious. This exhibition illustrates that the foundation for a shared evolution could be found in the smallest, and perhaps most unlikely, of places.
Reception: Friday, May 3, 2019, 6–8 p.m.
LYNDA SCHLOSBERG, Frequency Tuning
450 Harrison Ave.
Boston MA 02118
May 1 - June 2, 2019 (W-F 12:00-5:00pm and by appointment)
Opening Reception: Friday, May 3, 5-8pm
Lynda Schlosberg’s current series of intricately layered paintings, Frequency Tuning, visually explores the crossing point between physical and non-physical worlds. Her large, vibrant paintings are inspired by both natural and unnatural elements, evoking satellite images of rivers, trees, glaciers and chasms with a multitude of lines and dots across the canvas atop fluid pools of color. Schlosberg’s intricate and complex paintings are inspired by quantum theories and philosophies questioning whether it’s possible to adjust one’s frequency-tuning abilities to move easily between worlds, or to experience both at the same time, “We experience the world with our intellect and physical senses, yet there is also an invisible sea of energy beyond our awareness that surrounds, connects, and influences us.” Working with both metaphysical principles and philosophical ideas Schlosberg presents her work as a macrocosm where all things are intermingled, out of which anything is possible.
450 Harrison Ave.
Boston, MA 02118
W-F (12:00 - 5:00 pm, and by appointment)
Opening Reception: Friday, May 3, 5-8pm
Gallery member Cree Bruins and visiting artist Sarah Hollis Perry present a collaboration in the Kingston Project Space titled, Reflecting (Then and Now). The project continues one started in 2017 for a Boston Sculptors Gallery invitational in honor of their former teacher, Joyce McDaniel. Throughout their careers each artist has worked extensively with film and alternate photographic technologies. With this show they’ve come together, reusing the all-but-obsolete materials of earlier photographic production as their medium to create an installation of physical structures and digital images.
Saturday, 11 May 2019, 3:00PM - 6:00PM.
Both artists will attend the public opening. Kindly RSVP to the event on Eventbrite.com.
Ali Clift’s unique and mysterious cloth paintings are delicately crafted using fabric. As a graduate of Tufts University and the School of the Museum of Fine Arts, Boston, Clift's first cloth paintings were inspired, technically, by a picture composed of small cloth pieces on display at the MFA . Throughout her artistic career, Clift has been fascinated by the challenge of creating an authentic sense of space through the illusion of fabric. As she continues to expand her creative process, each new body of work introduces distinct subjects and a notable change in an exploration of cloth as a medium for painting. Some of the most recent works depict the beauty of nature in a surreal, narrative manner. An ardent and engaged traveler, she shares—literally and figuratively—fragments of her experiences in new environments. Clift's earlier works inspired by Mexico are featured in the book Paintings of the Last Decade: Still Life, which is the second publication featuring the artist. The first, entitled Beyond the Big Top: The Cloth Paintings and Graphic Works, explores her successful circus-themed works. Clift's work is included in public collections in New England, New York, Canada, Israel, Vietnam, and Bali. She resides in Chelsea, Massachusetts and Naples, Florida.
Hagiwara Yoshinori is the fifth generation of the Hagiwara family ceramic workshop, currently residing in Mashiko, Japan. To obtain formal training, he studied and researched at the Tochigi Prefectural Ceramics Instructional Institute. Yoshinori's work has since been selected for inclusion, and has won numerous prizes at the National Art Exhibition for multiple years. The most recent ceramics have broadened beyond his well-known persimmon glaze, and he has incorporated yellow kaki, blue nuka, and namijiro glaze into his artistic vocabulary. Creating his own expression through using these glazes, he exhibits great control in creating elegant forms. In 2014, Japan’s Ministry of Economy, Trade, and Industry designated Hagiwara as a "Traditional Craftsman." His ceramics are included in significant public collections including the Art Institute of Chicago, the Schein Joseph Museum of Ceramic Art at Alfred University in Alfred, New York, and the Tikotin Museum of Art in Haifa, Israel.
To see the exhibition catalogues, visit www.puckergallery.com.
Skinningrove 1982 - 84
Photographs by Chris Killip
Skinningrove North Yorkshire 1982 - 84 is a series dedicated to the inhabitants and life of Skinningrove, a fishing community on the North-East coast of England. The series offers a unique documentary insight, as Skinningrove was isolated both geographically and socially. Having grown up on the Isle on Man, Killip understood their culture and was able to render his subjects with dignity and respect. These intimate portraits of Skinningrove capture a late 20th century England in the process of deindustrialization.
The exhibition is made up of 40 modern 20 x 24 inches prints, none of which have been previously exhibited in the United States.
450 Harrison Ave.
Boston, MA 02118
W-F (12:00 - 5:00 pm and by appointment)
Opening Reception: April 5, 5:00 - 8:00pm
Jamal Thorne’s Timestream Muckery references popular culture, religious iconography, and symbolism to create images multi-layered with identity and personal truths. Thick with layers of drawing and mixed-media, his work serves as a documentation of personal journeys into the past, armed with current knowledge of how those past events changed the future, affecting the present moment where the artist finds himself today. Weaving visuals of iconic moments in the the civil rights movement into the physical layers of his collages, Thorne reflects on how the inclusion of contemporary objects and figures might have changed the experience of those historical moments. With layers composed of tape and paint, Thorne draws, paints, peels, tears, and builds his canvases. As a new layer covers the previous one, time moves forward, and new events occur. As in history or memory, some elements are lost, while others are preserved as indelible impressions in time.
Image: Yana Payusova, Origins, Revolutions series, ceramic, 20 x 12 x 9 inches, 2018
Revolutions explores the dynamics of power and gender through vivid imagery painted onto large ceramic vessels. Even though this series is very much rooted in the tradition of the narrative ceramic vessel, these forms deconstruct the functionality of a decorative utilitarian receptacle. The vessel functions as a circular canvas whose interior and exterior spaces are activated with imagery examining the ever-changing roles of women and cultural gender norms. It brings into question constructions of power in relation to expectations of behavior and beauty. Complexities of sexuality, motherhood, and ageing are revealed with the vessels slowly rotating on pedestals, creating a continually moving and overlapping progression of imagery of revolving juxtapositions, nuanced angles, and sliding points of view.
The renderings on the surfaces are informed by Akio Takamori sculptures, Soviet propaganda posters, the early Will Eisner comics, the wordless woodcut novels of the 1920s, the Ancient Greek orgy cups and the Japanese Ukiyo-e prints. The clay forms are hand-built using the coil technique, then bisque-fired before they are painted with underglazes in layers, and scratched into the painted surface. The color palette is purposely restricted to one traditionally used in printmaking: most of the imagery is black and white, an homage to the stark language of the woodcut print. Red is also added as an essential primary color.
The tropes and allusions presented in the works cannot be separated from the ongoing debate over female body rights concerning birth/abortion, circumcision, body coverage/exposure, contraception, and obligations within matrimony. Throughout history, the unclothed female figure has carried the baggage of objectification, voyeurism, exoticism, desire, and struggle for power and control.
Saturday, 9 March 2019, 3:00PM - 6:00PM
The artist will attend the public opening. Kindly RSVP to the event on Eventbrite.com.
Samuel Bak was born in 1933 in Vilna, Poland, at a crucial moment in modern history. From 1940 to 1944, Vilna was under Soviet and then German occupation. Bak’s artistic talent was first recognized during an exhibition of his work in the Ghetto of Vilna when he was nine years old. While he and his mother survived, his father and four grandparents all perished at the hands of the Nazis. At the end of World War II, he fled with his mother to the Landsberg Displaced Persons Camp, where he enrolled in painting lessons at the Blocherer School in Munich. In 1948, they immigrated to the newly established state of Israel. He studied at the Bezalel Art School in Jerusalem and completed his mandatory service in the Israeli army. In 1956 he went to Paris to continue his education at the École des Beaux Arts. He received a grant from the America-Israel Cultural Foundation to pursue his artistic studies. In 1959, he moved to Rome where his first exhibition of abstract paintings was met with considerable success. In 1961, he was invited to exhibit at the “Carnegie International” in Pittsburg, followed by solo exhibitions at the Jerusalem and Tel Aviv Museums in 1963.
It was subsequent to these exhibitions that a major change in his art occurred. There was a distinct shift from abstract forms to a metaphysical figurative means of expression. Ultimately, this transformation crystallized into his present pictorial language. Bak’s work weaves together personal history and Jewish history to articulate an iconography of his Holocaust experience. Across seven decades of artistic production, Samuel Bak has explored and reworked a set of metaphors, a visual grammar, and vocabulary that ultimately privileges questions. His art depicts a world destroyed, and yet provisionally pieced back together, and preserves memory of the twentieth-century ruination of Jewish life and culture by way of an artistic passion and precision that stubbornly announces the creativity of the human spirit.
Since 1959, the artist has had numerous exhibitions in major museums, galleries, and universities throughout Europe, Israel, and the United States, including retrospectives at Yad Vashem Museum in Jerusalem, and the South African Jewish Museum in Cape Town. He has lived and worked in Tel Aviv, Paris, Rome, New York, and Lausanne. In 1993, he settled in Massachusetts and became an American citizen. Bak has been the subject of numerous articles, scholarly works, and eighteen books; most notably a 400-page monograph entitled Between Worlds. In 2001 he published his touching memoir, Painted in Words, which has been translated into several languages. He has also been the subject of two documentary films and was the recipient of the 2002 German Herkomer Cultural Prize. Samuel Bak has received honorary doctorate degrees from the University of New Hampshire in Durham, Seton Hill University in Greenburg, Pennsylvania, and Massachusetts College of Art in Boston.
In 2017, The Samuel Bak Museum opened in the city of the artist’s birth, on the first two floors of the Tolerance Center of the Vilna Gaon State Jewish Museum. In addition to fifty works already donated by the artist, the Museum will continue to accept works in the coming years and ultimately build a collection that spans the artist’s career. The Museum honors Bak’s life and art and is a testament to his commitment to educate current and future generations. Also in 2017, Samuel Bak was nominated by the Vilna Gaon State Jewish Museum, and subsequently named by the city’s mayor as an Honorary Citizen of Vilnius. He is only the 15th person to receive this honor, joining Ronald Reagan and Shimon Peres for their exceptional contributions to Lithuania.
February 27-March 31, 2019
Opening Reception: Friday, March 1, 2019, 5:00-8:00 pm
It has not been a good decade for small, private liberal arts colleges, religious universities, art schools, and other specialized institutions of higher education. Clayton Christensen of the Harvard Business School's "disruptive innovation" theory suggests that the cause of this change is due to online and hybrid learning which now accounts for nearly half of the classroom hours that colleges and universities are delivering. But that might not be the only reason. Prospective students prefer public colleges and bigger universities which offer larger financial aid options. And Trump's xenophobic immigration policies initiated a decline in the enrollment of international students who have traditionally been relied upon to pay full tuition.
Chantal Zakari's new work hails from the future with nostalgic postcards of recently defunct colleges. In the images of crumbling campus buildings, once icons of American academic life, learning and research are at risk. Through the use of a rough halftone pattern the images blur and disintegrate into a painterly abstraction of a bygone era.
This collection of postcards includes stories about Alliance College which is now a state prison, Virginia Intermont College whose campus has been bought by a Chinese university, and the local news of Mt. Ida College that has become embroiled in a feud about how public funds should be spent. We are a long way from the mid-19th century when the wealthy took pride in philanthropy to found schools such as Morriston College which was dedicated to the education of former slaves.
In Cogent Message, also the title of an encyclopedic photobook in the show, idyllic images retrieved from schools' marketing campaigns emerge from the white background of the corporate style letterheads. Interspersed with school logos we see part time faculty who barely make ends meet, students starting life in-debt and staff that suddenly find themselves unemployed.
In line with her earlier work, Strategic Planning, also shown at Kingston Gallery, Cogent Message is a souvenir postcard rack of a fragile landscape.
February 27-March 31, 2019
Opening Reception: Friday, March 1, 2019, 5:00-8:00 pm
My thoughts are haunted...
In the paintings included in this exhibition, I am using the ghosts of paintings past as a point of departure for paintings present. Sometimes recognizable and sometimes abstract, these images are made of newly added fragments of color and shape that interact with the sanded and scraped surfaces of the past. The works are haunted by trickster ghouls, squiggly jokesters that move in and out of the ether. These phantoms bump up against each other, step on each other's toes and march through the picture plane with legs akimbo, fists raised.
Also included in this exhibition are wall collages. These large-scale collages, like the paintings, are made from fragments of shapes and images, creating an ephemeral world of colliding forms; imagery glimpsed and imagery blocked. Unbound by the rectangle and free of the traditions of oil painting, the collages provide respite from the excavated and worked painted surfaces. They are direct and mutable.
Whether painted or cut this work is an exorcism of the ghosts rattling in my thoughts - some that leap with glee, high rollers, and some that rattle chains.
A survey of one of Aaron Fink’s most iconic images as explored over thirty years in paintings, works on paper and prints.
Jules Aarons - West End & North End c. 1947-70
Jack Lueders Booth - Chinatown to Jamaica Plain
February 1 - February 23, 2019
Artist Reception: Friday, February 1st 5:30-8:00pm
Jules Aarons and Jack Lueders-Booth photographed in Boston during times of great change – before the division of the West End and later with the removal of the Elevated.
Their images serve as important historical documents depicting the personalities of the people, the diversity in the neighborhoods, and the energy of the streets.
These times and places have been preserved through memories and film.
January 30-February 24, 2019
Opening Reception: Friday, February 1, 2019, 5:00-8:00 pm
My current works are collections of materials, patterns, forms and memories. My way of bringing my more rural roots into my current city life. As a child I would visit my Nonna's house on Shelter Island and my brothers and I would pick up treasures on the beach. Shells, crab claws, pieces of seaweed—and when we were lucky—an intact horseshoe crab. When we would get home we'd organize these objects into little, curated shrines to the sea.
This series is a reflection of these experiences and, in a sense, a continuation of that process of shrine-making; an homage to nature, but also to the memory of growing up in it. Acrylic paint, cut paper, ceramics and handspun yarn are formed into highly-detailed images and shapes that evoke living organisms. On multiple levels, this series embodies a yearning for a more "real" way of living as organic patterns and forms are coupled with traditionally considered craft media to create installations that evoke the past, both recent and distant.
January 30-February 24, 2019
Opening Reception: Friday, February 1, 2019, 5:00-8:00 pm
I want to take you on a journey into this forest. It is a dense place, filled with an abundance of growth. Tangles of branches and masses of rhododendron leaves at times completely fill a given space. Lush, deep greens dominate; the reddish bark of branches and limbs exist alongside hints of water and sky that appear occasionally. An image of a meandering branch emerges to become a line. An incised line first appears as negative space and then shifts and seems as if it is now drawn. A pop and flash of light bleaches out color on a branch, washing out clusters of leaves and deepening shadows. An inky darkness, mimicking nighttime, contrasts with the brightly illuminated surfaces. Sometimes the light we see is actual daylight recorded; at others it is artificial light manipulating the scene, variously flattening the space or deepening it, pushing it further back from us. Can you tease out this space, understand it, what you are perceiving, seeing or not seeing? There is a sense of mystery here, of images revealed while simultaneously they are obscured and manipulated.
Photographs of dense forests are countered by ethereal spare pencil drawings of plants requiring up close viewing to discern the delicate lines. Color is pared all the way back solely to graphite and white gouache appears but once. It feels as if a distillation of sorts is happening. The images of an everyday weed become portrait-like and you must slow down to truly see the whole of the image and to be with this subtle likeness. The drawings exist on frosted mylar which hints at breath or atmosphere. As they emerge from this transparent ground, we may be reminded of the plants ephemeral nature. To slow down your pace will allow you to absorb the stillness and intricacy offered in each image.
So come with me on a meandering walk through this forest. Slow down, take in this space, be with this feeling of going inward to the quiet self and into this quiet mysterious land.