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NEW ENGLAND PUBLIC ART BREAKTHROUGH |

EXPANDING COLLECTIONS:FULLER CRAFT & LAMONT

GALLERY | ARMENIAN ART’S NEW GENERATION |

PROVIDENCE RENAISSANCE PART 2? |

WE’RE ALL CURATORS, NOW | WHO OWNS YOUR IMAGES

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COPLEY SOCIETY’S CLASS OF 2015

INAUGURAL EXHIBITION OF WORK BY BFA ALUMNI of the former Art Institute of Boston and the Lesley University College of Art and Design

JANUARY 29!– MARCH 22, 2015

Reception: Thursday, February 5, 6–8pm

LUNDER ARTS CENTER AT LESLEY UNIVERSITY 1801 Massachusetts Avenue | Porter Square | Cambridge, Massachusetts

617-349-8010 | lesley.edu/breakingground

Lesley University College of Art and Design is the new name for the Art Institute of Boston, which for 100 years has shaped the ideas and career paths of visual artists and designers.

Our new Lunder Arts Center in Cambridge connects the arts throughout the university and our surrounding communities, uniting the passion of the art school experience with the power of a Lesley education.

LESLEY UNIVERSITY COLLEGE OF ART AND DESIGN

LUNDER ARTS CENTER

above the foldNew Expressions in Origami

January 20–April 12 | D’Amour Museum of Fine Arts

NORTH AMERICAN DEBUT A ground-breaking exhibition of large-scale origami installations. In the hands of nine international artists,

paper is transformed into breathtaking sculptures that express contemporary social, political, and aesthetic ideas while challenging the viewer’s perception of traditional origami.

Curated by Meher McArthur and organized by Media Sponsor Media Partner

ALSO ON VIEWOrgami Inpretations:

Gloria Garfinkel

Image: Robert Maloney ‘96, Rescinder, mixed media (detail).

SAVETHEDATESATURDAY, APRIL 11, 2015

26TH ANNUAL BENEFIT ART AUCTIONMassArtAuction.org

Friday,  February  27,  7-­11  pm  Tickets:  $20  museum  members,  $50  non-­members,  space  is  limited!  

For  more  information  or  toreserve  your  ticket  today  visit  newportartmuseum.org  or  call  401-­619-­7990

                               a  mid-­winter’s  white  party

76 Bellevue Ave. Newport, RI • newportartmuseum.org • Open: Tues.-Sat. 10-4pm, Sun. 12-4pm

2.27.15

         ESCAPE  THE  WINTER  DOLDRUMS        WITH                                                                                                                            AT  THE  

                                                         NEWPORT  ART  MUSEUM

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FEATURES

Featured Exhibitions: 9 Members Show & Crafting a Collection at Fuller Craft Museum

Cover Story: 12New Members’ Show 2015 at Copley Society

Public Art: 24 Susan Champeny & The Myth Makers

Artist Profile: 29 Leslie Fry

Behind the Screen: 34The Perils of the Possible

EDITORIALS & EVENTS

Welcome Statement 8

Cornered: 20FAWC Fellows Alexandria Smith & Bridget Mullen

Centerfold: 40Bruce Davidson’s Silos

Capsule Previews: 66 Ned Ward at the Gardner, Candace Cotterman Thibeault at Bridgewater State, Jeffrey Marshall at Cape Ann Museum, New Expressions in Origami at Springfield Museums, Michael Alfano at Attleboro Arts Museum, Marc Chagall at Spaightwood Galleries

Exhibits 69

Classifieds 78

Publisher KAVEH MOJTABAIManaging Editor BRIAN GOSLOW

Copy Editor ANNE DALEYMobile App & Tablet Newsstand Media ARTSCOPE DESIGN GROUP

Design & Layout ARTSCOPE DESIGN GROUPEmail Blast! Editor LACEY DALEY

Media Development Associate VANESSA BOUCHERAccount Executive SHANI ABRAMOWITZ

WritersCHRISTOPHER ARNOTT, LINDA CHESTNEY, MEREDITH CUTLER, CATHERINE CREIGHTON, ARLENE DISTLER, DONNA DODSON, JAMES DYMENT, JAMES FORITANO, FRANKLIN W. LIU, PAMELA MANDELL, J. FATIMA MARTINS, ELIZABETH MICHELMAN, LISA MIKULSKI, GREG MORELL, KRISTIN NORD, TARYN PLUMB, MARCIA SANTORE, MARGUERITE SERKIN, LAURA SHABOTT, LEE STEELE, ERIC J. TAUBERT, JAMIE THOMPSON, ALEXANDRA TURSI, SUZANNE VOLMER, JAMIE WALLACE, DON WILKINSON.

CONTENTS

Artscope Magazine809-B Hancock Street

Quincy, MA 02170

COVER: Kate Taylor, Tall Cosmos, acrylic on panel with resin, 12” x 36”.

Page 15 Page 61

COMMUNITY

Providence, 2015 46

BUSINESS

Providence Entrepreneurial 42Ventures

Protecting Your Creative 64 Work Online

REVIEWS

Peter Halley 15 at Griswold Museum

Bonnie Faulkner & 18CarolAnn Tebbetts at Heartwood

Talin Megherian at 36The Cambridge School of Weston & Kiss the Ground at Armenian Museum of America

Tracing the Thread & Goya 48and Beethoven at Wheaton College

Niho Kozuru 51at Pine Manor

A Body in Fukushima 53at Wesleyan

Julia Zanes 55at Dianich Gallery

Open House: 58A Portrait of Collecting

Universal Arts + Connecticut 61People Learning Art at the Gallery at Constitution Plaza

Page 48

8 JAN/FEB 2015

Artscope interactive tablet edition gives you pan and zoom, slideshows, in-depth audio/video, links to maps of our wanderlust reviews and more anywhere worldwide on your iPad. To subscribe search Artscope in your App Store.

Welcome to our first issue of 2015.Between the holiday season and later

exhibition opening dates at the start of the new year for many venues, putting together our January/February issue has traditionally been a challenge. This time around, we decided to take advan-tage of that challenge and allow our writers to expand their coverage and write about subjects that we otherwise might not have had the space to feature in these pages, wanting to provide coverage that’ll make you want to hop in your car or get on a bus or train to see a show at a museum, gallery or performing arts venue.

Hopefully, some of the articles in this issue will assist those of you who’ve looked for new ideas on how to bring your art to a larger audience.

As more artists look toward the Internet as a main means of promoting their work, there is a lot of conflicting information on who actually owns the images once they’re posted on Facebook, Twitter, Instagram and other social media sites. Laura Shabott takes a look at the policies of some of these sites and how you can best protect your work.

With a growing number of cities and communities seeking to rebrand their images through public art, there are a greater number of opportunities for artists to get their work in front of the public eye — and to get paid for those efforts. I spoke with Susan Champeny, whose “Snow Saucer Lady Bug” now sits at the intersection of L and 2nd Streets in Washington, D.C., and The Myth Makers — Andy Moerlein and Donna Dodson — who shared the process that led to their “Avian Avatars” migrating to the Garment District Plazas on Broadway in New York City, where they’ll spend the first three months of the year.

Dodson, who is also an Artscope contributor, furthered the discussion with a profile of Vermont sculptor Leslie Fry, whose “Colossal AcornHead” bronze sculpture graces the campus of Tufts University in advance of her upcoming shows in Brooklyn and NYC’s Lower East Side.

Installation artists are amongst the world’s greatest dreamers; as 2014 was coming to a close, Artscope’s Elizabeth Michelman, who is a sculptor and who curated the 2013 HarborArts exhibi-tion, participated in a show at the Eliza-beth Foundation for the Arts, whose

“call for art” announcement sought the “most audacious, outrageous or impossible” proposals for an exhibition. Since few of the artists had the means to bring their ideas to fruition — or even to the model stage — many of the gallery walls only held printed proposals. Since all great ideas, big or small, start in this format, and since New York City hosts corporations with the ability to financially back making them real, this story felt like it captured what goes on inside the meeting of many municipal groups working on a project that breaks the mold and expectations for their locations. As Elizabeth noted in an email to me, “We are all curators, now.”

Back in the 1990s, Providence reinvented itself through the financial support and widespread promotion of its arts community, and in doing so created a model that cities and towns throughout the country have been following ever since. I asked Suzanne Volmer to look back on what remains from that initial period of activity and look forward toward the galleries, shows and artists you should look into at the start of the new year.

Mind you, there are also plenty of great reviews and previews in the following pages: J. Fatima Martins took on the Herculean task of covering a series of Armenian art exhibitions taking place concurrently at the Armenian Museum of America and The Cambridge School of Weston, Mass., while pointing out the exemplary curator’s class at Wheaton College that put together its “Tracing the Thread” and “Goya and Beethoven: Finding a Voice Out of Silence” exhibi-tions; Taryn Plumb spotlights two artists featured in the Heartwood College of Art’s MFA Degree Program Exhibition, while Don Wilkinson explains why both the Biennial Members and Crafting a Collection exhibitions are worthy of a trip to the Fuller Craft Museum.

Kristin Nord was all over Connecticut to review and preview shows at the Florence Griswold Museum (Peter Halley), Wesleyan University (“A Body in Fukushima”) and Hartford (Universal Arts + Connecticut People Learning Art Creative Entrepreneurs exhibition).

The issue’s cover art, Kate Taylor’s acrylic-on-panel with resin “Tall Cosmos” painting, is featured in the Copley Society of Art’s New Members’ Show 2015, previewed by Marcia Santore.

This issue’s centerfold contest winner, with a winter-related painting theme, is Bruce Davidson’s “Silos.” Thanks to our jurors: Rachel Moore, assistant director of the Helen Day Art Center, Sharon Corwin, Carolyn Muzzy director and chief curator at the Colby College Museum of Art and Bill Everett, director of The Guild of Boston Artists.

For our next contest, we’re looking for your original 3-D paper work; full details can be found in our Classifieds section.

As we were going to press, we were pleased to learn that Artscope has been accepted for inclusion at the Magazine sector of the collective booth at this year’s Art Basel, taking place from June 18-21 in Basel, Switzerland. With one of our major focuses in recent years being the expansion of our publi-cation’s reach by making it available worldwide through Apple Newsstand, and complementing it with social media coverage on a variety of platforms which allow us to expose New England’s visual and performing artists, galleries and institutions to a global audience — and hopefully generating attention, shows and sales in the process — we hope this will contribute toward that goal.

Brian Goslow, managing editor bgoslow@artscopemagazine.com

WELCOME

JAN/FEB 2015 9

There are any number of shifting

elements that contribute to the long-

term success of a non-profit art insti-

tution, including endowments and

fund raising, devoted trustees and

staff, public interest and support, and

forward-thinking curatorship. One

of the two most important pillars of

a museum may be the membership,

providing not only financial support

through the collection of dues, but

also offering input, contributing to

discourse and promoting patronage.

The other significant pillar is the collec-

tion itself, which must continue to grow

and evolve while maintaining true to

the mission of the institution.

The Fuller Craft Museum has recently

mounted two significant showings,

one devoted to member-artists, “The

2014 Biennial Members Exhibition,” and

“Crafting A Collection,” highlighting

recent acquisitions. Clearly, while there

are common threads between the two

exhibitions, each remains distinctive in

its focus while highlighting the works of

a staggering array of artisans and artists.

The “2014 Biennial Members Exhibi-

tion” was juried by Arthur Dion, the

director of Gallery NAGA in Boston, and

his smart and eclectic selections include

the usual craft museum media suspects

— woodworking, fiber arts, metalsmithing

and ceramics — and also painting,

drawing, photography and kinetic sculp-

ture. There are offerings by 47 artists.

Alan Weinstein’s “Kong” is a pedestal-

mounted, sad-faced gorilla, carved

from black marble. In this instance, the

mythical Hollywood great ape’s Fay

Wray is realized as a Barbie doll, and as

he clutches her in his massive paw-hand,

his pout and slouch of resignation

remind us that beauty has, indeed, killed

the beast — at least metaphorically.

“Knockabout” by David A. Lang is odd

and enchanting. Nineteen small antique

bottles that have held medicine or syrup

are partially clear, part chalky white,

leaning toward powdery blue. They are

set in a crude pine box, and as if by magic,

the bottles swerve, bow and dance.

SEEKING ABSOLUTIONMade of terracotta, porcelain and

copper luster, Dan Molyneux’s “Forgive

Me Daughter for I Have Sinned” creates

an unknowable fairy tale. The compo-

nents that make up the work are evoca-

tive. A man, carrying a lamb across his

shoulders and wearing a medieval-

looking tunic, approaches a sinewy

and twisted skyscraper. Atop a turret,

a young pigtailed girl in a pretty dress

and Mary Janes looks the other way and

plays a clarinet. Metallic-coated chess

pieces further complicate the story, and

one realizes the answers need not be

spelled out to appreciate the mystery.

Linda DiFrenna’s “Behind the

Screen” is also enveloped with enigma.

Mounted on the wall, gold-colored tight

mesh screen covers black-and-white

photographs of blindfolded women,

but whether they are hostages, kinky

participants in an erotic game or murky

embodiments of Justice is unclear.

Michael Pietragalla’s strikingly

handsome “Floating Table,” made of

sycamore, lacewood, purple heart and

FEATURED EXHIBITION

ARTISTRY TIMES TWO AT FULLER CRAFT

Yanick Lapuh, Peace-to-Pieces, 2011, oil on wood relief, 46” x 42” x 2.5”.

mahogany, marries delicate Japanese

influences to a no-nonsense, working-

class American sense of style. Annie

Meyer’s “Tenon Table” is another

admirable work of high-end furniture

making, exquisitely crafted from walnut

and maple.

Steven Hahn’s “Metropolis,” made

of brass, steel and aluminum, is a noisy

and cranky kinetic device, laden with

cogs, gears and shafts lurching into

almost-attack mode by the response of

MEMBERS SHOW & RECENT ACQUISITIONS STRENGTHEN COLLECTION

10 JAN/FEB 2015

Featured Exhibition

Linda Huey, Footprint, 2006, fire clay, glaze, cement, stones, epoxy, 4” x 7” x 6” (Gift of the artist; photograph by Alex Hochstrasser).

a motion detector. It is threatening but

not so, like a mad dog on a short chain.

Something akin to the head of a silvery

raptor jerks and chomps relentlessly.

A giant rabbit sits in the corner of

a hall, a colorful and curious leporine

creature. Created by Yetti Frenkel,

“Bunny Bench” is constructed of

EPS (expanded polystyrene) foam,

fiberglass, cement and glass mosaic.

The massive hare is decorated with

diamond and floral shapes, and the its

inner ears are as pink as Pepto-Bismol.

Yanick Lapuh’s “Peace to Pieces”

consists of nine disjointed panels in

varying shades of gray. The oil-on-wood

relief features a bird that could be dove

or hawk or some merging of the two,

with political implications intact.

Irina Okula displays a white porcelain

sculpture of a teapot with two cups on

top of a three-legged stool resting on a

deep carpet, all appearing to be made

of fat spaghetti, or a mass of writhing

maggots or worms. It is one-part lovely

and two-parts revolting.

BOVINE BRILLIANCE“Moo Tubes” by Christina Zwart is

a small sculptural piece made of cow

trachea and yellow LEDs. The bovine

windpipes — leathery and crusty and

emitting an odor slightly like that of

an old dog treat — glow with a golden-

yellow electric hue and are beautiful

in a way that belies the material from

which they are made.

Reminiscent of some of the late

fabric works of Robert Rauschenberg,

fabric artist Deborah Baronas has dyed

a series of near-life-sized figures onto a

large panel of translucent silk, hovering

in front of a same-sized banner of

cotton that also has had figures applied

to the surface. Called “Morning Break,”

the two curtains dangle on lines from

the ceiling, and every slight breeze

created by a passerby or ventilation

causes subtle ripples of motion.

When one stands closely in front of

a fabric work by Michael Rohde, the

Yetti Frenkel, Bunny Bench, EPS foam, fiberglass, cement and glass mosaic.

THE 2014 BIENNIAL MEMBERS EXHIBITIONTHROUGH JANUARY 25

CRAFTING A COLLECTION: FULLER CRAFT MUSEUM RECENT ACQUISITIONSTHROUGH JULY 12

FULLER CRAFT MUSEUM455 OAK STREET

BROCKTON, MASSACHUSETTS

Christina Zwart, Moo Tubes, cow trachea and yellow LEDs.

Norm Sartorius, Spoon, 2001, Australian grass tree, .75” x 5.375” x 1.375” (Gift of Pat McCauley; photograph by Alex Hochstrasser).

DESPITE THE SIGNAGE HUNG THROUGHOUT THE SHOW RIGHTLY ADMONISHING VIEWERS TO “NOT TOUCH” MUCH (BUT NOT ALL) OF THE WORK, THERE IS A PALPABLE DESIRE TO ENGAGE IN A TACTILE WAY.

JAN/FEB 2015 11

alpaca wool from which it is made is

a seemingly random assortment of

similarly-sized squares, all black, white

and a series of grays. As one steps back,

that randomness begins to dissipate as

the eye starts to focus in a different

way and a face seems to emerge

from the ordered chaos. Stepping yet

further back, the face becomes easily

recognizable as the Reverend Martin

Luther King, Jr.

The title — “Dream” — is fitting. “I

have a dream …” from the slain civil

rights leader’s most famous speech

still resonates. Even speech can be

symbolic and abstract, and perhaps

King’s dream can only fully come into

fruition and solidity with the passage of

time. Rohde, by creating a work that can

only be truly grasped at a distance, has

found a perfect metaphor by equating

the transformative nature of space with

the changes inherent as time continues

to move ahead into the future.

CRAFTING A COLLECTIONAlmost all of the recent acquisi-

tions exhibited in “Crafting A Collec-

tion” share a particular commonality.

Despite the signage hung throughout

the show rightly admonishing viewers

to “not touch” much (but not all) of

the work, there is a palpable desire

to engage in a tactile way. The

inherent and illusionary softness of

the ceramics, the imagined physical

warmth of the wood, the actual stark

coolness of the metal works and the

lush silkiness or scratchiness of the

fibers and fabrics are seductive. The

hand wants to reach. But the oils of

human touch can be destructive. Obey

the signs. But just imagine ...

Cape Cod artist Stephen Whittlesey’s

“Splash” is a large cabinet, oozing with

playful qualities. Using salvaged pine,

maple and old conveyer belt leather, the

cabinet takes the undulating form of a

cartoon octopus, two knobs mimicking

eyes, a finger-sized hole in a panel is the

mouth.

Susan Hamlet’s “Silhouette #1 Face/

Vase” is a clever three-dimensional

take on the two-dimensional optical

trick in which the two sides of a vessel

can be understood as two profiles,

looking directly at each other. Made with

brushed stainless steel and monolithic

in its presence, it is far more than a joke.

Rose Cabat, who at 100 years old may

be the nation’s oldest practicing potter,

has a case devoted to her “Feelies,”

a series of small porcelain pots with

stain-matte finishes. They are the sizes

of fruits and vegetables, and resemble

gourds, figs, onions and the like but in

surprising color. What appears to be an

apple is bright blue.

“Green Industrial Teapot,”

stoneware with sign painter’s

paint by Doug Herren, plays

with a Cartoon Network

aesthetic, as if it were a

kettle invented in Dexter’s

Laboratory. A similar vein

runs through Karen Koblitz’

“Teapot Pouring Still Life,”

a wall-mounted white earth-

enware ceramic “painting,”

with colors and shapes

owing equal thanks to

Henri Matisse and Pee-wee

Herman. Both are clever bits

of eye candy.

Chris Ramsey’s “Atten-

tion Red Sox Fans!,” made

from ambrosia maple,

Honduras rosewood, sugar

maple and big leaf maple

burl, utilizes fine materials

to create kitschy sports

memorabilia. A wooden

baseball cap sits on a bat

sits on a ball. It rivals the

mannequin-lady-legged

lamp from “A Christmas

Story.” But one suspects he

is in on the joke.

Charles Crowley’s “Tall Black Cabinet

with Vessel” evokes deep mystery

and quiet sensuality. Fabricated from

anodized aluminum, painted steel,

copper and brass, it is a highlight of the

exhibition. But don’t touch!

Also of note: Tom Loeser’s “Rocking

Bench,” Judy Moonelis’ “Refuge,” Silas

Kopf’s “Aquarium,” John Rais’ “Cloud to

Ground” and Rain Harris’ “Supine Form.”

Don Wilkinson

12 JAN/FEB 2015

If you are seeking some good

examples of contemporary realism,

look no further than the Copley

Society of Art’s New Members’ Show

2015, introducing 18 new Co|So

member artists who hail from as near

as Brookline and Cambridge, Mass. to

as far away as County Kildare, Ireland.

They join the Society’s roster of over

400 living members.

This exhibition focuses on realism

from a variety of approaches including

painting, drawing and photography,

with only one artist working in

abstraction. While traditional genres

such as still life, landscape, seascape

and rural/townscape are perhaps

overly represented, there are some

stand-out works that will make this

exhibition well worth a visit.

New York painter Nicole Alger’s

oil paintings, “Talking Woman” and

especially “Talking Stick,” success-

fully combine photographic realism

with expressive painterly abstraction

to create a mystical moment, like an

illustration from a myth or legend that

I don’t yet know but would love to hear.

Brookline painter David Palmquist’s

“Green Ranch House,” a horizon-

tally blurred glimpse of a simple

ranch house and old car, captures

the fleeting visions of other lives

seen and wondered at briefly as we

speed through our lives in America.

Palmquist’s “Row Houses” is a smaller

piece, also in oils, addressing the same

topic but in a completely different type

of neighborhood.

Johan Bjurman, Warren Winter Estuary, 2012, oil, 10 1/2” x 26”.

MYSTICAL, MEDITATIVE, MIRTHFULCOSO’S NEW MEMBERS ARE FOR REAL

Toronto-based artist Kate Taylor’s

two acrylic and resin paintings are

luminous and lovely, filled with color

and energy. “Weeping Willow Sunset”

captures the colors of evening and the

vertical droop of willow branches in an

abstract sensibility that conveys the

feeling of a scene reflected in water

without literal representation, while

“Tall Cosmos” glimmers with multicol-

ored splashes against a golden-yellow

ground, like sparks flying up from a

fire or a mass of hummingbirds rising

Louise Arnold, Farm Road, 2013, oil on canvas, 12” x 36”.

COVER STORY

JAN/FEB 2015 13

NEW MEMBERS’ SHOW 2015COPLEY SOCIETY OF ART158 NEWBURY STREET

BOSTON, MASSACHUSETTS

JANUARY 10 THROUGH FEBRUARY 23

Matthew McCosco, Chuck Close, graphite pencil and graphite powder, 11” x 14”.

into the air. Though not particularly

large, Taylor’s paintings claim their

space and make themselves heard.

Several of the works in the show

are refreshingly amusing. “Workday

Revolution” is Quincy-based artist

Timothy Rakarich’s oil painting from

a snapshot of a dissipated-looking

man in the costume of an 18th century

British Redcoat, clutching a plastic

cup, propped in a corner of a train car.

There’s a whole story here — of a man

who has gone perhaps a bit too far

celebrating after a Revolutionary War

reenactment. Rakarich’s other piece in

the show, “Neseman,” is also a photo-

based painting of a man with a drink,

but this one is distinctly a portrait,

capturing the world-weary and

skeptical expression of the subject,

a middle-aged man in glasses and a

porkpie hat, in the act of lowering his

just-emptied shot glass from his lips.

Another portrait that made me

smile was “Chuck Close” by Matthew

McCosco of Somerville, Mass. In this

graphite drawing, McCosco gently

sends up Chuck Close’s iconic “Big Self

Portrait” from 1969, borrowing the

backward tilt of the head, the horn-

rimmed glasses, the wild hair and the

upturned cigarette while forgoing

the huge scale, the patterns of light

and shadow on the subject’s face,

and the insistence on the “ugly mug”

of the character’s visage. McCosco

also includes a more straightforward

portrait, “Gwen Lu,” which again

makes use of graphite pencil and

graphite powder.

McCosco and Rakarich should make

good additions to the Copley Society’s

stable of portrait artists.

Diane Nelson, of Brighton, Mass., is

another painter who conveys a sense

of storytelling in her acrylic fantasy

landscapes, “Highland Meadows”

and “Overpass.” At just eight-by-

ten inches, these little paintings hint

at unknown fairy tales of far-away

places and strange adventures just

over the hills.

Also in this exhibition of new

Copley Society artists are rural

landscapes in oils by Louise Arnold

of Concord, Mass. (“Farm Road” and

“Lumsden Farm”) and Johan Bjurman

of Johnston, R.I. (“Warren Winter

Estuary” and “Farnham Farm”) and

tightly rendered drawings in ink

on scratchboard by Joe Smith of

Phillipston, Mass. (“Forever After-

noon” and “Branches”).

Loosely rendered city scenes by

Jeff Bye of Hershey, Penn. (“Behind

the Nickel Lounge” and “Sunday”

— both in acrylic) are paired with

oil paintings by Patrick Cahill from

County Kildare, Ireland (“Red Tram,

Prague” and “Ellis Quay, Dublin”) and

Cambridge, Mass. watercolor artist

Steven Foote’s “Montmartre Café” and

“A Break in the Clouds.”

Gloucester’s Katherine Coakely’s

acrylic paintings “Champagne Sail”

and “The Lily Pond” offer quiet visions

of water, in contrast to the wilder seas

in “Tide Coming Up” and “One Day”

THESE LITTLE PAINTINGS HINT AT UNKNOWN FAIRY TALES OF FAR-AWAY PLACES AND STRANGE ADVENTURES JUST OVER THE HILLS.

Joe Smith, Forever Afternoon, 2013, ink on scratchboard, 24” x 18”.

14 JAN/FEB 2015

by encaustic artist Ruth Hamill of Manchester, Mass. and Lunen-

berg’s David Prokowiew’s oil paintings of the New England coastline,

“Nantucket Surf” and “Crashing on Cape Elizabeth.”

Still life is represented by Orr’s Island, Maine resident Robert

Gibson’s colorful depictions of glass balls and bottles against floral

fabrics in his acrylic paintings, “Still Life in Red and Green” and “Still

Life with Asymmetrical Vase.” Worcester’s JoEllen Reinhardt follows

the traditions of the early Northern Renaissance with simple arrange-

ments of fruit and flowers on tables in her small oil-on-linen paintings

“Lacecap Hydrangeas” and “Sliced.”

Jeff Bye, Behind the Nickel Lounge, 2012, acrylic, 30” x 24”.

Cover Story

Timothy Rakarich, Workday Revolution, 2014, oil, 18” x 24”.

Photographer Acadia Mezzofanti of Swampscott, Mass., uses a

sepia tint in her digital photographs, “Passage” and “Discovery (Self

Portrait),” giving the works an illusion of timelessness — more than

appropriate for display in the gallery of the Copley Society, an organi-

zation whose origins date back to 1879.

The show’s opening reception takes place on Saturday, January 10

from 3:30-5:30 p.m.

Marcia Santore

Sign-Up Now for Adult Workshops & Events, Thursday Paint Nights, and

Vacation Programs for Children & Teens

View o!erings and register online

Connect with Art

617-964-3424 NewArtCenter.orgGallery learning programs:

panel discussions group tours

family drop-in days film screenings talks and more!

Jan. 16 - Feb. 21, 2015 The Power of Negative Thinking

Curator, Michael Gaughran Holzwasser GalleryChuck Holtzman

Receptions: Fri. Jan. 16, 6-8:30PM

create art view art learn about art

JAN/FEB 2015 15

For nearly three decades, Peter

Halley has deployed his geometric

icons — “solid cells,” “gridded prisons”

and “linear conduits,” using modern

geometry as raw source material.

He dissects the human condition:

exploring our isolation and capacity

for interconnection, looking at the

ways in which technology affects how

we communicate and probing the

ways in which our living and working

environments shape us. His paintings

are executed in industrial and boldly

artificial DayGlo paints in metallic and

pearlescent colors. Roll-a-Tex, a paint

Two Cells with Conduit, 1987, day-glo, acrylic and Roll-a-Tex on canvas, 78” x 155” (Solomon R. Guggenheim Museum, New York, purchased with funds contributed by Denise and Andrew Saul and Ellyn and Saul Dennison).

ReviewsEXHIBITS, ARTISTS AND PERFORMANCES ACROSS NEW ENGLAND & BEYOND

FLORENCE GRISWOLD MUSEUM96 LYME STREET

OLD LYME, CONNECTICUT

FEBRUARY 6 THROUGH MAY 31

PETER HALLEY: BIG PAINTINGSSIZE MATTERS

additive used to create textured walls,

roughens his surfaces.

“Peter Halley: Big Paintings,” at the

Florence Griswold from February 6

through May 31, will draw on work from

major public and private collections

for a retrospective that will move from

early work in this now-international

career to include a new painting

created for the occasion.

Curated by Benjamin Colman,

Florence Griswold’s assistant curator,

this is Halley’s first solo museum

exhibition on the East Coast and his

first American solo museum exhibition

in a decade. It is part of an ongoing

series of exhibitions at the Griswold

Museum that focuses on modern and

contemporary artists who have lived

and worked in the state.

Although Halley is often thought of

as a New York artist, Connecticut has

played an important part in his life and

career. He earned his undergraduate

degree in art at Yale; from 1991 to 2011,

he was both a professor and director

of the university’s graduate painting

program.

Halley’s distinct vocabulary surfaced

when he was a young artist, returning

16 JAN/FEB 2015

to New York City after a seven-year hiatus in Louisiana where he

earned an MFA from the University of New Orleans.

“The paramount issue in my work became the effort to come to

terms with the alienation, the isolation, but also the stimulation

engendered by this huge urban environment,” he has written.

BOXED IN“I felt the isolation of living in an apartment — it was a singular,

individual existence. I imagined being in a box stacked up with many

other boxes.”

While in graduate school, Halley wass interested in primitive art

and the way it used geometric forms as a symbolic language for an

absolute or natural order. By the 1980s, he was looking to minimalism

Peter Halley in his New York City studio.

Reviews

JAN/FEB 2015 17

and pop art, and “pushing his vocabulary toward materials that had a

more post-industrial content or association,” Colman said.

As Halley’s inquiries continued, the artist began to consider the ways

in which technology and economics create channels of communication

over which we have little control. He depicted this by painting bands

he called “conduits” that connected the prisons and cells. European

theorists and Marxist sources further shaped his ideas and continue

to exert an influence. For his artist’s talk on February 6, Colman said,

one can expect an erudite overview of these ideological underpinnings.

As fascinating as Halley’s minimalist vocabulary are the ways in

which his symbolic forms continue to take on new meaning.

THE GEOMETRY OF EVERYDAY LIFEFrom paints found in everyday advertising and marketing, and in

colors designed to attract us on the grocery shelf, to the pervasive

shapes that define our landscape — be it the urban high rise or the

suburban strip mall — geometric forms dominate our landscape and

mold our life experience and our behavior. Think of this the next time

you set up a laptop in a coffee shop, or take a selfie on a street corner.

“There are very different ways in which the artist has used

geometric abstraction to confront and critique contemporary

culture,” Colman observed. “There is a huge variety put into practice

over the years, and the work changes as the painter moves from

isolation to pleasurable interconnections to mixed grids,” he added.

Kristin Nord

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Riverside7NoBleed.pdf 2 12/10/14 10:47 AM

Bonnie Faulkner, Surfacing, fused glass, 19”.

As a girl, Bonnie Faulkner recalls

endlessly drawing circles — “circles and

circles and circles,” as she emphasized

— and, inspired by the way light played

with colored glass, she hit upon the

novel idea that she could “paint” with

that fragile material.

Eventually, she literally fused those

two ideas into colorful, intricate glass

renditions of the mandala, a circular

symbol that represents both the cosmos

and the self.

“It’s analogous to life,” the Heart-

wood College of Art MFA candidate

explained recently between sips of tea

in her Yarmouth studio overlooking

an expanse of ocean mudflats. “If the

inside is worked out, things emanate out

from there.”

The lifelong Maine resident will further

explore the spiritual and psychological

symbol in an exhibit, “Masters in the

Studio,” opening January 30 at Heart-

wood’s gallery at the North Dam Mill

in Biddeford. The show, which will run

through the end of March, will feature the

final theses of Heartwood’s first round of

low-residency MFA candidates, who have

each been studying their craft through

the program for five years.

“We’re a nice little bond of people

going through the same process,” said

Faulkner.

Carolann Tebbetts, a fiber manipu-

lator from Shrewsbury, Mass., will also

be represented; her installation will

feature a series of tentacled, bulbous

hanging felt and wool pods that appear

as if they could be extraterrestrial or

sub-aqueous.

For more than 15 years, the art

teacher has practiced needle punch, a

labor-intensive process that can take

30 to 40 hours to complete and, as

she says on her website, is intensely

satisfying in this age of instant grati-

fication. Meanwhile, with sculptural

felting, using just simple tools — felt,

soap and water — she has crafted

vessels with decorative holes, shapes

and striations; clusters of narrow

pillars anywhere from 3 to 8 feet

tall; and abstracts such as blanched

hollow forms meant to hearken ocean-

washed skeletal remains.

Reviews

MASTERS IN THE STUDIOBONNIE FAULKNER AND CAROLANN TEBBETTS

18 JAN/FEB 2015

JAN/FEB 2015 19

HEARTWOOD COLLEGE OF ARTNORTH DAM MILL2 MAIN STREET

BIDDEFORD, MAINE

JANUARY 30 THROUGH MARCH 30

Carolann Tebbetts, Grotesques: A Different Kind of Beauty (detail), 2014, 13 pieces created from felted wool with silk, pieces range from 24” to 6’+.

“It is my hope that my vision of

what is visually beautiful will trans-

port others, even for a moment, into a

place beyond routine, and stress, and

the anxiety that seems to permeate

life in our time and place,” she says

on her website.

Faulkner’s contribution, meanwhile,

will be a series of nontraditional fused

glass “books.” Panels roughly the size

of playing cards and featuring various

representations of the mandala

will spread out, accordion-like, with

visitors encouraged to (carefully)

manipulate them.

The marriage of glass and binding

offers a “loosely-defined term of

what a book is,” the artist said. The

idea morphed out of her penchant

for creating artist’s books, many of

which over the years have featured

3D elements.

“Books to me are like jewels,” she

said. “When you have a book in your

hand, it’s very spiritual, very personal.”

A lifelong self-described “maker

of things,” Faulkner left teaching to

pursue her art career more than a

decade ago. After years of craft shows,

wholesale sales and exhibitions, she

said she was looking for not only an

artistic, but a conceptual, spiritual and

emotional challenge.

During her early MFA studies, she

came across Maureen Murdock’s

“The Heroine’s Journey,” which has

since become the basis for much of

her work. Published in 1990, the book

was the female answer to Joseph

Campbell’s seminal “The Hero with a

Thousand Faces,” which explores the

mythology of the world’s archetypal

hero.

Faulkner’s mandalas vary in thick-

ness and size (from 14 to 19 inches

around) and creating them involves

layering compatible fusible glass —

whether hand-cut, dichroic or frit

granules — then firing the piece in a

kiln to a specific heat that could reach

as high as 1,550 degrees Fahrenheit.

Because there’s a dearth of glass

artists on the east coast, Faulkner

described herself as largely self-

taught. “I’ve been learning on my

own,” she said, “experimenting along

the way.”

Megan Biddle Snyder, Shanna

Wheelock and Kathryn Dembinski are

also featured in the “Masters of the

Studio” exhibition.

Taryn Plumb

IT IS MY HOPE THAT MY VISION OF WHAT IS VISUALLY BEAUTIFUL WILL TRANSPORT OTHERS, EVEN FOR A MOMENT, INTO A PLACE BEYOND ROUTINE, AND STRESS, AND THE ANXIETY THAT SEEMS TO PERMEATE LIFE IN OUR TIME AND PLACE.

FINE ARTS WORK CENTER FELLOWSALEXANDRIA SMITH AND BRIDGET MULLEN

Provincetown’s Fine Arts Work Center’s Fellowship Program

provides a unique opportunity for 10 artists and 10 writers to

serve seven-month residencies during the developmental

stages of their careers. Over 1,100 applications come in

annually with the hope of being selected for the cherished

experience that runs from October 1 through May 1. Over 800

fellowships have been served since FAWC’s inception in 1968.

There will be a FAWC Fellows at PAAM exhibition from

January 23 through February 22 at the Provincetown Art

Association and Museum, 460 Commercial Street,

Provincetown.

Artscope’s Laura Shabott spoke with Alexandria Smith and

Bridget Mullen, two second-year FAWC Fellows, about their

experiences with the program, two months into their current

residencies.

ALEXANDRIA SMITH

IN YOUR FIRST-YEAR RESIDENCY, DID YOU FIND OTHER

PEOPLE COMING IN TO WORK WITH YOU, OR DID YOU

FIND YOURSELF TO BE SOLITARY, AND THEN YOU WOULD

PRESENT YOURSELF?

ALEXANDRIA SMITH: I was definitely solitary. I’ve never

worked in a collaborative way. I’m interested in it, but the projects

I’ve been working on haven’t really called for any type of collabo-

ration. When I first got here, it was just me working and plugging

away and making paintings in the studio, and collages, which is

what I was doing before. And then some kind of shift happened

and I started to create these collage installations that existed on

the wall, which wasn’t confined to a rectangle or a square panel.

Being here allowed for something new.

AN OUT-OF-THE-BOX WAY OF THINKING…

AS: Exactly.

SO YOUR FIRST RESIDENCY HERE WAS IN 2013?

AS: I was here till May, and then I went to New York. Once I

found out that I got a second residency, I said, “Well, I just have

to make it through the summer.” I sold a few paintings and

made some small-scale stuff because I didn’t have a studio. But

I had some shows coming up — some big shows — so I had to find

a way to make art in an extra room at my parents. I had a solo

show in New York City on the Lower East Side at Scaramouche

Gallery — that was a big one — and I had an installation up here

at Tim’s Used Books. That will be up through my residency.

I had a group show at the Schomburg Center for Research in

Black Culture in Harlem and that was a big show.

ALL IN THE LAST YEAR?

AS: This was all in August! I did all that for

August. My solo show was works from here. I made one new

painting, but everything else was from my time at FAWC.

FINE ARTS WORK CENTER (FAWC)PROVINCETOWN, MASSACHUSETTS

Clare Romano, On the Grass, 1978, collagraph; ed. 3/150, 10” x 30.5”.

Cornered

20 JAN/FEB 2015

Bridget Mullen, Untitled, 2014, spray paint, acrylic paint, tar paper, card stock, brown paper, found paper, 52” x 36”.

YOU ARE NOT A WOMAN AFRAID OF A DEADLINE.

AS: No, I love deadlines.

EVERYONE HAS DIFFERENT ARTISTIC STYLES, SO FOR YOU, A

DEADLINE IS ENLIVENING…

AS: I set deadlines for myself even when I don’t have a show. It’s part of

what keeps me pushing.

TELL ME HOW YOU SEE YOUR ROLE IN THE ARTS. DO YOU

CONSIDER YOURSELF AS A ROLE MODEL FOR WOMEN?

AS: Definitely, I spent 10 years teaching.

WHERE?

AS: I taught in East Harlem and in the South Bronx. I taught at a

charter school, the New York City public school system, and I’ve been

an adjunct professor at Adelphi University. That was my career before

I started painting full-time: middle school, high school, undergrad and

graduate students.

I’ve been thrust into that role regardless of whether I want to be or not,

and I welcome it. There aren’t many of us that are being put out there,

visible. There are a lot of us who exist but it’s behind closed doors. It’s

increasingly problematic.

JAN/FEB 2015 21

Alexandria Smith, Dear Claudia, 2014, acrylic and glitter on panel, 24” x 24”.

Cornered

22 JAN/FEB 2015

SO WHAT YOU ARE SAYING IS THAT FAWC IS MAKING YOU MORE

VISIBLE…

AS: FAWC has made me more visible in the art world in ways that I didn’t

expect. It’s kind of worked in tandem with my work evolving and the people

I’ve met here and the connections I’ve made. Going out into New York and

either everyone has heard of it or when I say I’m doing a residency, they say

“Wait, I’m not familiar with that.” So it’s both extremes. And when they’re not

familiar with it, they look it up and go “Oh my goodness. That’s amazing! I’m

surprised more people don’t know about it.”

WOULDN’T YOU ALSO SAY, WOW, THERE’S BEEN SOME LUCK

FOR YOU, YOU’VE HAD A SOLID, HEAVY-DUTY PRACTICE; YOU ARE

SOMEBODY WHO WORKS VERY HARD…

AS: I do, I do through it all. And I have an amazing support system of

women behind me and parents and friends. The community itself, I mean

New York, is what got me here, otherwise I wouldn’t have known about it.

BRIDGET MULLEN

YOU WERE HERE AT THE FINE ARTS WORK CENTER 2010/11 AND

THEN YOU WENT TO…

BRIDGET MULLEN: I went back to New York.

DO YOU HAVE A STUDIO AND AN APARTMENT THERE? WHAT DO YOU

DO FOR WORK?

BM: I’m subleasing my apartment in Brooklyn. Up until this past summer,

I had a studio quite close to my home, but lost my studio, so the last six

months I was in New York I worked out of my apartment. I work in museums

so that’s one of the biggest reasons I’m in New York.

WHAT’S THE LAST MUSEUM YOU WORKED AT?

BM: MOMA. I also work at the Guggenheim and at the Rubin.

WHAT DO YOU DO THERE?

BM: I’m an art installer.

DESCRIBE YOUR FIRST YEAR AT FAWC TO ME, A LITTLE BIT. WHAT

WAS IT LIKE?

BM: I remember feeling much like the way the other artists did. We were

all a bit stunned and overwhelmed, and had so much gratitude. At first, it

seemed indulgent to work in my studio for as long as I wanted. And then

that feeling faded, I got really into my work, and my world became smaller. I

became used to thinking about certain paintings for days on end — a part of a

painting for a whole day. I didn’t have to think about anything else. It sounds

so indulgent.

IT WOULD SEEM INDULGENT IF YOU WEREN’T INCREDIBLY SERIOUS

ABOUT WHAT YOU ARE DOING. THAT’S CLEAR BY LOOKING AROUND.

YOU HAVE A LOT OF WORK. DO YOU CONSIDER YOURSELF PROLIFIC?

BM: Yes.

HOW DO YOU SEE THIS NEW, SECOND YEAR AS DIFFERENT FROM

YOUR FIRST?

BM: This year I started working within the rectangle. In the past, I had been

working free-form, letting the shape of the character determine the shape of

the work. But I wanted to give myself something to consider, a constraint,

and it’s really opened things up. I feel more focused this year than the last

time I was here. I know how quickly the time goes. Every single day is really

important.

ARE YOU INFLUENCED BY OTHER ARTISTS?

BM: I was just talking to someone the other day about how hard it can be

when you really like another artist’s work. It’s satisfying to admire the way

someone else works, but also debilitating because it doesn’t have anything

to do with what’s in front of you — with what you are working on. It’s inspiring

to know that that artist exists, but I don’t want them to affect my work.

WHAT I HEAR YOU SAYING IS THAT WHEN YOU ARE IN THE MIDDLE

OF AN INTENSIVE TIME, THAT OTHER ARTISTS’ WORK ISN’T IN YOUR

STUDIO WITH YOU. YOU ARE WITH YOU. THE ABSOLUTE QUIET, THE

TIME TO SPEND WITH YOUR OWN ICONOGRAPHY, YOUR OWN WAY OF

LOOKING AT THE WORLD THROUGH YOUR PAINTING.

BM: Yes, that’s true. I’ve been working in silence. I’ll use music during

transitions, like when I just come into the studio, or am getting ready to

leave.

DO YOU HAVE ANY SHOWS SCHEDULED?

BM: I have a year-long residency in Roswell, New Mexico after this.

HAVE YOU DONE ANY JURY WORK?

BM: The second-year fellows are part of the jury process; they work with

the first round.

THERE ARE GOING TO BE A LOT OF PEOPLE WHO ARE READING THIS

THAT WISH THEY COULD BE YOU. WHAT ADVICE WOULD YOU GIVE TO

SERIOUS ARTISTS WHO WANT TO BE ABLE TO HAVE A RESIDENCY LIKE

THIS?

BM: I think you just have to keep making your work for as long as you can

and remember much of it is luck. Actually, I was thinking about something

similar this morning and I wrote it down. I’m going to read it to you: “There’s

no secret; no way to distill the great artists and use their formula for

thinking. Be yourself, actually, because that’s the only way it’s going to be

any good.”

Laura Shabott

JAN/FEB 2015 23

Celebrating 50 Years of Excellence in Arts Education

Jeff Frederick ’87

Erica Felicella ’96

Victoria Brenner (Viandara) ’99

An Alumni Exhibit1.19.2015 – 2.27.2015

Reception for the Artists Thursday 2.12.2015, 5:30–7:00 p.m.

2108 River Road, Manchester, NHwww.derryfield.org

The Derryfield School Lyceum Gallery presents

The JourneyThree paths of creative discovery

203 Union Street . Clinton . Massachuset ts978.598.5000 www.museumofrussianicons.org

The VIBRANT ART and STORIED HISTORY of ETHIOPIAN ICONS

60 Icons & Artifacts from a Private European Collection

Exhibition On View January 23 through April 18, 2015

ARTscopeETHIOPIA0102_15.indd 1 12/8/14 4:19 PM

Thomas Devaney

Hargate Art CenterJanuary 9 -­ February 21

Opening Reception January 9th, 6 -­ 8 pmTuesday -­ Saturday, 9 am -­ 4 pm

Free and open to the publicSt. Paul’s School

32 Library Road, Concord, New Hampshire603.229.4644 . www.sps.edu/ nearts

Love © 2013

PLACEMAKINGNEW ENGLAND PUBLIC ARTISTS LAY THE GROUNDWORK

FOR OTHER REGIONAL ARTISTS TO FOLLOW

As the garage door to Susan

Champeny’s workshop studio opened,

it revealed the test version of her

“Snow Saucer Lady Bug” sculpture

now on display in Washington, D.C.,

along with a portion of her “Laundry

Bottle Totems” and two Hornbeck

Boats Adirondack-style canoes

used to install her “ReinCARna-

tion” hubcap lily pads in a pond

along Atlanta’s BeltLine Rail Trail

in 2012 and neighboring Elm Park in

Worcester, Mass. in 2013.

There’s also her secondhand drill

press, sharpening stone, three tool

boxes filled with yard sale and estate

sale finds, 10 cases of fasteners,

“weird objects I don’t know what to

do with” and the “table saw of death,”

so named because her father used to

flinch when he saw her use it to cut

non-traditional materials.

“It’s kind of a mess because I’m

finishing several projects at once,”

said Champeny, who’s working on

2015 proposals for Art in the Park

Worcester as well as BeltLine Atlanta,

which calls for bench designs ideally

to be built with materials local to the

Atlanta area — which is why she’s

accumulating hard plastic Coca-Cola

soda crates.

She’s not sure how realistic it is to

create benches that’ll last, since even

the hardiest of benches tend to be

vandalized. “It needs to be weather-

and people-proof,” Champeny said.

The first materials test was sched-

uled post-Christmas in western New

York, where “two civil engineers

and a mining engineer” — her sister,

brother-in-law and brother, respec-

tively, were going to try to figure out

how to build a bench that would meet

project requirements. “Most of my

projects usually start out as a family

project to see how to make it work,”

she said.

She learned about the BeltLine

call-for-proposals through an email

from its organizers; she also learns of

opportunities through a public art list

server run out of Washington, D.C.,

announcements by the Massachu-

setts Cultural Council and monthly

Internet searches for calls for art and

sculpture.

Her niece tipped her off to the

Washington, D.C. opportunity to

create a work for the D.C. Depart-

ment of Transportation. The call-for-

proposals for the This Place Has a

Voice/Capitol Hill Alphabet Animal

Art Project sought work representing

the corresponding letter of the street

where it would be installed.

She created her “Snow Saucer

Lady Bug,” which went on view last

June, from snow saucers she had

brought along to her second home

in Hilo, Hawaii; her biggest challenge

was having the work weigh the

required seven pounds so that it

wouldn’t damage the light pole on

which it would be stationed for the

next five years. Champeny was one of

10 artists selected.

Among the things Champeny

considers in submitting a proposal:

Is it fun? Does it invite travel? Does it

involve an area where there are family

or friends to stay with to save on

Susan Champeny with her Snow Saucer Lady Bug prototype.

Public Art

expenses and who might have a yard

that can be used as a staging area?

“None of these projects make big

money so I need to be couch surfing

or staying with friends,” she said.

Champeny’s found that the work

for most public art exhibitions is

selected based on the quality of your

proposal, and not your track record,

though one’s resume can come into

play if a show has a second series of

proposal reviews.

That changes when submitting

a proposal for a more permanent

installation. “If there are larger

commissions involved, they want

24 JAN/FEB 2015

JAN/FEB 2015 25

to see that you can execute a large

project,” said Champeny, who also

paints. Her “Aim High for the Tree

Tops,” a 9’ x 20’ spray paint mural

depicting five native New England

trees, was installed at Worcester

State University last year.

The Myth Makers, aka Donna

Dodson (an Artscope contributor)

and Andy Moerlein, have spent the

fall and early winter month assem-

bling their next public art project,

“Avian Avatars,” at the Save That

Stuff warehouse in Charlestown,

Mass. Each of the five large sculp-

tures, made from maple saplings,

wire ties and found objects, symbol-

izes a unique, mythical bird. They’ll

be transported to New York City for

a three-month stay on the Garment

District Plazas on Broadway between

36th to 41st streets.

Predecessors of “The Realist” (red

tail hawk), “The Great Spirit” (owl),

“The Scold” (crow), “The Tourist”

(Victoria crowned pigeon) and “The

Taste Maker” (falcon) have been seen

over the past half-decade on Boston’s

Christian Science Plaza, in New

Hampshire on Nashua’s Main Street

and in Portsmouth, where Gerald

Scupp, the Vice President of the

Garment District Alliance, saw their

“Moose Myth” sculpture.

“Gerald Scupp saw our sapling

sculptures and their spacious

transparent structure as a perfect

match with the stark cityscape of

Broadway in deep winter,” Moerlein

said. “He had a real vision for our

large works filling the streetside

vacancy that is usually abustle during

warmer months with food trucks and

merchants. The sculptural presence

will invigorate a seasonal void.”

It’ll be the seventh in a series of

Garment District Art on the Plazas,

part of New York City’s Department

of Transportation’s Arterventions art

program. Dodson said the program’s

sponsors typically cover costs up

to $50,000 for materials, artist

stipends, transportation, installa-

tion and removal, and theirs was no

different. “This is a very professional

opportunity,” Moerlein said. “Most of

these shows are highly sought after

and require a very deep professional

portfolio. We are very lucky.”

This is an instance where years of

hard work have paid off; in recent

years, there have been times when

The Myth Makers, Tastemaker.

it’s seemed that either individually

or as The Myth Makers, Dodson and

Moerlein’s work has been in multiple

states and locations at the same time.

“The previous work we have been

building — often on very limited

budgets — has allowed us to create a

Public Art

portfolio of note,” Moerlein said. “Our blogs and Facebook presence,

ads in many of the arts periodicals, and then the investment we have

made in our catalog, all contributed to a professional presence that

helped Mr. Scupp present our proposal to a discerning funding board.”

Dodson said Scupp, having been familiar with and having seen their

past work, had a vision for how it would activate the spaces on Broadway.

“We had just published our catalog, and he selected some of our mythic

avian sculptures for this project (from it).”

Dodson said it took about a month for each of the five works to be

constructed. “Each sculpture requires several hours of picking saplings

in the woods, fabricating the base, painting the base, assembling tools

and materials, setting up the scaffold and ladders, building the piece,

documenting the work while it’s being built with photographs and video,

and communicating with our sponsor about the process in addition to

our friends, fans and collectors,” she said.

Bringing their work to Manhattan meant meeting the requirements of

a busy, well-regulated city; the dexterity of the materials they work with

was a key factor in making it possible.

“Our sculptures can be fabricated by two people and are relatively light

so they can be driven into the city with a pickup truck and trailer. Larger

haulers need more complex permitting,” Moerlein said. “The loose-

gravel-filled bases allow us to secure the works in place with substantial

weight that again can he handled with light equipment (mostly human

power). Once the engineer was willing to wrap his head around the wind

forces and weight proportions, the DOT and others readily stamped our

permits.”

They had to invest a lot of careful attention to their application. “Every

expense, from small things like screws and paint, glue and rope, plus

the big items like liability and truckers, subcontractor obligations and

press, all need to be exactly documented to assure the funding structure

provides for the level of exposure that a very monumental exhibition

such as this deserves — and demands of us,” Moerlein said. “We wanted

to both do it right and make it possible.”

Moerlein said their past experiences in creating public art have proven

to them that their work leaves an imprint on the public’s memory, both

of the artist and the location in which it was placed. “When we show our

work to new audiences, we hear conversations of recognition and stories

of the time the audience has encountered one of our works,” he said.

“Iconic cities create a reputation of cultural value with their collec-

tions, attracting tourism and building pride in the population at large.”

For that to happen, people in positions of power have to be brave

enough to put their reputations on the line to make it happen.

“Public art takes risk and a thick skin to weather the sea of public

opinion — and art that truly transforms space and cities require this,”

noted Julie Burros, responding to a question from Dodson on the

lasting effect of Chicago’s Millennium Park — in which a large amount

of public art was commissioned and Burros was the project manager —

at a Dec. 15 event at ArtsEmerson’s Paramount Theater to welcome her

as the City of Boston’s Chief of Arts and Culture.

“If municipalities don’t devote the time to the selection process, they

won’t achieve the desired result of branding themselves as a vibrant

place to live. Otherwise, it is timid, bland and forgettable,” Dodson said.

“Art is also a placemaker and economic engine for communities, that

makes it a very worthy investment.”

Dodson said the key way she learns of opportunities to show her

work outside of the New England region is through networking, while

Moerlein added, “We read arts periodicals, follow FB and other social

media conversations, seek out public and private arts venues and

study the careers of arts professionals we admire.”

Brian Goslow

ICONIC CITIES CREATE A REPUTATION OF CULTURAL VALUE WITH THEIR COLLECTIONS, ATTRACTING TOURISM AND BUILDING PRIDE IN THE POPULATION AT LARGE ... IF MUNICIPALITIES DON’T DEVOTE THE TIME TO THE SELECTION PROCESS, THEY WON’T ACHIEVE THE DESIRED RESULT OF BRANDING THEMSELVES AS A VIBRANT PLACE TO LIVE. OTHERWISE, IT IS TIMID, BLAND AND FORGETTABLE.

FEBRUARY 6 - MAY 31

96 Lyme Street, Old Lyme • 860.434.5542 • FlorenceGriswoldMuseum.org

26 JAN/FEB 2015

[ BOSTON PRIVATE BANK AT THE PRUDENTIAL CENTER ]

JANUARY 21 - MARCH 20, 2015

158 Newbury St, Boston, MA 02116p:: 617-536-5049 e:: info@copleysociety.org w:: copleysociety.orgTuesday -Saturday 11-6 | Sunday 12-5 | Monday by appointment

NEWMEMBERS’

SHOW

SNOW BIRDSBY NANCY COLELLA

SPONSORED BY

Imag

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utio

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Tim

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Imag

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1.10.15 - 2.23.15

Cop

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JAN/FEB 2015 27

SOUTH SHORE ART CENTER119 Ripley Road, Cohasset, MAGallery Hours: M–S 10–4, Sun 12–4781 383 2787 > www.ssac.org

: :JOURNEYS: :juried by Zola Solamente, Arden Gallery

January 9–February 8, 2015

Pulse:  NEW  WORK  BY  FACULTY  ARTISTSJanuary  20  -­  April  10,  2015

Amy  Archambault  |  Michael  Beatty  |  Rachelle  Beaudoin  Matthew  Gamber  |  Randy  Garber  |  Roger  Hankins  |  Cristi  RinklinSusan  Schmidt  |  Leslie  Schomp  |  Marguerite  White  |  Amy  Wynne

Faculty  member  Susan  Schmidt  and  a  student  at  work  in  the  Millard  Art  Center  print  studio.  Image  by  John  Buckingham.

holycross.edu/cantorartgalleryM  -­  F  10  a.m.  -­  5  p.m.,  Sat.  2  -­  5  p.m.

28 JAN/FEB 2015

OPENS JANUARY 22

Medford, MA | artgallery.tufts.edu beverly, ma | 978.867.9661 | montserrat.edu/continuing-ed

artwork by immersive faculty member dean nimmer

where creativity works®

SUMMER IMMERSIVEART WORKSHOPSDevote yourself to art in the unique environment only a working art college can provide.

Courses offered in June and July.

Educator Fellowship Award available.

MFA PROGRAMS

Photography (Cambridge, MA) Examine photographic history and the fluid integration of contemporary media with traditional and alternative photographic practice.

Visual Arts (Low-Residency) Investigate new media, develop your own curriculum, and acquire the critical vocabulary to situate your work within the contemporary art world.

EXPLORE lesley.edu/mfa/create

CREATE SOMETHING ONLY YOU ARE CAPABLE OF.

Lesley University College of Art and Design

The Lunder Arts Center in Cambridge is the new home of Lesley University’s College of Art and Design, connecting the arts throughout the university and our surrounding communities, and uniting the passion of the art school experience with the power of a Lesley education.

JAN/FEB 2015 29

Leslie Fry had a vision for her work and

set out to find the means to realize it.

A temporary installation she created

at Wave Hill in the Bronx had given her

a taste for wanting to cast her five-foot-

long plaster “AcornHead” in bronze, so

Fry took matters into her own hands.

She created a GoFundMe campaign

through United States Artists in 2010 and

successfully raised over $15,000 to cast

her plaster “AcornHead” in bronze.

Since Tufts University had been one

of the biggest donors to her campaign, it

got the first loan of the piece in 2011. Amy

TWO HEADS ARE BETTER THAN ONETHE STORY OF LESLIE FRY’S COLOSSAL ACORNHEAD

Artist profile

Colossal AcornHead, bronze, edition of five, 40” x 60” x 30”.

Schlegel, director of galleries and collec-

tions at Tufts, had been a long-time fan

and supporter of Fry’s work, and placed

the first edition of Fry’s “Colossal Acorn-

Head” on its Medford/Somerville campus

during the 2011-2012 academic year as

part of a new public art initiative.

Artist profile

30 JAN/FEB 2015

At the same time, Nick Capasso, then deputy director of exhibitions at

deCordova Museum and Sculpture Park (now director of the Fitchburg Art

Museum), had been planning to show Fry’s work but had not selected a

specific piece. He negotiated to borrow the “AcornHead” for the deCordova

Sculpture Park after Tufts, in 2012-2013. However, when some students

at Tufts discovered, upon returning to campus in August 2013, that their

beloved “AcornHead” was no longer there, they sent Fry a singing telegram

on her birthday with a request to bring it back.

Meanwhile, a windfall event occurred when the Gelmont Foundation of

Montreal, which is governed by a Tufts alumna and parent, decided to give

funds so that Tufts could purchase or commission a new outdoor sculpture

for the campus. Tufts commissioned Fry to create a second edition “Acorn-

Head” for its permanent art collection with these funds in early 2014. Last

May, the sculpture was re-installed near the Tisch Library.

What did Fry do with the other “Colossal AcornHead?” She had another

vision for her work — this time a permanent sculpture garden where her

work could be seen in an ideal setting. She had recently built an addition

onto her studio, and with it came the idea to design a sculpture garden on

her own property.

Some special pieces are the “sphinxes” from the Pomerleau Neighbor-

hood Park, a 1999 commission in Burlington, Vermont — she installed

the surplus concrete casts on tall columns as focal points in the garden.

Another gem is a six-foot-tall cast bronze version of the “NestBuilder,”

The beginning of Leslie Fry’s sculpture garden at her property in Winooski, Vermont.

a publicly commissioned piece she created in concrete for the Seminole

Garden Center in Tampa, Florida in 2010.

Along with these and 20 other works of art, the “AcornHead” rests

peacefully under a tree, in the company of good friends. Fry invites inter-

ested parties to contact her directly through her website (lesliefry.com)

about making a visit to see her sculpture garden in Winooski, Vermont.

Fry’s recent show, “Archaeology Through the Looking Glass,” curated

by Deborah Disston for the McIninch Gallery on the campus of Southern

New Hampshire University in Manchester, has inspired her forthcoming

installation in February on NYC’s Lower East Side at Central Booking

gallery. In addition, she will be exhibiting a few pieces from her new series

of ceramic sculptures created during her 2013 Kohler Company Arts/

Industry residency at her upcoming show in January at Wayfarers gallery

in Brooklyn.

Architectural details, fantastic creatures, and landscapes real and imagi-

nary all play out in Fry’s works, which are crafted from ceramic, plaster,

bronze and concrete as well as paper. In spite of the challenges of creating

work for commercial galleries and sculpture parks, architectural commis-

sions and small affordable art objects, international sculpture symposia

and public art projects, Leslie remains committed to her vision.

Donna Dodson

Artist profile

JAN/FEB 2015 31

fullerCRAFT museumTM

Let the art touch you

CRAFTING A COLLECTION

Fuller Craft Museum Recent Acquisitions

12.6.14 – 7.12.15

Winter Exhibitions Reception: Sunday, January 11, 2:00 pm2:00 pm Woodworker Peter

Korn Lecture & Book-signing for “Why We Make Things

and Why It Matters: The Education of a Craftsman”

3:30 pm Barbara Andrus Gallery Talk

Reception included with admission fee.

Lecture and/or Gallery Talk

$15 ($7 Members)

Dirk Staschke, Anonym #3, 1999Fuller Craft Museum ! Brockton, MA 02301 ! 508.588.6000 ! www.fullercraft.org

Coiled and Decorated:Native  American  Pottery  from  the  Bruce  Museum  Collection

November  22,  2014–March  29,  2015

BRUCE MUSEUMGreenwich, Connecticut www.brucemuseum.org

The Coast & the SeaMarine & Maritime Art in America

(207) 775-6148 | PortlandMuseum.org

JANUARY 30–APRIL 26

This exhibition has been organized by the New-York Historical Society.

Corporate Sponsor:

Foundation Sponsor:Morton-Kelly Charitable Trust

Media Sponsors:

Maurice Frederick Hendrick De Haas (United States, born Belgium, 1832-1895), Tropical Sunset at Sea, circa 1862 (detail), oil on canvas, 24 x 34 inches. New-York Historical Society, The Robert L. Stuart Collection, the gift of his widow Mrs. Mary Stuart, S-109

How the sea inspired a nation.

$5 surcharge. Free for members.

32 JAN/FEB 2015

January 9 - February 22, 2015

An exploration of line, form, texture, light, shadow, design,

decoration, luminosity, content, depth, tone, pattern, and

metallic sheen . . . anything but color!

The ALL Arts Center displays work by 30+ regional artists in our

co-op gallery and in themed exhibitions in the main gallery.

Gallery Hours: Wed-Sat 12-6 PM; Sun 12-4 PM

www.artsleagueoflowell.org 978.221.5018

307 Market Street, Lowell, MA 01852

Ar y, January 17, 4-6 PM

Phot

o: N

ight

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JAN/FEB 2015 33

Grand Circle Gallery is proud to announce its 4th Annual Student Travel Poster Design exhibit.

An annual competition for New England graphic design undergraduates.

On display through February.

Free admission

gct.com/grandcirclegallery @GC_Gallery

EXHIBITING VINTAGE TRAVEL

POSTERS & PHOTOGRAPHY

Frederick R. Mayer Art Center, Phillips Exeter Academy, 11 Tan Lane, Exeter, NH 03833 | 603-777-3461 | www.exeter.edu/lamontgallery Gallery Hours: Mon.1-5pm, Tues.-Sat. 9am-5pm. Closed Sundays and school holidaysLamont Gallery CREDIT: Photo by Steve Lewis

OPEN HOUSE:A Portrait of Collecting

JANUARY 19 – FEBRUARY 28, 2015Opening: Friday, January 23, 5-7 pm

PEA027_artscope_hlfH.qxp 12/15/14 1:52 PM Page 1www.nhia.edu

DO WHATYOU LOVE

NHIA628_artscp_qtrV.qxp 12/3/14 12:32 PM Page 1

34 JAN/FEB 2015

Behind the Screen

Artists and curators often seek

attention through impulses as subversive

as they are creative. In a recent attempt

to gather a range of curatorial concepts

that court the limits of the imaginable,

New York City’s Elizabeth Foundation for

the Arts called for a “Theoretical Show”

of the “most audacious, outrageous, or

impossible” ideas for an exhibition.

From 71 proposals, the jurors chose 15

works to be realized in a late fall exhibition

entitled “A Wicked Problem.” Those texts

that escaped selection were papered on

the gallery’s rear wall. (Disclosure, I was

among the latter artists.) I wondered — and

still wonder — about the gap between the

practicable and the impossible. Is it simply

the ease with which some people dwell in

protracted creative tension, while others

wish to resolve it as soon as possible?

Regardless, the Dada-esque results

were unpredictable and often charming.

Participants were commanded to use

five random phrases (“Piranesian,”

for one), explore Marcel Duchamp’s

obscure concept of the “inframince,” or

unpack his witticism, “Guest plus Host

equals Ghost.” Several offered playful

imagery, such as Oree Holban’s model

roller coaster racing at interstellar speed

through a dream-like exhibition of his

favorite artworks.

Not surprisingly, some artists

“realized” their impossible passion

through video or animation. There were

those who dreamed of enacting social

ideals. In Anuj Vaidya’s “ecological

cinema,” producing a movie of the

Ramayana is to be accomplished using

only sustainable human-scaled energy

sources like bicycle power. Although

absurdly anachronistic in an energy-rich

society, resituated in India, this concept

might well be economical.

Misha Rabinovich and Caitlin Foley

envision the world transformed by a

single moment when everyone jumps

at once. Implementing their first step, a

computer game in the gallery teaches

viewers to time their leaps and control

the moment of landing.

For some authors, “impossibility”

consists in ordinary impediments: lack of

money, time or space; access to the right

art or artists; or institutional sponsorship.

Others play in a contemplative realm,

spinning out subversive or semi-serious

fantasies of art-historical inquiry,

philosophizing or poetry, or chasing after

a definition of the absurd.

For example, Edith Doove, a curator-

critic in Plymouth, England and admirer

of Duchamp, rejoices in constructing an

ideal exhibition focused on Duchamp’s

fascination for the insubstantial and

his proclivity for crossing boundaries

in ideas, dress and behavior. But lack of

institutional support or access to the

necessary works makes mounting it

“impossible” — for now.

Beth Reitmeyer, Not Your Ordinary Sinkhole (cross section diagram), 2014, mixed media (photos, decorative moss, acrylic paint, ink) on paper mounted on panel, 14” x 21”.

WE ARE ALL CURATORS, NOW!THE PERILS OF THE POSSIBLE

I BELIEVE I CAN FLYIn a contrasting mood, Charis

Kanellopoulou, a meticulous Athenian

curator feeling starved for spontaneity,

luxuriates in an “impossibly” prolonged

wishful moment when she can fly down

any path in any museum, encounter any

form or object and effortlessly bring

them together — or not.

Usually we expect exhibitions to

occupy specific times and places, have

a finite duration and possess a clear

community and context. Artists push

these boundaries by imagining more

open museums permitting greater

opportunities in the world for creative

artists to show their art.

Far and beyond the Minneapolis

Institute of Art’s once-in-a-decade Foot-

in-the-Door show for statewide artists,

Art Vidrine recommends displacing great

art in all publicly-funded institutions for

a month-long exhibition of works by all

who wish to show in a public setting.

JAN/FEB 2015 35

Mary Murray would radically infiltrate art, museums, historical sites and

even outer space, slapping scannable “QR” codes on all manner of objects,

and letting artists covertly project their own coded images so as to be part

of any collection.

Blogger Alicia De Brincat lampoons museums’ pomposity by proposing

they remove great works from their frames and disclose on the reverse

the doodles left by those artists’ bored children.

Marcy B. Freedman would frustrate and subvert the power of the curator:

“… denied the authority to select artworks for the show … her role will be

that of an exhibition designer — and performance artist” — putting up an

arbitrarily chosen exhibition in full public view.

Some exhibitions must forgo implementation for lack of a critical

element. Prohibited by limestone’s inherent instability from converting a

Kentucky sinkhole into a natural amphitheater and perceptual zone, Beth

Reitmeyer relies on collaged photographs, sculptural models and samples

of AstroTurf and soft, stuffed rocks to illustrate her premise. Michelle

Bentsman’s parodic “Hauntology,” set in a cemetery in the year 2666,

predicts a not-yet-developed “enthanatoscopic” technology permitting

works to be crafted from “bits and pieces of re-animated flesh.”

Some proposals attempt or challenge the infinite. Québécois

printmaker Jean Cencig would offer his audience endless grids and

piles of numerically identified ink-fingerprinted tissues born of a lifetime

of wiping off etching plates. These “ghost biometrics” of the artist’s

identity also establish mathematical patterns and a recursive system to

generate new prime numbers. My own “Conditions of Curation” reframes

a “Theoretical Show” by setting clear rules and initiating a poetic string of

titles for potentially unlimited exhibitions.

Harry Newman’s romantic exercise, “Corpse of Dreams,” breeds an

ongoing “Exquisite Corpse” composed of “... everyone’s dreams ... from a

single night ... written down and added to the dreams of the person closest

to them.” Visitors sifting through the rooms of jottings fall asleep, dream,

wake up, and write down their own dreams, ad infinitum.

Greta Byrum and Annable Daou, finally, investigate the absurdity of repeating

exhibitions of tired gestures. Having attempted to restage a previously

“spontaneous” New York exhibition in Los Angeles and finding it “impossible”

to recapture the initial novelty, they now seek to revive the mystery by

presenting unspecified relics of the earlier exhibitions in a sealed package.

Perhaps we are always compromising personal ideals to fit within the limits

of our practical reality. Even for an arts writer, shaping one’s experience of

art into a communicable vision is a “wicked problem.” But the possibilities

are endless. Elizabeth Michelman

Greta Byrum and Annabel Daou, Aporia:Aporia:Aporia: The Search for Our Aporia, cardboard box, 15 aporetic projects, exhibition residue, 19” x 10” x 7”.

36 JAN/FEB 2015

Aida Laleian, Turn to Their Blameless Deceits, 2008, UV ink on canvas, silk border, 54.5” x 72”.

The question is: What does

the “new” Armenia look like? While

attempting to understand “Kiss the

Ground,” I kept an impression from a

quote by famed Armenian-Canadian

master photographer Yousuf Karsh in

mind: ”Character, like a photograph,

develops in darkness.”

The old Armenian word “Yergur-

bakootyoon” means to be in “total

submission.” In English, the word

and concept translates to “kiss the

ground,” used here to mean heritage

reverence. Contemporary Armenians

are removed from the original source

of Yergurbakootyoon; their discon-

nect and subsequent re-grounding

is expressed in “A New Armenia” — a

redefined “Kiss the Ground.”

“Kiss the Ground” presents a vast

five-component, two-venue exhibition

project of visual expression, in a variety

of artistic modes, applications and styles

that dialogue about the Armenian-

American cultural experience.

At its core, this is a project that

defines, again, contemporary art; if we

remove the Armenian character focus,

we see a presentation that highlights the

diversity of artistic production today.

The project in totality, all exhibi-

tion components at both venues, a

long catalog and programming are

organized by artist, author and curator

Todd Bartel, the founder and director

of The Thompson Gallery at The

Cambridge School in Weston, Mass.

Bartel is an important part of this

story. He has a history of creating multi-

component, interdisciplinary exhibitions

about important timely issues. His deep

interest in the Armenian cultural experi-

Reviews

KISS THE GROUND: TALIN MEGHERIANTHOMPSON GALLERYTHE CAMBRIDGE SCHOOL OF WESTON

45 GEORGIAN ROADWESTON, MASSACHUSETTS

THROUGH MARCH 13

KISS THE GROUND: A NEW ARMENIAARMENIAN MUSEUM OF AMERICA

65 MAIN STREETWATERTOWN, MASSACHUSETTS

PART I: THROUGH JANUARY 20PART II: JANUARY 25 THROUGH MARCH 1

KISS THE GROUNDFINDING THE “NEW” ARMENIA

JAN/FEB 2015 37

ence, specifically, spans decades and is

both scholarly and personal. He explained

that his interest in the theme of the 1915

Armenian Genocide and Diaspora (the

keystone subject of the project) “arose

out of familial circumstances, coupled

with The Cambridge School’s dedication

to engage with issues of social justice.”

The project features two spotlight

solo exhibitions: the narrative paint-

ings of Talin Megherian (discussed

below) is the second of three shows

in the series now at the Thompson

Gallery; it follows a fall 2014 exhibit

of the kinetic industrial sculptures of

Chicago-based Gagik Aroutiunian.

“A New Armenia” Parts I, II and III

is a series of group exhibitions, or

“one theme, three views,” featuring

12 artists. Part I is on view through

January 20 at The Armenian Museum

of America in Watertown, Mass. The

project culminates at the same time as

the centennial anniversary commemo-

ration of the Armenian Genocide in

April 2015.

Bartel collaborated with partici-

pating artist Adrienne Der Marderosian

(Belmont, Mass.), who assembled most

of the artists and served as co-curator,

giving form to the overall theme and

defining the new Armenia. Der Marder-

osian’s intellectual “Migration” series

is an elegant map-based, figurative,

clean-line collage, mixed-media series

that grapples with the complex issues

of immigration dislocation, displace-

ment and assimilation.

12 VOICES IN HARMONYThe 12 voices in “A New Armenia” are

well-known regionally, with some

having exhibited nationally. They bring

in disparate modes of thinking and

manners of visual expression. Along

with Der Marderosian, Megherian

and Aroutiunian, the artists are Gail

Boyajian (Cambridge, Mass.); Aida

Laleian (Williamstown, Mass.); Yefkin

Megherian (Queens, NY); Marsha

Odabashian (Dedham, Mass.); Kevork

Mourad (New York, NY) and Jessica

Sperandio (Franklin, Mass.).

It is vitally important to understand

that “A New Armenia” is not an exhibi-

tion of “ancestor worship.” It is, rather,

Jessica Sperandio, Chakatagir, 2014, laser cut leather, thread, wood, acrylic, 70” x 68” x 2”.

an exploration of individual and collec-

tive identity by way of contemporary

and new media forms of visual art.

Together, these artists are trying

to define and create an updated

“Armenian” aesthetic.

Here’s the background: the artists

are direct descendants of individuals

who experienced the 1915 Armenian

Genocide. In their independent visual

art work they may share story parts,

pieces of events, and things that

they’ve heard from their parents and

grandparents as a way to respect,

honor and give voice to their family

and, more importantly, to personally

process the burdens of history.

Because these artists did not experi-

ence the events directly, their final

forms reflect remembrance presented

as abstracted impressions character-

ized by conceptual points of view,

narrative metaphor and allegory, and a

recombining of material motif.

38 JAN/FEB 2015

A good example here is Jessica

Sperandio, who presents four

impressive laser-cut leather, painted

wood, three-dimensional wall sculp-

tures that read almost as “fairy tales”

or “epics,” but are views of the long,

traumatic, real-life story of two family

members — Perousse and Mardiros

Boyajian — who escaped the massacre

of their village. “Chakatagir,” 2014,

depicts a dinner scene in which the

Turkish government feasts on the body

parts of Armenian dead. “I grew up

hearing about family members losing

physical body parts during the Turkish

raids,” Sperandio writes.

Some artists engage only with

heritage and identity and do not

comment on the genocide theme. For

example, Marsha Odabashian does not

ignore the violent past, but she doesn’t

make it the star feature either; she

stages beauty. Her painting, “Great-

ness Has Passed,” 2010, is a glorious

portrait of a regal peacock from the

series “Half-Perceived: Stalking the

Peacock,” an allegory.

PROUD AS A PEACOCKThis painting celebrates decorative

heritage, she explained on the exhibition

label, adding that the peacock motif is

abundant in medieval Armenian illumi-

nated manuscript. Curator Bartel inter-

prets the work as honorific, being similar

to “placing flowers on tombstones.”

Yefkin Megherian is another who does

not focus on blood story. Her two works

bring the traditional into the contem-

porary. She’s interested in the grand

foundational moments of Armenian

history, those establishing events that

gave the people their present culture.

Her bas-relief genre scenes depict the

invention of the 36-letter, script specific

Armenian alphabet and the events that

gave rise to Armenia becoming the first

official Christian nation.

Those who do process the Genocide

and Diaspora in their work directly live

with certain challenges. How and why

some of these artists’ organize the events

of family heritage is expressed in Elliot

Baker’s play, “The Past is Not the Past.”

This play tells the story of how survivors

of war rebuild their lives and transform

their pain and loss into beauty, exploring

interconnectedness, or what happens

during revelatory moments.

Baker, a retired psychotherapist turned

playwright of Jewish ancestry, wrote the

story inspired by the life experience of his

friend, Armenian-American artist John

Avakian, whose expressive-realist mono-

prints depicting select horrific scenes

of war-torture were published by The

Thompson Gallery along with the play, in

catalogue form, specifically for “Kiss the

Ground.” (A dramatic reading of the story

was performed in conjunction with the

exhibition opening.)

From Act II:

Aram (grandson): “So it was art that

saved you?”

Haron (grandfather, artist): “You got

that right again. Ha. I discovered I could

gain some mastery over the terrorizing

images … get them out of my brain by

painting them on canvas. I could trans-

form the scenes and make them less

frightening by creating beauty amidst

the vultures of death. I could be faithful to

history AND be able to free myself from

the frozen past.”

Framing history and understanding

the complex and layered experience of

victimization, and how this condition

marks future generations, is what Talin

Megherian does in her work (as depicted

by Haron in the play mentioned above).

Megherian is serious, but she’s also

playful in how she arranges narratives.

Aida Laleian, Untitled, 1993 gum dichromate and van Dyke print on BFK, 13” x 23.5”.

Reviews

JAN/FEB 2015 39

Love and honor, with a slight defiance,

is the undercurrent of her history-rich,

tile-collage-assemblage paintings and

drawings on paper. Although not as

light-hearted and insubordinate as Aida

Laleian (discussed below), Megherian

does have an “edge.”

She’s the daughter of a traditional

Armenian family, and we can read this

characterization in her work. How? Meghe-

rian presents pictures that are exuberant

and engaging, that dive deep and pull out

truth, but she’s subtle and secretive.

Megherian communicates with

“fragments.” Like chapters in a book,

each square or rectangular space

depicts a vignette that, when placed

next to another, reveals a “plot line.”

Her lexicon is a culturally specific

symbolic iconography that can be

read by those closest to the events

as a specific story, or read as a tale of

universal, collective, almost primal

understanding. A repeating motif is

braided hair, a very intimate subject:

hair carries the markers of personal

health as well as genetic story. It’s also

a design element.

Some of her stories depict tales of

horror, especially torture, layered and

interwoven with compassionate presen-

tations of landscape and homeland. Her

visual forms are design- and pattern-

driven with explosions and washings of

color, along with glittering and moving

tones of light and shadow,

organic interlacing line forms

counterpointed with geometric

structures, the Armenian

alphabet script, and figurative

representations taken from

traditional Armenian folk art

— and from the artist’s compre-

hensive arsenal of art history

knowledge. It’s layered, smart

work.

A good argument to Talin

Megherian is Aida Laleian.

Laleian does not re-harsh the

past or comment on what is

“Armenian” directly. Rather, her

focus is on new creations that

offer up rebellious forms, borrowing from

heritage and history in random ways. Her

mixed-media-print textile, the enigmatic,

“Turn to their Blameless Deceits,” from

the “Defying Gravity Series,” is an

example.

Laleian’s surreal composition is frolic-

some and amusing. She studies ideas

related to the Self. The body and the

circle motif connected by lines and ropes

are focus elements. The scene depicts

women, some pregnant, in what appears

as a circus performance, engaged in rope

tricks, walking on stilts — one riding a

flying-carpet and manipulating poles. We

can almost hear the lively, anxious, “Sabre

Dance” (from the ballet “Gayane,” by

Armenian composer Aram Khachaturian)

as the soundtrack to this scene!

(Note: the women here do not touch

the ground. Leleian’s piece is wonderful

because the joyful spirit and mysterious

commentary [perhaps controversial]

offer a possible “rebirth” or definition of

what could be the “New Armenia.”)

The overall concern of “Kiss the

Ground” is connection: intertwining,

weaving and braiding together lines

of narrative. Heritage is utilized and

borrowed from and applied to modern,

new media and conceptual methods. What

we learn: The New Armenia is about hope

moving forward, as Haron says in “The

Past is Not the Past”:

“Life, Aram, life. There is death ... but

there is life. And that’s what we have to

see ... create.”

J. Fatima Martins

Talin Megherian, Khatchkar No. 3, 2014, gouache, ink, tempera and gesso on tiled watercolor paper, 18.625” x 15.75”.

I paint for the joy of learning and the creative act. I teach to help other people enjoy what we can discover.

!e subject matter of his work ranges greatly, with depictions of New England farms and landscapes, a majestic Russian tall ship and an America’s Cup yacht powering upwind. It brings you around the globe from the Belizean rain forest to Southwest France, and back to Boston, to the Custom House Tower dramatically lit at night.

!e collection also includes the beauty of the bygone art of the carved and painted Carousel Horse, the coiled power of a Red Sox slugger, the face of the beloved Polish Ponti" and a large blue #sh carved from rough sawnlumber from a local mill.

ARTIST STATEMENT

JANUARY/FEBRUARY 2015CENTERFOLD

Winter-themed painting Centerfold contest winner:

BRUCE DAVIDSON

Silos, Watercolor.

DAVIDSONBruc!

IN THE CENTERFOLD :Bruce Davidson

TO SEE MORE OF DAVIDSON’S WORK, VISIT:

BDAVIDSONART.COM

JAN/FEB 2015 41

When Rhode Island found itself in the

recent recession with one of the highest

unemployment rates in the country,

Providence decided to re-brand itself

and make the transition from “Renais-

sance City” to “Creative Capital.” The

hope was that prosperity would follow.

The rationale was like Manhattan

turning its “Mean Streets,” Ad

Men-style, into the charismatically

approachable “Big Apple,” and later

driving that point home with its “I

Love New York” campaign. In the

present tense, as a marketing strategy,

“Creative Capital” embodies word

play in the cleverness of amalgamated

meanings to interface the pursuit of art

with entrepreneurial venture.

Tabitha Piseno recalls that in 2011,

when she and Sam Keller were running

RK Projects, everyone they talked to

discouraged them from developing

their gallery as a business enterprise.

She was told the only way to survive in

Providence was as a non-profit. Truth-

fully, at that time, Providence had very

few progressive art collectors in its

midst. Recently in conversation, Piseno

spoke about the strangeness of having

to close the doors of their gallery while

simultaneously getting the news that

RK Projects had received a seed grant

from the Robert Rauschenberg Founda-

tion, singling them out for having the

potential to spark change.

Neal Walsh, director of galleries at

AS220, forwarded the nomination of RK

Projects to the Rauschenberg Founda-

tion. Receiving this award made it

possible for Piseno and Keller to decamp

to Brooklyn, network in the avant-garde,

express their curatorial views with

exhibitions there and in Manhattan,

and allow them the freedom to travel

abroad, participating in an incubator-

style art fair in Brussels. By autumn

2014, they returned to Providence with

a new gallery concept for Proxy at 270

Westminster Street. Their plan is to

create a significant impact in the city’s

revitalization process.

COMING HOMEPiseno explains that connection

to friends within the RISD and Brown

communities factored into their return.

She also talks about loving narrative and

zine culture, both emblematic genres in

the city’s art. In 2015, Proxy will present

fine art as dialogue in blended situa-

tions that can be contoured to progres-

sively sell art.

When the city flat-lined into non-profit

oblivion, a kind of shell game continued

to suggest the illusion of creative

vibrancy. Interestingly, in the midst of

this, the Rauschenberg Foundation

gave RK Projects the luxury of choice

to develop contacts in art circles and

strengthen their curatorial perspectives.

Providence is conspicuously light on

the dimension of fine art entrepreneurs.

Gallery Z on Federal Hill has managed

42 JAN/FEB 2015

TIMING IS EVERYTHING

VARIOUS LOCATIONS

PROVIDENCE, RHODE ISLAND

PROVIDENCE: ENTREPRENEURIAL VENTURES ARE IN

AS220 Mercantile Block, Washington Street, DBVW Architects (Photography by Heidi Gumula).

Business

to remain solvent, as have eastside-

ensconced Bert Gallery and Cade

Tompkins Projects. Gallery Z recently

changed its original location into a

boutique-style art shop, with everything

there priced below a thousand dollars.

At the same time, it proactively opened

a second, larger, two-tiered renovated

space in a nearby warehouse district

as an assertive move to attract the one

percent investing in that part of town.

Providence mainstay AS220 is

celebrating its 30th anniversary year as

an alternative arts organization. This

enduring monolith is a dominant force

for the city with intentions of expanding

their presence in its two- and five-year

plans. In November, a 38 million dollar

bond issue passed to re-build arts infra-

structure in the state and cited that,

among five organizations, AS220 and

Waterfire do not even have to apply

— they will be automatic recipients of

funds. AS220 has proven itself adept at

finding ways to tap into the city’s specu-

lative nature, especially with real estate,

JAN/FEB 2015 43

and they have significantly shaped its

urban identity.

This is Brown University’s 250th

Anniversary year and to recognize that

milestone the university has commis-

sioned a temporary public outdoor

sculpture installation called “You” by

Orly Genger. This piece has a deep bluish/

graphite tone and meanders large-scale

across a lawn just inside the institution’s

imposing main wrought iron gates.

The gates obscure a clear sightline

so one must confidently enter to see

Genger’s gigantically braided and

knotted fiber sculpture, which wraps

around trees and fits the contours of

place. From that vantage point on historic

College Hill looking from the university

steps toward “You,” one notices aspects

of the Providence cityscape unfold below.

Brown and other educational institu-

tions continue to expand in the city and

certainly have a vested interest in adding

to urban appeal.

According to Lynne McCormack, the

city’s director of art, culture and tourism,

Providence received National Endow-

ment of the Arts (NEA) funding in the

form of Our Town Grants in 2011 and 2013

and has also received federal Art Place

funding. EPA funds have been allocated

for projects in the brownfield areas of

Valley Street — specifically for Waterfire to

grow its headquarters and related facili-

ties. This will make the area a more viable

cultural corridor as important to the city

as Washington Street is as the arts and

cultural district where AS220 is located.

In connection to all this federal help,

it has been a local decision to overhaul

art business incentives. There are many

overlapping PR specialists working

within city limits to re-brand Providence.

Considering the federal monies pushed

into Rhode Island, and the account-

ability side of things, it should be said

that instead of the trend being non-profit

status, entrepreneurial ventures are “in”

for 2015. Providence is in the midst of

improving its friendliness factor. These

changes may bode well for returning

innovators Piseno and Keller of Proxy.

Suzanne Volmer

Alumni  in  the  Arts  Biennial  Exhibition  2015

To p   o f   t h e   H o pB l a c k   Fa m i ly   v i s u a l   A r t s   C e n t e r

January  10  -  April  30th,  2015

M a r k   B r o s s e a u

A n n a   L i n z e e   M a c D o n a l d

F r a n k   C h a n gC a r r i e   F u c i l eL a u r a   G r e yA n n a   S c h u l e i t   H a b e rG i s e l a   I n s u a s t e

M a t t h e w   J o n e s

T o r i n   P o r t e rK a r y n   O l i v i e r

C a t h e r i n e   R o s sK i r s t e n   S t r o m b e r gA n n a   T s o u h l a r a k i s

DARTMOUTHCOLLEGE

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It’s all in the details! Click to pan & zoom.

included three works by museum

founder Eleanor Norcross (1854-

1923): “Art Nouveau,” a painting

of a collection of art glass and

objects of the period, along with

two “Untitled” paintings that

show her love of the decorative

-

lain clock, ginger jars and vases.

The objects in the paintings are

not arranged as though carefully

positioned for a still life, but rather

are lined up with space between

HARBOR ARTS 2013

So snugly do the

sculptures dotted

along the coastline of

environment of the Boston

Harbor Shipyard that you

might think they were

a result of spontaneous

generation. Well, almost.

Steve Israel initiated

Harbor Arts in 2010 by

hefting his sculpture of

a giant cod up to the

Tara Sellios, Impulses, Untitled No. 2, 2013, ed. 2, digital C-print, 50” x 40”

(each panel).

STILL LIFE LIVESMORE THAN JUST A BOWL OF CHERRIES

“Still Life Lives!” features current

trends in still life as an art form

and also highlights work from

the Fitchburg Art Museum’s

permanent collection. “I put

works together that seem to have

conversations with each other,”

said curator Mary Tinti, who enthu-

siastically met me at the door for a

guided tour of the exhibit. “Things

that are connected both visually

and thematically.”

We started in the foyer, which

artscopeFEATURED MUSEUM

@ascopemagazine #artscope

/artscopemagazine

/ascopemagazine

@artscopemagazine#artscope

STILL LIFE LIVESMORE THAN JUST A BOWL OF CHERRIES

artscopeFEATURED MUSEUM

in a curio setting; perhaps they were from her

own collections.

In contrast, another wall featured the photog-

raphy of Kimberly Witham. The photos are

intimate tablescapes with a little something you

wouldn’t expect: most have a small, creatively

posed animal as part of the composition. But

how did Witham get these animals to pose?

The secret, as it turns out, is that the animals are

deceased. No, she didn’t kill them. They were

collected from nature in their present condition

and repurposed as art.

“The juxtaposition of the dead animal to

the tapestry, wallpaper and carefully arranged

dish ware is a play on the stills you might see

in a Martha Stewart magazine,” Tinti said. It’s

a reminder of the mortality of life. “Still Life

with a Mouse” is one of the most striking of

“Still Life Lives!” features current trends in still life

as an art form and also highlights work from the

Fitchburg Art Museum’s permanent collection. “I

put works together that seem to have conver-

sations with each other,” said curator Mary

Tinti, who enthusiastically met me at the door

for a guided tour of the exhibit. “Things that

are connected both visually and thematically.”

We started in the foyer, which included three

works by museum founder Eleanor Norcross

(1854-1923): “Art Nouveau,” a painting of a

collection of art glass and objects of the period,

along with two “Untitled” paintings that show

china, a porcelain clock, ginger jars and vases.

The objects in the paintings are not arranged

as though carefully positioned for a still life, but

rather are lined up with space between them

Vault  Gallery  413  854-­7744    marilynkalish.com

Marilyn  Kalish

46 JAN/FEB 2015

Heather Leigh McPherson, Strategic Gland, at Providence College.

It is noticeable, looking at artwork

made in Providence as we enter 2015,

that the flavor of the city is changing.

Facilitated by a re-branding process

that seems to also address anti-intel-

lectual posturing as an impediment to

global context, the city is willing, at the

moment, to entertain the concept of

varied aesthetic languages informing

its learning curve with sophistication

and surprise. Fresh curatorial perspec-

tives are afoot, both institutionally

and independently, that are beginning

to shape the art climate in ways that

comment upon and reflect this growing

dimensionality.

The appointment of Dominic Molon

as the Richard Brown Baker Curator of

Contemporary Art at RISD Museum is

an example of institutional leadership

change. Molon is making studio visits

and regularly meeting local artists in

their element, experiences he then

reflects on informally in a blog on the

museum’s website (RISDMuseum.org)

where he also shares images of the art

that he encounters.

Molon said that he came to Provi-

dence from the midwest because he

wanted to be actively involved with

an institution that made acquisitions.

He also liked that once they had been

appointed, past RISD Museum curators

had stayed on for a long time. These

two very practical points indicate

Molon’s desire to imbed in the commu-

nity and make a lasting curatorial mark.

Jamilee Polson Lacy, recently

appointed as director and curator of

the PC Art Galleries at Providence

College, is looking forward to the fast-

approaching solo exhibition of paintings

and new-media work by Providence

artist Heather Leigh McPherson, on

view from January 15 through February

25 in PC’s Reilly Gallery.

McPherson’s “A Platform for Traits”

expresses an atmospheric color sensi-

bility and layered space, and examines

the representational structure of

portraiture in an approach toward

technique that is reminiscent of James

Rosenquist’s paintings. Her disjointed

characteristics of body also seem to

connect with a territory of portraiture

for which the artist Summer Wheat

is known. McPherson’s work has fluid

sensuality, fleshiness of color and

depth of space while expressing how

the concept of likeness assembles in

the mind’s eye. The sense of action in

her work dissects painterly construct

while vamping the beauty of color.

FINDING THE HUMORAllison Bianco is also a colorist who is

making prints that combine the simple

and complex; she will be an interesting

artist to watch in 2015. Creating in small

editions, she engages an original voice

that matches humor with a cataclysmic

event. She elegantly cartoons-up serious

subject matter, often relating to ecological

consequence, and her narratives, though

charged, carry the lightness of pop anime

while moving through archived charac-

teristics of Japanese printmaking history.

Her work has a richness of content manip-

ulation and technique to which one can

return and find newly satisfying.

CLIMATE CHANGE IN PROVIDENCE, 2015FRESH CURATORIAL AND ARTISTIC PERSPECTIVES

Community: Providence, RI

LOOKING AHEAD IN 2015

PROVIDENCE, RHODE ISLAND

Allison and her husband Todd grew

up in Rhode Island and later attended

the University of Hawaii for their

graduate degrees. Hers was an MFA

and he received his PhD in geophysics.

They moved to Providence when Todd

received a National Science Founda-

tion Fellowship at Brown University.

His move from academics to policy

led them to live a year in Washington,

D.C., where Todd worked as a congres-

sional science fellow in the office of

Sen. Sheldon Whitehouse. The senator

liked the sensibly of Allison’s prints,

and that led to the opportunity for her

work to be on view in his Washington

office. In the summer and autumn of

2013, Allison’s prints were accepted for

inclusion in shows at the International

Print Center in New York City, and more

recently, she had a solo exhibition at

The Print Center in Philadelphia.

Allison creates her work at AS220’s

printmaking facilities, known for

their excellence, and she thrives in

its collaborative setting. Combining

intaglio etching and screen-printing

processes, she mixes techniques to

achieve remarkable depth and subtlety

of imagery. Her work is in the collec-

tion of the RISD Museum and, on the

alternative side of the tracks (literally),

her prints are in the corporate collec-

tion of Truth Box Architects, a green

development firm run by Peter Gill

Case located in a colorful, repurposed,

shipping-container structure visible

from Amtrak’s Northeast Corridor.

It took painter Ruth Dealy 20 years

to get a billboard project to happen

in Providence. Now, with the help of

funds from the Providence Tourism

Council, Lamar Advertising Company

has been engaged for use of their

boards. Every six weeks, throughout

2015, three artists will

have their work visible

on billboards positioned

in three inner-city neigh-

borhoods of desperate,

yet frankly fashionable,

economic intersec-

tion. Dealy’s view is

that exposure for the

artists involved can also

be a catalyst of racial,

cultural and economic

inclusiveness.

The same logic

is an aspect of the

Rhode Island Public

Transport Author-

Allison Bianco, Last Leg (courtesy Cade Tompkins).

JAN/FEB 2015 47

ity’s artfully addressed bus shelters

located along routes that have been

newly configured to create ease of

movement between neighborhoods

for RIPTA’s bus riders. Painter and

Providence Gallery Night coordinator

Ida Schmulowitz, who has spent years

documenting the landscape of Provi-

dence, is among the artists chosen for

billboard exposure for six weeks this

January and February.

Suzanne Volmer

Thanks to its cross-cultural and historically deep in-house

permanent collection of approximately 6,000 objects in a

wide variety of media, as well as a substantial archives depart-

ment and a superb on-site display area in the form of its Beard

and Weil Galleries, Wheaton College is a perfect setting for the

training of future art curators.

Wheaton’s Museum Studies department — directed by

professor Leah Niederstadt in collaboration with an extensive

team of colleagues that includes professor Evelyn Straudinger,

Chair in Humanities and Social Sciences and co-director of the

Wheaton Institute for the Interdisciplinary Humanities — bridges

art and the humanities.

Straudinger explained that Wheaton’s curriculum is nationally

known for its connected courses. Its Exhibition Design, Art History

335 class links the intellectual and academic/research focused,

object-based curatorial area with the technical and audience

(education) approach of exhibition structure (communication).

The course is broader in focus because students must

consider all elements of the exhibition process, including duties

typically handled by the registrar, collections manager, graphic

designer or preparatory department, Niederstadt said.

The two student-curated exhibitions currently on view are a collab-

oration between the art history, music and education departments.

“Tracing the Thread,” on display in the Beard Gallery, uses

objects and books associated with, made of, or depicting fiber,

cloth or its applications as its subject foundation, to discuss

greater universal human experiences across cultures and

history, and has a anthropological or sociological tone.

Reviews

SIGHT, SOUND AND TACTILITYTHE SENSES COALESCE AT BEARD AND WEIL

48 JAN/FEB 2015

Ann Chernow, Legacy, 7/50, 1985, lithograph. (Wheaton College Permanent Collection. A gift from Nathan & Patricia Shippee for the Elizabeth Wright Shippee ‘37 Memorial.)

TRACING THE THREAD, CURATED BY ARTH335: EXHIBITION DESIGNGOYA AND BEETHOVEN: FINDING A VOICE OUT OF SILENCEBEARD AND WEIL GALLERIESWATSON FINE ARTSWHEATON COLLEGE

26 EAST MAIN STREET

NORTON, MASSACHUSETTS

THROUGH FEBRUARY 13

The Weil Gallery hosts “Goya and Beethoven: Finding a Voice Out of Silence,”

an art and music history show presenting an exciting intertwining: the music of

Beethoven as the soundtrack to the emotive work of Goya, or Goya’s images, as

giving visuals to the dramatic musical construction of Beethoven.

Niederstadt, along with college archives staff Zephorene L. Stickney and

Megan Wheaton-Book, originated the concept for “Tracing the Thread.”

“Goya and Beethoven” was “pre-curated” by professor Straudinger in

collaboration with professor of music Ann Sears and coincides with the

major Goya exhibition at the Museum of Fine Arts, Boston.

Objects were chosen collaboratively by the class. From the “class list,”

students were given freedom to refine their individual choices, writing

explanatory labels and in-depth podcasts. The semester-long projects

involved nearly 20 specific and technical steps to compilation. Everyone

worked closely with interim gallery director Elizabeth Keithline during the

highly technical part of exhibition installation.

What’s presented in “Tracing the Thread” is a nicely paced exhibition of

55 cultural objects and art, everything from Egyptian papyrus drawings

to Pre-Columbian artifacts to 19th century paintings, domestic textiles,

sculptures and even children’s toys, installed around the perimeter of the

gallery, and defined into three interconnected thematic components: Self &

Identity, Leisure & Warfare, and Controversy & Knowledge.

JAN/FEB 2015 49

Within these areas, objects are astutely grouped in cluster format,

highlighting specific stories that continue on (or “thread”) the overall linear

exhibition narrative. Betsy Balch, class of 2015, discussed the somewhat

complicated process of selecting an exhibition design (specific thematic

layout), describing how class “teams” participated in a design contest.

Rufus Chen, class of 2015, who researched the portrait of Wheaton

benefactor Mrs. Watson (from the permanent collection) that serves as an

opening statement to the exhibition, pointed out that “objects were placed

together due to their direct visual connections.”

The class of 2016’s Amanda Prue, whose selected object cluster

dialogues about gender specified how groupings were created, said, “Each

student had to pick a focus object and four supplemental objects associated

with it.” To explore the themes alluded to in her focus object, the controver-

sial wool felted banner, “When Better Men Are Made Wheaton Girls Make

Them,” Prue opted to display it near a 19th century opera singer’s corset, a

contemporary woman’s softball uniform, a woodblock print of a Japanese

courtesan and the 1633 French etching “La Dame Reformee.”

Another poignant object juxtaposition in the exhibition is the pairing of a

cotton handkerchief imprinted with Lucy Larcom’s anti-slavery poem “Call

to Kansas” set to the musical score of Stephen Foster’s “Nelly Bly,” with the

circa-1855 Alphonse Leon Noel lithograph “Power of Music.” This beautifully

rendered print alludes to the racial division of America: a black man stands

outside a barn, behind the door, thoughtfully listening to white musicians who

are casually performing inside. Wheaton college archivist Stickney discusses

the irony of printing an anti-slavery message set to music on a cloth made of

cotton in an in-depth talk, presented in a podcast format.

“Goya & Beethoven” features 21 Goya prints from the permanent collec-

tion or on loan from other institutions (including Smith, Amherst and

Wellesley colleges), all arranged with select compositions by Beethoven.

(The sound component can be heard by scanning QR Codes printed on the

explanatory labels.) The goal of this clever Goya-Beethoven coupling is to

Alphonse Léon Noël (after William Sidney Mount), The Power of Music (Music Hath Charms), 1848, hand-colored lithograph. (Wheaton College Permanent Collection. Gift of Barbara Coleman Donnelley, Class of 1963.)

Francisco Jose de Goya y Lucientes (1746-1828), El Amor y La Muerte (Love and Death), plate 10 from Los Caprichos, 1799, etching, burnished aquatint and engraving printed in black ink (Smith College Collections, purchased with gift of Albert H. Gordon).

50 JAN/FEB 2015

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ARTH335 Exhibition Design students that curated the Tracing the Thread exhibition at its opening reception (Photography by Keith Nordstrom/Wheaton College).

highlight the structural and aesthetic similarities between some works of

the two artists, both of whom created while living in silent, isolating, private

worlds, a result of deteriorating health and progressive deafness.

The approach is to first consider the artists’ individual styles and then

note how their different production manners — one visual, the other

auditory — share commonalities in terms of formal elements and expres-

sion. We see how Goya achieves emotion and story by employing various

compositional and detailed print techniques (visual texture/ contrast), and

hear how Beethoven builds up and brings down dramatic effect by bringing

together (composing) notes and space to achieve sound texture/ contrast.

In simple terms: different modes, same principles.

Zara Goldberg, class of 2015, researched and wrote about Goya’s circa-

1799, “Que se la llevaron! (So they carried her off!), plate 8,” pointing out

how the artist manipulated light (tonal range) to elevate feeling. This print

is connected to Beethoven’s “Sonata for Piano in C Minor, Op. 13 (“Pathet-

ique”), 1798. Elliot Anderson, class of 2018, explained the association:

“Pathetique was conceived at the same time and its tragic sonorities strik-

ingly converse with the visual counterparts in this print.”

“Tracing the Thread” and “Goya & Beethoven” are concurrently imagina-

tive and scholarly. Student Hongting Wang, class of 2016, who researched

Goya’s “Love and Death” from Los Caprichos, a work that is considered to

be one of the artist’s most moving “portraits,” talked about the value of

interdisciplinary academic projects, saying simply, “I [also] learned how to

cooperate with a team.”

Reviews

By combining visual objects with music and substantial textual content,

along with supplemental in-depth podcasts, Wheaton’s student-curators

in partnership with their professors and college staff have created two

information-heavy innovative shows worthy of anyone’s attention and

close study.

J. Fatima Martins

THE GOAL OF THIS CLEVER GOYA-BEETHOVEN COUPLING IS TO HIGHLIGHT THE STRUCTURAL AND AESTHETIC SIMILARITIES BETWEEN SOME WORKS OF THE TWO ARTISTS, BOTH OF WHOM CREATED WHILE LIVING IN SILENT, ISOLATING, PRIVATE WORLDS….

NIHO KOZURU: CAST + LAYEREDHESS GALLERYPINE MANOR COLLEGE400 HEATH STREET

CHESTNUT HILL, MASSACHUSETTS

THROUGH JANUARY 28

Positive Vibration: Vibration 1-20, 2014, installation view, cast rubber on panel, 12” x 12” x 1/4”, photo courtesy of the artist.

Niho Kozuru rides the razor’s edge

between craft and sculpture in a

purposeful and inquisitive way. Best

known in Boston’s art circles for her

otherworldly cast-rubber sculptures,

she also maintains a brisk, Etsy-

powered business selling beeswax

candles re-envisioned from the forms of

found wooden architectural elements.

Born in Japan to a family of

ceramic artists, the Boston-based

Kozuru takes her heritage seriously

and into the new millennium,

casting a gaze backward to the

turned and machine-worked forms

of earlier centuries, and forward

via material experiments with

rubber and mixed-media.

Reviews

GOOD VIBRATIONSNIHO KOZURU AT HESS GALLERY

JAN/FEB 2015 51

Kozuru has installed a cross-section

of her sculptural and wall-hung work at

Pine Manor College’s Hess Gallery, on

view through January 28. Located in

the atrium of the Annenberg Library,

the gallery is festooned with working

sketches and examples from Kozuru’s

new “Positive Vibration” series of

poured rubber layered on panel, and

52 JAN/FEB 2015

Boston & Surrounds

Cast & Layered installation view, works shown 1998-2014; foreground: Liquid Sunshine, Bright Cranberry; standing sculptures: Lantern Columns; wall-mounted: Positive Vibration: Fireworks and Pink Passages (photography by Meredith Cutler).

peppered with a trio of old friends from

Kozuru’s “Liquid Sunshine” series.

Regarding the latter: I confess, I

loved these cast-rubber works when

I first encountered them at the 2008

deCordova Annual. Gazing into their

candy-colored, aspic interiors, I was

then, as I am now, hypnotized into

musings about the Jell-O Genera-

tion, investigating each component

of the stacked, machined forms and

pondering their mother mold origins.

That series is still good – noting

that it re-surfaces often in Boston

and surrounds. Making what feels like

a tour stop here, “Cranberry Burst,”

“Lotus” and “Lime” are glowing totems

from an alternate reality, like the gears

behind a mechanical rainbow. Or, the

absurd centerpieces from a ’50s house-

wife Jell-O-mold competition. Precise,

yet just shy of perfect. Looking closely,

one can read serial numbers from the

original cast parts: gears, wheels,

platters and cymbals. If you liked them

then, you’ll like them now, but what else

is there?

Kozuru’s new series, “Positive Vibra-

tion,” is a word play on the echoing,

bright colors and flickering positive vs.

negative spaces that result when the

artist casts hand-tinted rubber in layers

around machined forms on panel. Neat,

square panels are displayed singly, as

well as in diptych, triptych and a larger

wall installation. The largest consists of

20 panels, arranged in groups of four,

each sporting one thick layer of color

against a white ground. Hints of stars

and snowflakes emerge — but these

forms are all incomplete, bleeding

off the edges. The grouping recalls

Islamic tile-work in its geometric and

non-representational simplicity.

Other works from this series are

more playful and multi-layered.

Crescent moons and Easter eggs

surface in “Pink Passages” and

“Fireworks” among lurid color

combinations of acid yellow, orange,

bubblegum pink and opaque putty.

Kozuru is meticulous. Very rarely do

the colors bleed together. The poured

rubber seems opaque, but in areas

reveals sneaky transparency – like the

shock of an egg white against the yolk

when you crack it into a frying pan.

Here’s where things get difficult. The

Hess Gallery atrium has the less-than-ideal

combination of changing natural light from

above and CFL spots against a woven, puce

wall covering that does nothing to flatter

any work exhibited there.

POLE POSITIONAlso on view are “Lantern

Columns,” an installation of

free-standing totemic compo-

nents forged from glass

“lanterns,” cast-rubber jump

rings and metal strung on

posts. The work has evolved

from its original incarnation

circa 1998 at Forest Hills

Cemetery, now sporting

brightly colored, powder-

coated metal finials.

I want to like these, but

can’t help but feel they would

read better as standalones. In a group,

the yummy colors come off as too

Candy Land — like oversized lampwork

beads. The craftsmanship is superb,

but they lack the curious majesty of

their towering rubber counterparts.

Meredith Cutler

Reviews

Maggi BrownStealing Color

January 30 through April 11 • Reception: Saturday, february 21, 12pm - 3pm

CARNEY GALLERY | REGIS COLLEGE FINE ARTS CENTER

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JAN/FEB 2015 53

CALCULATING THE HUMAN COST

The radioactive land cemetery that

is Fukushima may have been overshad-

owed in recent years as news outlets

have trained their lenses on other

human and natural disasters, but in

Japan, a country only 50 years removed

from the bombings of Hiroshima and

Nagasaki, the fallout is psychological

and physical — and ongoing.

“More than three years have passed

since the meltdown, and the ruined

facility is still spilling radioactive

waste into the ocean. A recent article

in The Guardian appeared under the

somber headline, ‘Fuku-shima Cleanup

Progresses, but there is No Cause for

Optimism,’” writes Wesleyan University

professor Andrew Szegedy-Maszak in a

compelling essay that will accompany

“A Body in Fukushima,” a combined

photography, video and performance

art work that will make its debut on the

Middletown campus in February.

The exhibition features the photo-

graphs of Bill Johnston and the perfor-

mance art of Eiko Otake, Wesleyan

faculty who have collaborated for a

number of years on seminars that

examine the human cost of environ-

mental degradation. Otake has just

begun a three-year appointment as

visiting artist in dance and professor

in the College of East Asian Studies,

while Johnston is a longtime professor

of history and East Asian studies. This

exhibition is an expansion of an enter-

prise entitled “Bodies in Places,” which

began with Otake’s solo performances

in Philadelphia’s bustling 30th Street

Station. Fukushima offered a parallel

universe that she hoped she might

illuminate, she said.

In two separate trips last year, Otake

and Johnston toured the evacuated

region, traversing the now-abandoned

rail line and taking in sights of ravaged

vacant towns and fields. Immersed in

this modern-day Pompeii, they found

the detritus of lives that had been

uprooted, with the only remaining

human enterprise the cleanup crews in

hazmat suits, bagging contaminated soil

in a perverse kind of busywork.

In more than 70 photographs, Otake

takes on the character of everyman/

everywoman, channeling the devasta-

tion all around her through gesture,

emotion and the barest of cultural refer-

ences. “By placing my body in these

places, I thought of the generations of

people who used to live there. I danced

so as not to forget,” she said.

At the same time, her presence has

the effect of asking the viewer to slow

down and contemplate the human costs

of this disaster.

Szegedy-Maszak believes the pair’s

academic partnership predisposed

them to working closely in the field.

“These pictures are not those of a

photographer who was on assignment

to document an artist’s performance,”

he said. “They are carefully composed

works of art that stem from mutual

effort and understanding.”

A BODY IN FUKUSHIMAReviews

Eiko in Fukushima, 24 July 2014, Yonomori, Tomioka, No. 722 (photograph by Wm Johnston).

EZRA AND CECILE ZILKHA GALLERY, SOUTH GALLERYWESLEYAN UNIVERSITY

283 WASHINGTON TERRACEMIDDLETOWN, CONNECTICUT

FEBRUARY 3 THROUGH MARCH 1

54 JAN/FEB 2015

The photographs form the basis of this exhibition, which will be

displayed in both Wesleyan art galleries between February and May. Otake

will appear in solo performances in a number of non-theatrical venues on

campus, and an ongoing video of the photo archive will be running contin-

uously in the College of East Asian Studies Gallery at Mansfield Freeman

Center.

Otake and husband Takashi Koma Otake’s theater of movement has

been at the forefront of modern dance since the early 1970s, garnering

them two New York Dance and Performance Awards, and Guggenheim,

MacArthur and United States Artists fellowships. The couple has had a

longtime association with The Center for the Arts, which began with

Eiko & Koma “Offering” their response to 9/11.

This semester. Otake will be leading an interdisciplinary seminar

at Wesleyan that will tap into literature on the atomic bomb, post-war

Japan and environmental violence. “Her classes — which bring together

movement, politics and history — are among the most sought-after

within the entire curriculum,” said Andrew Curran, Wesleyan’s Dean of

the Arts and Humanities and Director of Curricular Initiatives.

Kristin Nord

Eiko in Fukushima, 23 July 2014, Yaburemachi, No. 753 (photograph by Wm Johnston).

Eiko in Fukushima, 22 July 2014, Tomioka, No. 1104 (photograph by Wm Johnston).

Reviews

JAN/FEB 2015 55

JULIA ZANES EMBRACES CONTRADICTIONS

There is a magical realm of flora, fauna, celestial bodies and

mystical beings at the Dianich Gallery in Brattleboro through

January, brought to you by sorcerer and painter Julia Zanes,

whose show, “The Blue Prophetic Alphabet,” consists of 52 (as in

a deck of cards) paintings on plastered board mounted to screen

printing frames.

Do not think Picasso’s Blue Period or blue as in “the blues.”

Zanes’ blue is light-emitting. She shared method: “If you use a

pure blue,” [my guess is its most often ultramarine here] “and

surround it with more neutral colors, even though it is the darkest

color in the visible spectrum, it glows.” She demonstrates this

again and again in these remarkable paintings. There is to them

almost an other-worldliness.

The artist told me she’d like to think her paintings are “about

language.” In some ways, though, they are anything but … at

least not language in the everyday sense. She cites Chinese

as an example of the kind of alphabet she is thinking of. That

is, elements of the alphabet are symbols, or pictograms, and

when several are put together, the “collision of simple images”

creates a new, possibly unforeseen, idea. Thus, the intention is

that the collection of work shown is more than the sum of its

parts. That may be the hope of most artists for their shows,

but it is seldom undertaken with so much forethought. Never-

theless, each painting in “Blue Prophetic Alphabet” is compel-

ling in its own right.

Zanes made a list of images she wanted to incorporate. They

included visual puns, such as “Starling,” the first painting in the

show. The bird’s feathers have shiny dots that seem to duplicate

THE BLUE PROPHETIC ALPHABET

Reviews

Night, 2014, 20” x 24”.

CATHERINE DIANICH GALLERY

139 MAIN STREETBRATTLEBORO, VERMONT

THROUGH JANUARY

the surrounding stars. Trees double as a branching network of

veins. Visual puns and wordplay abound, as in the concept of

“medium” being at once a channeler of the spirit world, the role

of the artist in creation, and the substance used in a work of art.

While no painting is specifically titled as such, there are many

references to “medium,” such as “Angel with a Submarine Heart,”

“Saint” and “The Oracle.” Paintings pique the imagination and pull

in the viewer as dream, as spiritual journey, as personal hagiog-

raphy. The house that makes numerous appearances in her oeuvre

may or may not be because, “It is the first year since moving into

my house and my dreams have been intense,” Zanes said.

In classical Fruedian psychology, the house is often seen as

symbol of the soul. “Impending Storm: Birds Fly Upside Down” is

a quote from Zanes’ father, who always said this to his daughter

at a storm’s approach. Christian themes crop up, as in “Baptism,”

The Severed Head of Marie Antoinette Floats Above the Rubble, 2014, 20” x 24”.

56 JAN/FEB 2015

but stronger is Egyptian iconography in the collective omnipresence of

birds, and celestial objects that interact with humans.

Another source of inspiration, says Zanes, is tantric painting. In that

religious art form images are used as points of meditation. “It’s about

association,” she continued, “where it leads you. I hope I, and my gallery-

goers, can be where the paintings lead the mind to a slightly higher place.”

But “Blue Alphabet” is an embrace of contradictions. Alongside the

mystical/spiritual dimension is the sensual — the spiraling tendrils of a lush

plant, as in “The Gesture,” or the lavish decoration on a woman’s gown

in “Saint,” the branches of a tree springing from her hands in deep red,

branching veins. Likewise, geometric elements intersect with the organic,

as in “Four Quarters,” where spirals of vegetation are divided by a large

cross.

There is a sense of the ancient in Zanes’ paintings — as if they were

unearthed from a long-buried temple. This is achieved by layering acrylic

paint and collaged elements, such as old maps or prints, with plaster. Oil

paint is the top-most medium. The final result is fresco-like. In some cases,

as in “In the Belly of the Fish,” the collaged print (of two birds) is in negative,

giving them a spectral appearance; not in any sense “creepy,” but rather

conveying, here and elsewhere, an absolute comfort with a world in which

nothing is completely known or knowable, except as spiritual or psycho-

logical insight.

The Dianich Gallery is open Saturdays from noon-4 p.m. or by

appointment.

Arlene Distler

In the Belly of the Fish 2, 2014, 20” x 24”.

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Reviews

JAN/FEB 2015 57

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People collect everything! Really!

Everything! Pokémon. Famous peoples’

autographs. Bars of soap from all over

the world. Historical peoples’ hair.

Toasters. Happy-Meal toys. Penises

(honestly, a man in Iceland has a

museum). Dalmation-spotted items.

Coca-Cola cans (8,000 different cans).

The collections included in the “Open

House: A Portrait of Collecting” at the

Lamont Gallery on the Phillips Exeter

Academy campus are fascinating.

Director-curator Lauren O’Neal said

that over 10 private collections are

part of this exhibition that includes

hand-carved sculptures, antique

radios, African artifacts, prints from

the gallery’s archives, photos of

“crowdspotting,” paint-by-number

pieces and a site-specific installation

that engages multiple senses.

As a psychology undergrad, I must

admit the psychological profile of collec-

tors has always intrigued me. I, being

more of a minimalist — well, we do have

a dozen or so occasion-related wine

glasses, and yes I have way too many

t-shirts from road races I’ve participated

in spanning three decades — fall into the

“less is more” camp. But to understand

why people collect is half the fun of

enjoying what they’re collecting.

People usually collect for emotional

value rather than monetary reasons.

Collections may be associated with

a meaningful aspect of their child-

hood. Or the connection to a period

in history with which they feel an

affinity. Maybe they’re endeavoring

to keep the past present — or ease

insecurity and anxiety about losing a

part of themselves. Some collect for

the thrill of the hunt. Many collect for a

multitude of reasons, but it’s often the

intrigue of the chase, the drive to have

the “best” collection and the connec-

tion to others who do the same thing.

Typically, people who collect are quite

fastidious about cataloguing what they

bought when, where and for how much.

I encountered all of those themes

with this exhibition. I must say it was

one of the more challenging exhibi-

tions I’ve written about — and I’ve been

writing about art and design for over 15

years. I struggled with the “art” piece.

Yes, some objects were more obviously

“art” than others, but some confronted

my definition.

Melissa Mischke, Phillips Exeter’s

dean of students, a chemist and an avid

collector of a variety of objects, collects

with and apart from her husband. She

has a substantial collection of push

puppets — those little critters that have

a round base you push upward and the

animal or figure collapses into a limp

heap. She and her husband, Erick, both

collect Anri figures — and have accumu-

lated nearly a thousand of them. Also

hand-carved of wood, the figurines

represent characters from Italian

Reviews

OPEN HOUSEA PORTRAIT OF COLLECTING

villages. Erick also collects antique

lighting and fireplace tools.

“It’s kind of an illness,” Melissa said,

smiling. “It’s visceral. Like when you

meet the love of your life.” She admits

she’s driven. Her home in Raymond and

her apartment on campus are overrun

with shelves and tabletops strewn with

the collections they’ve amassed.

Concert pianists and trans-disci-

plinary artisans, as well as instructors

at Phillips Exeter, husband-wife team

Jeff Phillips, Edna in Orange Life Vest (from the Lost & Found: The Search for Harry & Edna collection), 2014, digital print from Kodachrome, 44” x 30”.

WHY DO THEY COLLECT THAT?

JAN/FEB 2015 59

Jung Mi Lee and Jon Sakata will create

a multi-sensory, site-specific instal-

lation for the show. Sakata said that

of the 21 senses (What? Where have

I been? I’m still back at five…), this

exhibition will touch upon many. Lee

explains that the installation, which

will be composed of Mylar and a flick-

ering candle in a glass jar, will touch

upon smell, sight, a sense of feeling

your body in space as you see yourself

reflected in the Mylar, the memory

of the experience and the concept

of time associated with the remem-

brance. Sakata added that like music,

this interactive exhibit will allow you to

perceive, deconstruct and re-construct.

Abstract. Avant Garde. Cool.

Another participant, Jeff Phillips,

a photographer who focuses on a

series he calls Crowdspotting, uses a

wide-format camera to capture people

where they gather in public spaces.

Then he prints the photographs about

six feet wide.

The collections in this show are so

widely divergent that they deserve a

look, if only to satisfy your curiosity

about, “Why do they collect that?”

Linda Chestney

Push Puppets, wood, paint, string, 2 1/2” x 1” x 1.5” (from the collection of Melissa & Erick Mischke).

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Liz Squillace, Shot Tower, 2014, screenprint on found fabric, 26”x 32”.

If the gathering felt a good bit like

a family reunion, there was good

reason. For more than 25 years,

Margaret Bodell, now on the staff of

the Connecticut Office of the Arts,

Department of Economic and Commu-

nity Development, has made it her

personal mission to support artists on

the autism spectrum.

Bodell founded one of the first

galleries in New York to feature

these New England-based, so-called

“outsider” artists and help gain recog-

nition for their cultural contributions.

Now, a number of them are clearly

on the radar, and in December, some

were featured in an exhibition that

opened in Hartford — co-sponsored by

UArts and the Connecticut Office of

the Arts — as part of a statewide initia-

tive to reach out to this largely under-

served population.

The show at The Gallery at Consti-

tution Plaza, which will run through

March 27, also has been curated to

focus on developing artists who are

facing a variety of other barriers. This

grouping is far-reaching, from new

arrivals within the state who don’t

speak English to people with psychi-

atric disabilities; it includes outreach

to veterans suffering from post-

traumatic stress disorder, and calls

for further development of creative

opportunities for people who are

elderly, or hearing- or vision-impaired,

Bodell said.

The potential of how much this

currently underserved group might

accomplish is on dramatic display,

whether in Kerri Quirk’s vibrant primi-

tives in acrylic or Vito Bonanno’s

vigorous abstractions. Quirk, who

has a gallery in Willimantic, Conn., is

deaf and autistic; she has exhibited

in Chicago and New York and is being

featured at the Metro Show in New

York this month.

Bonanno is autistic and was fresh

from a business trip in his Artmobile

that took him to downtown Miami,

where five of his works were included

in an exhibition at the McCormick Place

Art Gallery. With his mother behind the

wheel, the two were also on an advocacy

mission: Art Basel Miami Beach was in

full swing and the two were pushing for

greater accessibility to advanced art

education for people with autism.

Bonanno is one of luckier artists

with this disability, as he has

benefitted from private art instruction

as well as a wide array of programs

that have led to greater self-suffi-

ciency, his mother, Cindy Watson,

said. But not everyone can afford

the private tuition. “It’s time for the

barriers to come down,” she added.

A section of the gallery showcases

the colorful weaving being produced

at the Hartford Artisans Weaving

Center, a place that serves people with

REACHING OUT IN HARTFORDDRIVING TOWARD GREATER ACCESSIBILITY

Reviews

Vito Bonanno, SECR Toilet.

62 JAN/FEB 2015

low or no vision as well as people over

55 years of age. Mentors teaching

in the program hail from some of

the world’s most prestigious textile

programs, and the products are a

fusion of tradition and innovation.

In the large gallery room are the

works of the newly appointed UArts

mentors — who include Ruben Marro-

quin, Liz Squillace, Michael Madore

and JAHANE, while a documentary

in an adjoining room captures the

work of Roman Baca, former United

States Marine and artistic

director of Exit 12 Dance

Company. Baca’s chore-

ography, a mix of art and

dance therapy, recently

included children’s dance

workshops in the regions in

Iraq where he had fought.

“We call this ‘creative

workforce development,’”

Bodell said, “I’m interested

in using artists who need

work to help generate jobs.”

In a final room, hand-

dyed scarves, jewelry,

candles, ornaments and

a variety of other crafts

generated in workshop

settings throughout

Connecticut were for sale.

Eight institutions within the state

participated in the exhibition.

“Our aim is to keep our artists

working in Connecticut and also to

reach talented kids who otherwise have

nowhere to go in terms of program-

ming when they turn 21,” she added.

Kristin Nord

Rick Shaefer: Drawing the Line

Rick Shaefer, Uprooted (Sycamore), 2013, charcoal on vellum, 65 x 84".

February 12–March 27

Ruben Marroquin, Red and Blue States, 2014, embroidery and collage on hand woven fabrics and stretched canvas, 32” x 50”.

Reviews

UNIVERSAL ARTS + CONNECTICUT PEOPLE LEARNING ART

CREATIVE ENTREPRENEURS: AN ART + ARTISAN EXHIBITION

THE GALLERY AT CONSTITUTION PLAZA

1 CONSTITUTION PLAZA

HARTFORD, CONNECTICUT

THROUGH MARCH 27

Kerri Quirk, Flower.

JAN/FEB 2015 63

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Talin  Megherian—Kiss  the  Ground

Thompson  Gallery

Sat., March 28, 2015 | 39 Tozer Road, Beverly, MAThe North Shore’s signature art event to bene!t scholarship.

MONTSERRAT COLLEGE OF ART’S AUCTION PARTY

artrageous!29

Honorary Chair: Jack BarnesPresident and CEO, People’s United Bank

Featured Artist: Bill Thompson

Host Committee Co-chairsRosemary Costello, Jodi Hess,

Devlyn LeBoeuf, Jayne Rice and Jean Verbridge

Lead SponsorsPresenting Diamond Sponsor:

People’s United BankTitanium Sponsor:

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auction.montserrat.edu

Bill Thompson, Marsh, 38 x 31 x 6 inches, urethane on polyurethane block, 2012, Barbara Krakow Gallery

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MThanks for a successful two years!EXHIBITION OF SELECTED WORKS FROM JAN 17 - FEB 15, 2015ARTISTS RECEPTION, SATURDAY JANUARY 17, FROM 5-8 PM

gallery hours: Thurs. - Sun. 12-5 pm or by appointment

Online image theft is one of greatest concerns for artists in this

digital age. How do we protect our intellectual property once it’s

uploaded onto the Internet? One solution is not to upload it at

all — to not put your work out into cyberspace. Does this solve the

problem of piracy? Yes. However, connecting through social media,

websites and blogs is, for many of us, a fundamental part of our

creative expression and how we do business.

Prior to the World Wide Web, an individual, organization or

publication had to find the artist in question and get usage permis-

sion because there was no other way. Even today, contacting the

copyright holder directly is still the best practice and easy to do.

A message through Twitter, for example, or sending an email only

takes a few minutes, with an answer usually forthcoming within a

business day.

But the temptations of our got-to-have-it-now culture compels

people to go to a search engine, find an image or content, right-

click, hit “save as” and transfer it onto an electronic device without

any form of permission or credit. While this is often innocent, it can

also be done for commercial gain or as a malicious action.

Your online ownership rights are defined and governed by the

1998 Digital Millennium Copyright Act (DMCA). Websites such

as Facebook provide a DMCA takedown specialist for copyright

disputes. This provision is part of the Safe Harbor Act, where the

website itself cannot be held liable for the alleged violation, but

supports the suspension of such activity. While Facebook highly

encourages a direct communication to the individual who appropri-

ated your work before filing a DMCA claim, it is in place to protect

you.

These same online ownership rights are limited by Section

107 contained in Title 17 of the U.S. Code of the Copyright Law

of the United States of America. It states that the “fair use of a

copyrighted work, including such use in reproduction of copies …

for purposes such as criticism, comment, news, reporting, teaching

(including multiple copies for classroom use), scholarship, or

research, is not an infringement of copyright.” Case in point: This

prior quote fits into the Fair Use Act. The source is acknowledged.

Its purpose is for reportage; therefore, it is legal to use without

direct permission.

Business

FIVE TIPS TO PROTECT YOUR CREATIVE WORK ON THE INTERNET

64 JAN/FEB 2015

Eaden Huang, Closure, photograph. The photographer has watermarked his work taken at Antelope Canyon and placed the editions for sale online at vizivel.com.

Do you consider your pictures, for example, as public domain, for

limited use, or do you want full copyright protection? Here are some

actions that you can take to deter inappropriate use of your work:

Scour the search engines for violations. Google yourself and look

at the URL (Uniform Resource Locator) of your images. Is it linking

to your website or to someone else’s? Most of the time, an email to

the webmaster of that site will solve the problem. If not, a cease and

desist letter will be your next step, demanding either payment for

the use of the work or removal. Some artists use a piracy preven-

tion service, like dcma.com or muso.com, that creates alerts for

these issues.

Use a low resolution. If you only post .jpgs that are of a lower

resolution and small size, your images are difficult to reproduce.

The problem is that they don’t convey the quality of the original

work. An architecture firm or a fine artist needs to have high-

resolution, large photographs to showcase their portfolios, so this

is a limited solution.

Create a clear copyright page and license your work. Creating a

distinct copyright page with current contact information on your

website will cut down on problems. Also, consider getting inter-

national licensing agreements through the nonprofit Creative

Commons (free).

Overlay a watermark. Services like Shutterstock use a very clear

watermark. You can do this as well, with the downside being its

visual compromise. Some artists overlay a transparent .gif or .png

that protects their picture. When someone right-clicks and tries to

JAN/FEB 2015 65

ASHWINI BHAT: EARTH TOOK OF EARTH

Opening Reception for all exhibitions, February 6, 5 - 7pm: Nancy Friese: Encircling Trees and Radiant SkiesDeborah Baronas: Flowers in the FactoryNewport Annual Members’ Juried Exhibition

Newport Art Museum WINTER EXHIBITIONS

76 Bellevue Ave. Newport, RI newportartmuseum.org

Open: Tues.-Sat. 10-4pm, Sun. 12-4pm

JANUARY 17– MAY 10, 2015

Love Seat, 2014Stoneware, fired to cone 12 in an Anagama kiln with Chris Gustin, South Dartmouth, MA15 x 26 x 5 in.

save that image, they get a blank. To do this requires some basic

knowledge of HTML code, and it’s not foolproof. Anyone who

understands code can bypass the barrier, but it will deter your

average blogger looking to augment his content.

Register your images. copyright.gov/eco, the electronic regis-

tration division of the U.S. Copyright Office, now makes it possible

to register multiple images under one portfolio name, such as

“Portfolio 2010-2014,” for only $35.00 a group. The one stipula-

tion is that the images included in a claim are either all published

or all unpublished.

Why go through this tedious step? Even though an artist

automatically owns any original work, it is worth the trouble to

register your images for copyright because it is now inexpensive

and will carry weight in any infringement dispute.

The Internet allows creative people to share their art, connect

with their colleagues, create fans and attract patrons on a global

level. The consequence of such a reach is that there is no absolute

method to protect our intellectual property online. But we can

take preventative measures to insure that we can exercise our

rights to the fullest extent of the law.

Laura Shabott

Eaden Huang, Golden Passage, photograph. The photographer has watermarked his work and placed the editions for sale online at vizivel.com.

66 JAN/FEB 2015

Capsule Previews

While creating his installation “Divination X,” which will be installed on the Anne H. Fitzpat-rick Façade from January 6 through June 29 at the Isabella Stewart Gardner Museum, 25 Evans Way, Boston, St. Andrews, Jamaica-born Ned Ward explored his personal responses to the question, “What does my future hold?” Described as “a contem-porary piece that resembles an x-ray of a cowrie shell reading,” the work is the result of a recent return stint as the Gardner’s artist-in-residence by Ward, who weaves personal narratives with cultural and historic associations from “systematically collected material.” The show’s announce-ment release notes, “In certain cultures, cowrie shells were first generally regarded as currency and later as part of the parapher-nalia of sacred practices in many animistic religions. Although not a devotee of these practices, Ward has a profound regard for the origins and spiritual dimen-sions of these rituals and wants us to consider how nature’s mysterious designs can both inspire reverence as well as the yearning for control.”

Using petri dishes, plant life and underwater creatures as her inspiration, Candace Cotterman Thibeault’s work becomes an active playground for the inhabitants of her imagi-nation — and her work. “I enjoy

creating an environment where different components can co-exist together,” she explains on her website. “Bacteria, molds, and viruses are the terrain for many of my works. Flat rendi-tions of biological elements are illustrated and embedded between resin. Wax carvings are placed between layers of resin to emulate floating vessels. Clay is manipulated, glazed and fired

before it becomes coral, strategi-cally placed within layers of the paintings. Resin is never evenly poured, and the overall design of my pieces are not strategically planned out in advance.” They’ll all come together from January 13 through February 12 when an exhibition of Thibeault’s creations will be displayed at the Wallace L. Anderson Gallery at Bridge-water State University, 40 School Street, Bridgewater, Mass.

We first were drawn to the work of Jeffrey Marshall through his “New Orleans Drawing Project” that began in 2006 in response to the devastation of Hurricane Katrina — and which continues to this day. The Gloucester resident’s “Knots: Drawings and Paintings” exhibition that runs from January 15 through March 15 at the Cape Ann Museum, 27 Pleasant Street, Gloucester, Mass., will bring warmth to anyone who’s ever walked the shoreline of Cape Ann and come across remnants of the fishing trade, especially lobster traps that had been mauled by colli-sions along the boundaries of water and land. “I am attracted to these mangled, man-made struc-

tures because they are echoes of the frenetic energy and power of the ocean waves,” Marshall said. “In Gloucester, fishing and lobstering are elements, like the sea and air. Over time these components combine into molecules specific to this place. These colorful, twisted wrecks are portraits, and each one reflects the insistent beauty of this city.”

Building on the positive response to Gloria Garfinkel’s “Origami Interpretations” at the neighboring George Walter Vincent Smith Art Museum (where it remains through April 26), the Springfield Museums is also presenting “Above the Fold: New Expressions in Origami,” which will spotlight large-scale installations by nine international artists intended to change the way you look at the Japanese paper folding art form. Curated by freelance art curator Meher McArthur and organized by International Arts & Artists of Washington, D.C., a non-profit organization dedicated to increasing cross-cultural understanding and exposure, the show, which features Erik

Ned Ward, Divination X.

Candace Cotterman Thibeault, Untitled, wax, enamel, ink and polymer on board.

Jeffrey Marshall, Boardbook 1, pp. 3-4, 2010-2011, grease pencil on coated paper.

JAN/FEB 2015 67

Demaine and Martin Demaine, Vincent Floderer, Miri Golan, Paul Jackson, Dr. Robert J. Lang, Yuko Nishimura, Richard Sweeney and Jiangmei Wu, runs from January 20 through April 20 at the D’Amour Museum of Fine Arts, 21 Edwards St., Springfield, Mass.

Hopkinton, Mass.-based sculptor Michael Alfano’s latest exhibition explores the classical figure and

portrait in a modern style that reinterprets the human image to speak to timeless subjects in a contemporary style. Two life-size female torsos, “Torsos of Positive and Negative Space,” that investi-gate “the dualisms of the seen and unseen, and the beautiful facades within the hidden, industrial struc-tural support,” were carved out of building lumber. The show’s central work is a series of faces within faces, standing over seven

feet high, made out of stainless steel and granite. Made to slide past each other, their overlapping creates “a kaleidoscope of multi-plying forms that imply growth through interconnectedness” and express “a rippling effect, where there is a definite impact though the outcome is uncertain.” Experi-ence Alfano’s “Evolution” for yourself from February 3 through 28 at the Attleboro Arts Museum, 86 Park Street, Attleboro, Mass.

Seeing the art of Marc Chagall in person has to be among life’s greatest pleasures. Spaightwood Galleries, 120 Main Street, Upton, Mass., is currently displaying over 130 Chagall original lithographs and etchings — some hand-painted by Chagall — made between 1923 and 1984. They include etchings

from early in Chagall’s career as a printmaker, works from The Fables of La Fontaine (1927-1930), Lithographs for the Bible Verve (1956 and 1960), and De Mauvais Sujets, plus works from the pages of literary texts (including Longus’ Daphnis and Chloe and Shakespeare’s A Midsummer Night’s Dream) and depicting places (particularly Paris and rural Russia, small-town life, or the circus). Along with those on display through the end of March, another 50 Chagall works are viewable by request. The gallery is open Saturday and Sunday from noon-6 p.m. and by appoint-

ment at (800) 809-3343.

Brian Goslow

Michael Alfano, Torsos of Positive and Negative Space.

Yuko Nishimura, Sparkle, 2004, paper.

Marc Chagall, Moses Strikes the Rock so the People May Drink from The Story of the Exodus, 1966.

68 JAN/FEB 2015

866-811-4111 or actorsshakespeareproject.orgby William Shakespeare directed by Megan Sandberg-Zakian

January 7 – February 1Multicultural Arts Center, Cambridge

measurE forMeASURe

helenday.com | Stowe, VT“Whole,” 2012, HD Video, 3:00 trt, Hillerbrand+Magsamen

Portland Museum of ArtThrough January 4: “Treasures of British Art 1400-2000: The Berger Collection.”January 30 to April 26: “The Coast & the Sea: Marine and Maritime Art in America.”Through February 8: “Aaron T Stephan: To Borrow, Cut, Copy, and Steal.”Hours: Tue-Sun: 10 a.m. to 5 p.m.; Friday: 10 a.m. to 9 p.m. Third Thursday: 10 a.m. to 9 p.m. 7 Congress SquarePortland, ME 04101207.775.6148info@portlandmuseum.orgportlandmuseum.org

Surroundings Art GalleryOriginal Representational Landscapes of the Lakes Region and White Mountains, Folk Art, Wood Carvings and more by regionally connected artists. Also, original children’s book illustrations by David McPhail. Surroundings is an on-line gallery based in Sandwich, NH.603.284.6888davidmcphailillustrations.comsurroundingsart.com

Thorne-Sagendorph Art GalleryOngoing-Intersection: Art, Culture, and Identity. Object-based learning using the Thorne’s permanent collection.Jan. 24-March 26:Biennial Regional Jurors Choice Competition. An exhibition of juried work in all media by artists living within a 30 mile radius of Keene, NH. Free admission. Keene State CollegeWyman Way

Keene, NH 03435603.358.2720 thorne@keene.edukeene.edu/tsag

University of New Hampshire Museum of ArtJanuary 23 - March 29 (Closed March 13-22)Reception: January 23, 6-8 p.m.The Reductive LensBlack and white photographs by Gerda Peterich (1906-1974) will be on view.The Physicality of ColorExhibiting artists Diane Ayott, Carlos Jiménez Cahua, Catherine Evans, Masako Kamiya, Catherine Kehoe, Keira Kotler, Paul McMullan, Laura Moriarty, Lynn Richardson, Victor Schrager, Nancy Murphy Spicer, Matt Rich, and Bill Thompson.Hours: Mon - Wed, 10 a.m.- 4 p.m., Thurs, 10 a.m.- 8 p.m., Fri - closed, Sat - Sun, 1 - 5 p.m.Paul Creative Arts Center30 Academic WayDurham, NH 03824603.862.3712www.unh.edu/moa

CENTRAL NEW ENGLAND

Addison Gallery of American ArtLight/Dark, White/BlackJanuary 17 – July 31Collection Intervention: Ellen Gallagher’s DeLuxe February 7 – May 17Heaven and Earth/Heaven on Earth

EXHIBITS PLUS LIVE FEEDS AROUND THE NORTHEAST AT ARTSCOPEMAGAZINE.COM AND MOBILE APP

NORTHERN NEW ENGLAND

Colby College Museum of ArtJanuary 27 – May 10: currents7: Elizabeth Atterbury. February 12 – May 10: Terry Winters: Printed Matters and Listen to this page. Works by Bern Porter from Colby College Special Collections. Open House, Feb 12, 6pm. Valentine Workshop, February 7, 10am–noon. Southworth Lecture: Daniel Harkett, February 17, 7pm. Hours: Tue-Sat: 10am–5pm Sunday noon–5pm. Open Thursday until 9pm. Free.5600 Mayflower HillWaterville, ME 04901207.859.5600colby.edu/museum

Lamont GalleryJan 19 - Feb 28: Open House: A Portrait of Collecting. What do we collect and why? What happens when collections intersect? Objects range from paint-by-numbers and vintage radios to wooden carvings and pop art prints. Reception: Friday, January 23, 5-7pm. Free.M 1-5, TU-SA 9-5. Closed SU/school holidaysFrederick R. Mayer Art Center, Phillips Exeter Academy11 Tan LaneExeter, NH 03833603.777.3461exeter.edu/lamontgallery

JAN/FEB 2015 69

DougTrump, Bike Path, 2013, 46” x 46”, oil an mixed media on polymesh.

Maggie Lake, False Solomons Seal, 2014, giclée on archival paper.

Mitchell Giddings Fine ArtsRECENT WORK by featured artist Doug Trump. Explores world through grids, repeated strokes and color fields, where visual insistence creates new perspective.GONE TO SEED features prints of preserved botanical specimens by artist Maggie Lake, founder of Vermont Botanical. Fleeting color and transient detail arrested in exquisite metaphorical splendor.Opening Reception January 8.Continues through March 1.183 Main StreetBrattleboro, VT 05301802.251.8290mitchellgiddingsfinearts.com

70 JAN/FEB 2015

February 7–April 5. Opening Reception: Friday, February 6, 6:00–8:00 pm.Phillips Academy180 Main StreetAndover, MA978.749.4015addison@andover.eduaddisongallery.org

Salvador Dalí, Number, Please?, scarf, 1946.

American Textile History MuseumThrough March 29. Artist Textiles: Picasso to Warhol. An extraordinary exhibition of 20th century art in textiles and fashion, from Cubism and Surrealism to Pop Art. Features rare pieces – many for the first time on public display – by Pablo Picasso, Andy Warhol, Henri Matisse, Salvador Dalí, and other modern masters.Hours: Wed-Sun 10 - 5 p.m.491 Dutton StreetLowell, MA 01854978.441.0400athm.org

Art Complex MuseumThrough January 18:Asian Connections explores the enticing connections in Asian art from the museum’s collectionThrough February 15:Moving Right Along… Kinetic Sculpture by David A. LangFebruary 8 through April 26:Duxbury Art Association Annual Winter Juried ShowRotations: Objects from the Permanent Collection including Shaker items.Hours: Wed - Sun 1 - 4 p.m.189 Alden Street

PO Box 2814Duxbury, MA 02331781.934.6634artcomplex.org

Coleman Rogers, Night Lines.

Arts League of LowellGrey ScaleJanuary 9 – February 22Reception:Saturday, January 17, 4–6 pm.An exploration of line, form, texture, light, shadow, design, decoration, luminosity, content, depth, tone, pattern, and metallic sheen - anything but color!The ALL Arts Center displays work by 30+ artists in our co-op gallery and in themed exhibitions in the main gallery. The co-op exhibits a broad range of work including photography, fiber art, jewelry, collage, line drawing, oil and watercolor painting, and ceramic art.Hours: Wed–Sat: 12–6 pm.Sunday: 12–4 pm.307 Market StreetLowell, MA 01852978.221.5018info@artsleagueoflowell.orgartsleagueoflowell.org

ArtSpace GalleryJanuary 7 - 30: Visual Expressions in Cloth, an exhibit by fiber artist Valarie Maser-Flanagan, whose work is influenced by both openspaces and flowing elegance of nature and the congestion andrhythm of the city. Opening reception: Saturday, January 10, 5 – 7p.m.

February 12 – March 6: Abstract Language, a group exhibit by artists who approach abstract painting as a means of finding a way through animagined terrain, to convey space or emotional place. Openingreception: Saturday, February 15, 5 – 7p.m.Hours: Wed - Sat, 11-3.63 Summer StreetMaynard, MA978.897.9828artspace63@aol.comartspacemaynard.com

Attleboro Arts MuseumMembers’ Exhibition through February 6. Selections from the Museum’s Permanent Collection on display from February 17 – 28. February 21 from 5 – 9pm: Downtown Attleboro’s Winter Night Festival – free admission to art and cultural attractions, the Museum’s Winter Craft Fair & Art Sale and family entertainment. All School Show featuring work from students of all ages enrolled in our W. Charles Thompson Museum School on display February 28 from 10am – 4pm; reception from 2 – 4pm.Hours: Tue – Sat 10 a.m. – 5 p.m.86 Park StreetAttleboro, MA 02703508.222.2644attleboroartsmuseum.org

Beard and Weil GalleriesNov. 19 – Feb. 13: Beard Gallery: Tracing the Thread, curated by ARTH335: Exhibition Design Weil Gallery: Goya & Beethoven: Finding A Voice Out of Silence.Feb. 27 – Apr. 10: Wheaton Biennnial 2015: Framing Photography. Opening March 4 from 6:00 to 8:00 pm. Hours: Mon. – Sat. 12:30-4:30 p.m.; closed during school breaksWatson Fine ArtsWheaton College26 East Main StreetNorton, MA 02766508.286.5412wheatoncollege.edu/gallery

Belmont Gallery of Art - Celebrating 10 yearsCall for details.Hours: Thur & Fri 10 a.m - 4 p.m, Sun 1 p.m - 4 p.m.Town Hall Complex 3rd. flr.Homer Bldg.19 Moore StreetBelmont Center, MAbelmontgallery.org

Marc Barker, Cloudscape, oil on board, 14” x 11”.

Blue Wave Art Gallery“New Works. From Oklahoma to Paris. International Artworks from Germany, France, Denmark. Artworks exhibited January 15 - February 28. For information on upcoming events or to shop online please visit our online art gallery: Give the gift of art.Hours: Tue-Thu, 11 a.m. - 6 p.m., Fri-Sat, 11 a.m. - 8 p.m., Sun 1-5 p.m.52 Main StreetAmesbury, MA 01913978.834.6070bluewaveartgallery.com

The Brush Art Gallery & StudiosImpressionism from the Cape School of Art. Join us during the winter months when the landscape is lacking color. Cape School Impressionism is sure to create dramatic impact in contrast to the weather.

Exhibits

This Invitational Exhibition Includes: John Clayton, Robert Louis Del Russo, Arthur Egeli, Rob Longley, Dennis Lucas, Margaret McWethy. Exhibit Runs – January 17 to February 28.256 Market StreetLowell, MA 978.459.7819www.thebrush.org

Cantor Art GalleryJanuary 20 – April 10Pulse: New Work by Faculty ArtistsThe Cantor Art Gallery will exhibit new work by full and part time faculty artists Amy Archambault, Michael Beatty, Rachelle Beaudoin, Matthew Gamber, Randy Garber, Roger Hankins, Cristi Rinklin, Susan Schmidt, Leslie Schomp, Marguerite White, and Amy Wynne. Hours: Mon - Fri 10 a.m - 5 p.m., Sat 2 - 5 p.m.Iris & B. Gerald Cantor Art GalleryCollege of the Holy CrossO’Kane Hall1 College StreetWorcester, MA 01610508.793.3356holycross.edu/cantorartgalleryFollow the Cantor Art Gallery on Facebook & Twitter

Cape Ann MuseumBill of Lading: The Art & Poetry of Roger Martin opens Feb. 14 – A selection of visual art and poetry by Rockport artist Roger Martin. On view in the lobby from Jan. 17 – Knots: Drawings and Paintings by Jeffrey Marshall. The Cape Ann Museum’s collections represent the history of the region – its people, its industries, and especially its arts and culture. Hours: Tues.-Sat. 10-5; Sun. 1-4.27 Pleasant StreetGloucester, MA 01930978.283.0455capeannmuseum.org

CONCORD ART ASSOCIATION

JURIED SHOW SERIES

MJ1January 15– February 20, 2015

MJ2March 5– April 3, 2015

Concord Art Association Gallery and Museum2015 begins with an abundance of the finest artwork in the region on exhibit.Concord Art’s Juried Show Series opens January 15 - February 20 with Members Juried 1: Painting & Sculpture, juried by Mary Tinti, Curator of the Fitchburg Art Museum. Continuing into the spring is Members Juried 2: Photography, Drawing, Mixed Media, Crafts & Graphics, March 5-April 3, juried by Mim Brooks Fawcett, ED, Attleboro Arts Museum. Check out our winter happenings online--classes, workshops and special programs. Our teachers are top at their art and their instruction, and our demos, lectures and films provide something for everybody. Hours: Tue-Sat 10-4:30, Sun noon-4.37 Lexington RoadConcord, MA 01742978.369.2578concordart.org

Danforth Art, Museum/SchoolWinter Exhibitions: Through March 1 “Facial Expressions,” representing changing conventions in portraiture in New England from the 19th century to the present day; and “Once Upon a Pop-Up: From the Ellie G. Levine Moveable Book Collection.” Also on view: Meta Vaux Warrick Fuller and John Wilson.

Hours: Wed-Sun 12-5 p.m.,Thu 12 - 8:30 p.m., Fri - Sat 10 - 5 p.m.123 Union Ave.Framingham, MA 01702508.620.0050danforthart.org

Left: Lisa Barthelson, playa, september 3 (detail) mixed media monoprint, 24” x 30”Right: Kay Hartung, Cells Alive 6 (detail), encaustic, graphite and thread, 20” X 20”.

Fountain Street Fine ArtJanuary 2 - 25Visual Alchemy: tangible evidence of experimentation, discovery and transformation. Juror Elizabeth Deviln of Flux-Boston. Reception 1/3, 5-7pm.January 29 - March 1 far and near: lisa barthelson and kay hartung. Barthelson’s monoprints and mixed-media embrace desert landscapes; Hartung’s paintings explore microscopic worlds, expanding to the cosmos. Reception 2/7(snow 2/8)Artist Talk 2/28, 3pm (snow 3/1)Hours: Thu - Sun, 11 a.m. - 5 p.m.59 Fountain Street Framingham, MA 01702508.879.4200fountainstreetfineart.com

Fuller Craft MuseumFuller Craft Museum, New England’s home for contemporary craft. Current Exhibitions: Crafting a Collection: Fuller Craft Museum Recent Acquisitions: Through July 12. Barbara Andrus: Through February 8. Holiday Shop: Through January 11. 2014 Biennial Members Exhibition: Through January 25, 2015. Upcoming Exhibitions. Legacy of Fire: Clay Dragons Revisited: January 31 – April 26. SMARTS: February 8 – February 22. Continuum

of Innovation: Haystack Clay Selects: February 27 – August 23. The State of Clay: Pushing Boundaries: March 7 – May 24. Little Dreams in Glass and Metal: Selections from the Enamel Arts Foundation: August 2 – November 29. Toothpick Town: Architectural Toothpick Wonders of Stan Munro: December 19 – March 27, 2016. Ongoing: Mark Davis: Icarus. Ongoing: Traditions and Innovations: Fuller Craft Collects (permanent collection). Hours: Tu-Sun, 10am-5pm,Thursdays until 9pm. Closed Mon. MBTA Commuter Rail to Brockton station, then take Bus 4A.455 Oak Street Brockton, MA 02301508.588.6000fullercraft.org

Gallery SevenFebruary 24 - April 4: REFLECTED. Featuring paintings, drawings and photographs by 38 New England artists. Juried by Kristina Durocher, director and curator of the Museum of Art at the University of NH. Artists’ Reception: Saturday, March 7, 7-9pm. Free and wheelchair accessible. Hours: Tue - Fri 10 a.m. - 6 p.m. and Sat 10 a.m. - 5 p.m.7 Nason StreetMaynard, MA 01754978.897.9777gallerysevenmaynard.com

Griffin Museum of PhotographyALL SHOWS: January 8 – March 1. Opening reception: January 10 at 7pm. Main Gallery: Brandon Thibodeaux, When Morning Comes and Magdalena Sole, New Delta Rising (Courtesy of Sous Les Toiles Gallery) Atelier Gallery: Bryan David Griffith, The Last Bookstores Griffin Gallery: Kerry Mansfield, Expired Hall Gallery: PHOTOBOOK 2014, in conjunction with Davis Orton Gallery Hours: Tue - Sun 12 - 4 p.m. Admission free on Thu 2-4 p.m.67 Shore RoadWinchester, MA 01890781.729.1158griffinmuseum.org

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Exhibits

Lexington Arts and Crafts SocietyJanuary 10-25: Lexington Arts & Crafts Adult & Teen Student Show.January 25: Shauna Shane, Demonstration in Acrylic Sponge Under-Painting. Free Demo: 2-4pm (*snow date: Feb.8).January 31–February 15: Spirit of the East, Chinese Guild Member Show. February 21-March 8: Pots and Paints, Ceramics & Painters Show Admission and Parking are free for all exhibits. Winter Classes & Workshops for Adults & Teens.Visit our website for details on all Classes, Workshops & Parachute Classes.Hours: Tues - Sun 12 – 4 p.m. & Saturdays 10 a.m. – 4 p.m. 130 Waltham Street Lexington, MA 02421781.862.9696LACSma.org

Montserrat College of Art GalleriesSEVEN: A Performative Drawing Project. January 12 - March 28. Carol Schlosberg Alumni Gallery (23 Essex St. Beverly, MA). August VentimigliaJanuary 8 - February 3Joanna Tam. February 6 - March 5. 301 Gallery (301 Cabot St. Beverly, MA). Annual Alumni Exhibition. January 7 - January 21. Illustration Theme Exhibition. January 26 - February 6. Sculpture Theme Exhibition. February 11 – February 19.Hours: Mon - Thu, 10 a.m. - 5 p.m., Fri 10 a.m. - 1 p.m.301 Gallery Hours: Mon - Fri, 11:30 a.m. - 1:30 p.m. and 4 - 6 p.m., and Sat 12 - 5 p.m., during exhibitions.23 Essex Street Beverly, MA 01915montserrat.edu978.921.4242 x3gallery@montserrat.edu

Museum of Russian IconsThrough Jan 10:Russian Photography: Siberia Imagined & Reimagined. Photographs spanning 130 years, from the ordinary to the bizarre.January 23 - April 18:The Vibrant Art and Storied History of Ethiopian Icons. 60 Icons & Artifacts from a private European collection.Hours: Tue, Wed, Fri, 11 a.m. - 3 p.m.; Thu, 11 a.m. - 7 p.m.; Sat, 9 a.m. - 3 p.m. Docent tours are available during Museum hours.203 Union StreetClinton, MA 01510978.598.5000museumofrussianicons.org

Nesto GalleryElaine Spatz-Rabinowitz - LOCATIONS UNKNOWN IIJanuary 16–February 27In recent work Spatz-Rabinowitz paints worlds shattered by violence. Beauty and horrorintertwine in these works. Our collective visual memory of deadly events is the root ofher images. Somehow out of the billowing smoke, torn metal and scattered householditems emerges a transcendent landscape incredibly infused with hope.Opening reception: Friday, January 16, 5:30-7:30 pm.Artist Talk: Wednesday, February 11, 9:15-10 am, ACC.Hours: Mon - Fri, 8:30 a.m. - 3:30 p.m.Milton AcademyArt & Media Center170 Centre StreetMilton, MA 02186www.milton.edu/art/nesto.cfmNesto_Director@milton.edu

Crowberries #2.

Paula Estey GalleryContemporary ART in the heart of downtown Newburyport. A neighborhood art gallery.FRIDAY, January 16th, 6-8:30pm Former Seattle artist Jessica Hachmeister (photo) opens with a major PEG exhibition.Saturday, February 7, 3-5pm PEG Online Co-Curator and Artist Jennifer Costello, Reception with the Artist.Now Shop Peg Online Gallery and Amazon MarketplaceHours: Tue - Fri, 12 - 5 p.m. & by appointment. 3 Harris StreetNewburyport, MA978.376.4746paulaesteygallery.com

Powers GalleryNEW WORKS: 2015January 24 - February 28Join us as we start the new year with new work from gallery artists. There will be a widerange of style and media including oils, acrylics, pastels, and mixed media.Opening Reception:Saturday, January 24, 4 - 7pmHours: Tue - Sat 10 a.m - 6 p.m, Sun 1 p.m - 5 p.m. Closed Mon.144 Great RoadActon, MA 01720978.263.5105powersgallery.com

South Shore Art CenterJan 9 – Feb 8 Gallery Artists – Journeys – Juror Zola Solamente, Arden Gallery. Juried show of work by Gallery Artists only – selected by distinguished gallerist Jan 9 Opening Reception, 6 – 8 p.m.Jan 9 – Feb 15

Dillon Gallery: Myth & Memory - Danguole Rita Kuolas, Michele Meister, Marie Peters, Judy Rossman, Jess Hurley ScottFaculty Feature: Lisa Goren.119 Ripley RoadCohasset, MA 02025781.383.2787ssac.org

Spaightwood Galleries, Inc.Spaightwood Galleries (120 Main St in Upton MA; 800-809-3343) presents Marc Chagall: Original Etchings and Lithographs from 1923 to 1984. The show will present over 100 works including etchings early in Chagall’s career as a printmaker to lithographs from 1950 almost the end of his life. We will show works from the Dead Souls (1923-1927), The Fables of La Fontaine (1927-1930), and Etchings for The Bible (1930-1939, 1952-1956). Most of Chagall’s early prints were published in unsigned editions (although in some cases there were parts of editions that were either hand-colored or pencil signed or both). Some were published in large editions, some in very small editions (10 plus artist’s proofs). Some are on subjects drawn from the Bible (Lithographs for the Bible Verve, 1956 and 1960), The Story of The Exodus [1966]), some from literary texts (Longus’s Daphnis and Chloe, Shakespeare’s A Midsummer Night’s Dream, some from places (particularly Paris and Russia, small-town life, or the circus), some focusing on emotional states, especially love). Spaightwood Galleries is located in Upton MA (the first exit off I-495 South of the Pike in a de-consecrated Unitarian Church on the corner of Main Street (Hwy140) and Maple Avenue). The show runs through February 15. We are open from noon to 6 p.m. on weekends and other times by arrangement. Since we live in the building, we are readily available.120 Main StreetUpton, MA 01568800.809.3343sptwd@verizon.netspaightwoodgalleries.com

Thompson GalleryTalin Megherian—Kiss the Ground. Through March 13 Gallery Talk: Sat, February 21, 1 - 2 p.m.The second exhibition in the Kiss the Ground series focuses on the paintings of Talin Megherian (Watertown, MA) and her interest in the stories and traditions of the Armenian people, compromised by the atrocities of the 1915 Armenian Diaspora and Genocide. Giving voice to the memories of her family and Armenian women in general, Megherian’s colorful abstractions are lavishly bejeweled by representational and symbolic images of Armenian artifacts, braids, textile designs and Khatchkars.Hours: Mon - Fri 9 a.m. - 4:30 p.m., or by appointment.School calendar applies.The Cambridge School of Weston45 Georgian RoadWeston, MA781.398.8316thompsongallery.csw.org

Three Stones Gallery “Faces and Places” from January 7 through March 7. Opening January 24 from 6:00 to 9:00 pm. Work by Merill Comeau, George Herman, Amy Ragu, Jennifer Johnston, Allesandra Mariano, Rob Houghton, Anne Johnstone, and Lev Brown. Painting, fabric art, photography and sculpture. Hours: Monday through Saturday 10 a.m. to 6 p.m.115 Commonwealth AveConcord, MA 978.399.8611 threestonesgallery.com

Trident GalleryJan 29 – Mar 1: The Art of Natural History. In partnership with the Museum of American Bird Art at Mass Audubon, Trident Gallery will display selections from the Museum’s collection alongside works for sale by gallery artists, on

the occasion of the Cape Ann Winter Birding Weekend.189 Main StreetGloucester, MA 01930 978.491.7785 TridentGallery.com director@TridentGallery.com

University Gallery at UMASS LowellSean Downey - Mars: January 22 – February 20.Talk: Thursday, January 29 at 3pm in O’Leary Library 222. Reception 4:15-6 pm.Lalla Essaydi – Beyond the Veil: February 25 – March 20.Talk: Kristen Gresh, Assistant Curator of Photographs at MFA Boston, Thursday, February 26 at 3pm in O’Leary Library 222. Reception 4:15-6 pm. Hours: Mon- Wed 10 a.m. - 4 p.m., Thurs 10 a.m. - 9 p.m., Fri & Sat 10 a.m. - 3 p.m.Mahoney Hall, 1st Floor870 Broadway Street Lowell, MA 01854978.934.3494Deborah_Santoro@uml.eduuml.edu/dept/art/galleries

The Small Cowper Madonna, © National Gallery of Art, D.C., All Rights Reserved.

Worcester Art MuseumJan 29 – Feb 1: Four days only. Flora in Winter, Floral interpretations of art works throughout the Museum. On view Jan 24: Raphael’s The

Small Cowper Madonna on loan from the National Gallery of Art. Through March 1: Polly Apfelbaum: Nevermind- Work from the 90s – floor installations (fallen paintings) focusing on the artist’s work from the 1990s. Through May 31: Africa’s Children of Arms (with Pulitzer Center on Crisis Reporting) Ongoing: Knights! – new interpretation of arms and armor from the John Woodman Higgins Armory Museum.Hours: W, Th, F, Su 11-5, Sa 10-5, 3rd Thus 11-8.55 Salisbury Street Worcester, MA508.799.4406information@worcesterart.orgworcesterart.orgFacebook.com/WorcesterArtMuseum

BOSTON METRO AREA

Armenian Museum of AmericaKiss The Ground—A New Armenia part 1Through January 20Kiss the Ground—A New Armenia is a three part exhibition series in two venues—ALMA and the Thompson Gallery— that examines and celebrates contemporary Armenian art, one hundred years after the 1915 Armenian Diaspora and Genocide. Part I of Kiss the Ground—A New Armenia series brings together the work of Gail Boyajian, Adrienne Der Marderosian, Aida Laleian, Talin Megherian, Yefkin Megherian, Kevork Mourad, Marsha Odabashian and Jessica Sperandio.

Gallery Hours: Thursday to Sunday: 12-6 PMThe Adele and Haig Der Manuelian Gallery, 3rd floor65 Main StreetWatertown, MA 02472617.926.2562www.armenianmuseum.org

Boston AthenaeumOver Here: World War I Posters from Around the World, through January 31. Opening February 26: American Neoclassic Sculpture at the Boston Athenæum. A selection of the Athenæum’s important collection of early 19th-century American sculpture displayed together for the first time.Hours: Mon–Thu 9-8, Fri 9-5:30, Sat 9-4.Sun 12 - 4 pm.101/2 Beacon Street Boston, MA 02108 617.720.7604 bostonathenaeum.org

Brickbottom GalleryThrough January 16, Resonance: books in time II, Individual and collaborative artists’ books by Ann Forbush, Ania Gilmore, and Annie Zeybekoglu.January 25 – February 28, Weathering Art: Artists Address Catastrophic Climate Change. John Craig Freeman, Lisa Lunskaya Gordon, Gretchen Greene, Denise Manseau, Patrick Pierce, Anna Shapiro, Andy Siegel, Sam Smiley, Ellen Young & More. Opening reception: Sunday, January 25, 4–6 p.m.Hours: Thu – Sat, 12 - 5 p.m.1 Fitchburg StreetSomerville, MA 02143617.776.3410brickbottomartist@rcn.combrickbottom.com

JAN/FEB 2015 73

74 JAN/FEB 2015

Exhibits

Jill Weber, Escalera blue/orange, 16” x 16”, oil on board, 2013.

Larry C. Volk, The 4 Questions, archival pigment inkjet print, 20” x 20”, 2013.

Bromfield GalleryJANUARYJan 2 – Feb 1Reception: Friday, Jan 2, 6-830 pm. SOLO 2015. Two winners of competition.FEBRUARYFeb 4 - March 1. Reception: Friday, Feb 6, 6-830 pm. Larry C. Volk: “The 4 Questions”Video and prints that explore family. Jill Weber: “New Paintings” Architectural details create a disorienting sense.Hours: Wed – Sun, 12 – 5 p.m.450 Harrison AvenueBoston, MA 02118617.451.3605info@bromfieldgallery.combromfieldgallery.com

Copley Society of ArtBoston Scenes[Boston Private Bank & Trust]Through January 20. New Members’ Show 2015[Upper Gallery]January 10 - February 23Co|So Artists’ Small Works: Polaris[Lower Gallery]January 10 - April 22Snow Birds by Nancy Colella[Boston Private Bank & Trust]

January 21 - March 20Hours: Tue-Sat 11 a.m. – 6 p.m. Sun 12–5p.m. Closed Monday (open by appointment).158 Newbury Street Boston, MA 02116617.536.5049info@copleysociety.org copleysociety.org

Galatea Fine ArtJanuary 2-31: Jane Paradise: This is Your Future: Women and Aging; Hilary Tait Norod: Couplings; United South End Artists at Galatea: Leika Akiyama, Basil El-Halwagy, Deborah van Auten, Charyl Weissbach. Reception: January 2, 6-8pm. February 4-28: Terry Gips: Quantum Entanglement; Visual ConTEXT: Bren Bataclan, Alison Horvitz, Karen Klein, Ronni Komarow, Carol Wontkowski; Youngsheen A. Jhe: Portraits of Boston.Reception: February 6, 6-8pm.Hours: Wed - Fri 12 - 6 p.m., Sat and Sun 12 - 5 p.m.460B Harrison Avenue, #B-6Boston, MA 02118617.542.1500galateafineart.com

Gallery 344Magazine Beach – A Place ApartThrough February 27. Cambridge Arts and the Cambridgeport Neighborhood Association present Magazine Beach – A Place Apart, an exhibition that invites you to share your connection to a defining public park along the Charles Riverbank and to deepen your knowledge of its past, present, and future. Gallery 344 is free and open to the public.Hours: Mon 8:30 a.m. - 8 p.m.,Tue - Thu, 8:30 a.m. - 5 p.m.,Fri 8:30 a.m. - 12 p.m.Cambridge Arts CouncilCity Hall Annex344 Broadway (corner of Inman St.) 2nd Fl.Cambridge, MA 02139617.349.4380cambridgeartscouncil.org

Grand Circle GalleryGrand Circle Gallery is proud to announce its 4th Annual Student Travel Poster Design exhibit.An annual competition for

New England graphic design undergraduates.On display through February.Free admission.Hours: Wed & Fri: 12– 6:00 pmThurs: 12–7:00 p.m.Sat: 10–5:00 p.m.347 Congress StreetBoston, MA 02210617.346.6459gct.com/grandcirclegallery @GC_Gallery

HallSpaceThrough January 24Rhoda Rosenberg: Prints 950 Dorchester AvenueDorchester, MA 02125 MBTA: Red Line to JFK/UMASS 617.288.2255 hallspace.org

Hess Gallery at Pine Manor CollegeElizabeth Awalt and Angelo FertittaFebruary 4 – March 18Artists’ Talk and Reception: Thurs., Feb. 19, 2 pm – 4 pm (snow date Feb. 26)Awalt’s paintings have always been rooted in the natural world and evolve from observational studies to expressive, evocations of nature. The micro and macro view of nature exist simultaneously in her recent paintings which weave those two worlds together. Oppositional forces of growth and decay, dark and light, and interior and exterior create a tension both visual and spiritual. Awalt’s paintings are physical beings that shift and change through sanded, wiped, and sensually painted surfaces. The image and process share a language that transcends and transforms her subject into pure painterly experience. Fertitta’s new work draws on a modified version of the tradition of “automatic writing.” It is not referential, but rather a response to the moment. The drawings evolve one mark at a time, always in response to the previous marks. With The National Park Series, Fertitta added modified images taken of national parks as part of the creation of the paintings. The drawings overlaid on the modified images become the paintings, representing the stream of consciousness experienced while viewing the

landscapes. While painting, the use of color follows a similar process. The process for the artist is both spiritual and meditative; a means to be within himself.Mon - Thu, 8am - 9:45 p.m.Fri, 8 a.m. - 5 p.m.Sat & Sun, 1 p.m. - 5 p.m.Spring break (Mar. 14 - 22) hours: Follow library hours.400 Heath StreetChestnut Hill, MA617.731.7157www.pmc.edu/hess-gallery

Kingston GalleryA Department of Makers: University of New Hampshire Studio Faculty. Curated by Mary Harding. Through February 1. First Friday Opening Reception: January 2, 5:30–8:00 p.m. Kathleen Gerdon Archer: As Above, so BelowMembers’ Gallery: Cree Bruins: Drawn to Analog. February 4 – March 1. First Friday Opening Reception: February 6, 5:30 – 7:30 p.m.Hours: Wed – Sun, 12 – 5 p.m. and by appointment.450 Harrison Avenue, No. 43Boston, MA 02118617.423.4113kingstongallery.com

Lanoue GalleryWinter Group Show: Introducing Canadian Abstract Landscape Painter Karine Lèger. New works by Melody Postma & Paul Rousso.Hours: Tuesday through Saturday, 10:30–5:30 pm.450 Harrison Avenue, No. 31Boston, MA 02118617.262.4400info@lanouegallery.comlanouegallery.com

New Art CenterJanuary 16-February 21:The Power of Negative Thinking, a Curatorial Opportunity Selection that celebrates the joys of pessimism through bright and bold works that challenge societal notions of happiness using humor, avoidance, or direct confrontation. Also on view, drawing and sculptures by Chuck Holtzman. Opening Reception: Friday, January 16, 6PMHours: Tuesday through Sunday,

1 p.m. – 6 p.m.61 Washington ParkNewtonville, MA617.964.3424info@newartcenter.orgnewartcenter.orgfacebook.com/newartcentertwitter.com/newart1977

Robin Beckwith, Beneath the Surface.

New England Watercolor Society Signature Members’ ShowJanuary 31 - February 27Artists from the New England Watercolor Society will exhibit artwork displaying the finest in classic and contemporary water media paintings. Opening reception is on Saturday, January 31 from 2:00 to 4:00. Several painting demonstrations are scheduled during the month. All events are free and open to the public.Guild of Boston Artists162 Newbury StreetBoston, MA617.536.7660newenglandwatercolorsociety.orgguildofbostonartists.org

SoWa Artists GuildJanuary 2nd and February 6th, 5-9 pm, the First Friday of each month, Guild member artists open their studios at 450 Harrison Ave. Free, and parking available. Steven Silver. Stephen Silver’s works are featured at The Sliding Door Company, 409 Harrison Ave. Boston through March. The art is for sale and complements the The Sliding Door Company’s high end line of sliding door panels and room partitions for residential environments. Reception planned. www.silverwoodsstudio.com for more information.Beverly Rippel. Visual Alchemy, at Fountain Street Fine Art, Framingham, Jan.2-25. Reception Jan. 3rd from 7-9 p.m.

The Juror of Selection for this national exhibition was Elizabeth Devlin, Founder of Flux Boston. www.fountainstreetfineart.com. Tom Stocker. Platinum 70th Anniversary Show, Dec. 4 - Jan. 16, 2015. Opening Reception Dec. 5 - 6-8 pm. Cambridge Art Association, Kathryn Schultz Gallery, 25 Lowell Street, Cambridge. Juried by Alise Upitis, Asst. Curator MIT List Visual Arts Center. B. Glee Lucas. B. Glee Lucas has four prints in the 30th Annual Almost Miniatures show at Francesca Anderson Fine Arts Gallery, 56 Adams St., Lexington. Through January 17.450 Harrison AvenueBoston, MA 02118sowaartists.com

StoveFactory GalleryValentine’s Boutique and Jewelry Show. Saturday, February 7th from 11 to 5. Snow Date - Sunday, February 8th from 11 to 5.Handmade jewelry and crafts from New England artists and artisans. Open to the public, free of charge, handicapped assessable. Interested artisans please call or email us at stovefactorygallery@gmail.com. 523 Medford StreetCharlestown, MA 02129617.241.0130artistsgroupofcharlestown.com

Towne Art GalleryJanuary 28-February 21, 2015Puppet Showplace Theater: The 40th Anniversary Exhibition Gallery Talk: Wednesday February 11, 12-1pm.Reception: January 31, 12-2pm.This exhibition celebrates Puppet Showplace Theater’s 40th anniversary by showcasing decades of work by the theater’s resident and affiliated artists. Historic puppet characters made by founder Mary Churchill and master puppeteer Paul Vincent-Davis will be presented alongside the work of New England-based puppet companies who have made Puppet Showplace their home. The exhibit will also showcase innovative work by young and emerging artists. www.puppetshowplace.orgThe exhibition will coincide with Wheelock Family Theatre’s production of Pinocchio, featuring puppetry created in collaboration with Puppet Showplace Theater.Wheelchair AccessibleFree to the Public/Public Transportation Suggested.Hours: Tues-Thurs, 1-5 pm, Saturday 2-5 pm, or by appointment.Gallery Closed: February 14.

Wheelock College180 The RiverwayBoston, MA 02215617.879.2219wheelock.edu/art

Tufts University Art GalleryJanuary 22–May 17: Images Were Introduced: An exhibition of film and photography by Michael Nyman. A cinematic installation that synchronizes with Dziga Vertov’s classic 1929 film Man with A Movie Camera. January 22–April 19: Manna Remix. This exhibition is first in a series of evolving selections from the University’s Permanent Art Collection.Hours: Tue - Sun 11-5, Thurs 11-8Aidekman Arts Center40 Talbot AvenueMedford, MA 02155617.627.3518artgallery@tufts.edu artgallery.tufts.edu

Dina Shaposhnikova, Song, 9” x 12”. Collage, acrylic on paper.

Wedeman Gallery at Lasell CollegeFebruary 3 – February 21Paper/Cut: The Collage ShowArtist Reception: Sunday, February 15, 5 – 7pm.A group exhibition featuring mixed media and collage work of contemporary local and national artists. February 28 – March 21ART/Word presents “Passages”Artist Reception: Saturday, February 28, 7 – 10 pm.In keeping with the ART/Word tradition of celebrating the union of art and text, all entries will include a presentation of both artwork and words relating to a certain theme.Hours: Tue - Sat, 1 p.m - 4 p.m.47 Myrtle AvenueNewton, MA617.243.2143wedemangallery.com

SOUTHERN NEW ENGLAND

Bruce MuseumCoiled and Decorated: Native American Pottery from the Bruce Museum Collection, through March 29: A noteworthy collection of Native American pottery, including pieces by the legendary potter Maria Martinez and her family. Antarctica: Photographs by Diane Tuft, through February 1: Large-format Nature photographs, many more than three feet wide. Northern Baroque Splendor. The HOHENBUCHAU COLLECTION from: LIECHTENSTEIN. The Princely Collections, Vienna,

JAN/FEB 2015 75

DOUBLE VISION

E l i z a b e t h A w a l t

A n g e l o F e r t i t t aFebruary 4 - March 18Artists’ Talk & Reception:

Thursday, February 192:00 - 4:00 pm Snow date February 26

Hess Gallery

400 Heath St., Chestnut Hill, MA www.pmc.edu/hess-gallery 617.731.7157hours: www.pmc.edu/library

through April 12: One of the largest and most varied collections of Northern Baroque art assembled anywhere in recent decades.Hours: Tues-Sun, 10-5. One Museum DriveGreenwich, CT 06830203.869.0376brucemuseum.org

Chazan Gallery at Wheeler January 22 - February 11: Thirteen Way Of Looking At A Blackbird, with works by Johnny Adimando, Austin Ballard, Peter Croteau, Jonathan Palmer, Justin Sorensen and Raine Vasquez. Reception: January 22, 5 - 7 p.m.February 19 - March 11: Works by Kate Blacklock, SuzanneD!Avanzo, Kirstin Lamb and Wendy Seller. Reception: February 19, 5- 7 pm.Hours: Tue - Sat, 11 a.m. - 4 p.m., Sun, 2 - 4 p.m.Closed until Jan 21.The Wheeler School228 Angell St.Providence, RI 02906401.421.9230info@chazangallery.orgchazangallery.org

Gallery ZJanuary: AFFORDABLE ORIGINAL ART. Through Saturday, January 31 Reception: Thursday, January 15, 5 -9 pm.Selected pieces from the stable of the gallery & the collection of the director (prices range from $50-$1,500) February: THE GRAND SHOW February 5 - February 28, 2015. Reception: Thursday, February 19, 5-9PM. Selected larger works (prices range from $1,000 and up). 25 Eagle StreetButcher Block MillProvidence, RI 02908401.751.1970

Hera GalleryXVIII: A Collection of Emerging Artists. A group exhibition featuring work by the University of Rhode Island’s Fine Arts Senior Thesis Class One Night

Only: January 24, 6-8pm.CALL FOR ENTRY: WATERJuror: Dina DeitschSubmission Deadline: February 6th. Prospectus Available on Website. The 27th Young Adults Exhibition. Exhibition of High School Students from across RIFebruary 7-28.Opening reception: Saturday, February 7, 6 - 8 p.m.Hours: Wed - Fri 1 - 5 p.m., Sat 10 a.m. - 4 p.m.Closed until February 7th (excluding 1/24)10 High StreetWakefield, RI 02879401.789.1488heragallery@gmail.comheragallery.org

Housatonic Museum of ArtFebruary 12 – March 27:Rick Shaefer: Drawing the Line.900 Lafayette Blvd.Bridgeport, CT203-332-5052housatonicmuseum.org

Monique Rolle Johnson, Change.

Krause GalleryLYRICAL WARRIORS: ON THEIR OWN TERMSSimone Spruce-Torres and Monique Rolle-JohnsonJanuary 6 – 30Reception Friday, January 9, 5-7 p.m.RHODE ISLAND ART EDUCATION ASSOCIATION TEACHERS EXHIBITFebruary 9 – March 8 Reception Sunday, March 8 2-4 p.m.Award presentations @ 3:30PM Gallery hours: M – F 8 a.m. - 4 p.m.or by appointment.Moses Brown School250 Lloyd AvenueProvidence, RI 02906401-831-7350www.mosesbrown.org

Mystic Arts CenterJanuary 16, 11:00 am- February 28, 5:00 pmHome: A Juried Exhibition with a Theme.MAC’s annual open juried show will feature the theme, “Home.” The theme is open to the artist’s interpretation. All artists and media welcome.Opening Reception: Friday, January 16, 5:30pm – 7:30pm.9 Water StreetMystic, CT 06355860.536.7601mysticarts.org

Nancy Friese, Morning Trees, 2013, watercolor on paper, 41” x 41”.

Newport Art MuseumAshwini Bhat: Earth Took of Earth. January 17– May 10.Nancy Friese: Encircling Trees and Radiant Skies. January 17 – May 3. Deborah Baronas: Flowers in the Factory. January 31– May 17. Newport Annual Members’ Juried ExhibitionFebruary 7 – May 17.Hours: Tue - Sat 10 a.m. - 4 p.m., Sun 12 - 4 p.m.76 Bellevue AvenueNewport, RI401.848.8200newportartmuseum.org

Providence Art ClubJanuary 4 - 23: Class & Staff Exhibition 2015. New Year, New Members 2015. January 25 - February 13: James Allen, Harley Bartlett, and Jeremiah Eck: Three Natures. Ruth Clegg & Barnet Fain: Variations on a Theme: Water & Sky. February 15 - March 6: Members’ Exhibition 2015

Hours: Weekdays 12 - 4 p.m., Weekends 2 - 4 p.m.11 Thomas StreetProvidence, RI 02903401.331.1114providenceartclub.org

URI Providence Campus Arts and Culture ProgramPresents A Double Black History Month Exhibits:LYRICAL WARRIORS 1: ON THEIR OWN TERMS by Monique Rolle-Johnson and Simone Spruce-Torres interpret the lives of 17 African-American Women singer-songwriters who fought for civil rights and human justice. SYMBIOSIS FRAGMENTARY by Nixon Ledgerb aims to describe the beginning, the state of progress and the matrix. In this style the image is autonomous.January 20 - February 27 Reception, Panel and Performance February 5, 5:30-7:30 p.m. Hours: Mon - Thu 9 a.m. - 9 p.m., Fri and Sat 9 a.m. - 5 p.m.Closed Sundays & HolidaysFor more information, call or visit our website, or email:uri.artsandculture@gmail.com.URI Providence Campus Gallery1st and 2nd floor Lobby80 Washington St.Providence, RI 02903401.277.5206uri.artsandculture@gmail.comuri.edu/prov/arts

Van Vessem GalleryThrough February 15: Works of 30+ artists who have been instrumental to the success of the gallery over the last two years (see ad).Reception: Saturday, January 17 from 5-8 p.m. Opening Saturday, February 28 5 - 8 p.m.: Paintings by Patrick Malin.Hours: Thursday through Sunday 12 - 5 p.m. or by appointmentHours: Thu - Sun 1 - 5 p.m. or by appointment.63 Muse WayTiverton, RI 02878 401.835.6639

76 JAN/FEB 2015

Exhibits

SOLOMON’S COLLECTION & FINE RUGS

Old man selling rug

Fine, hand-knotted pictorial rug.Wool with silk highlights.

2’ x 3’

809 Hancock Street (Rt 3A), Quincy, MA 02170phone 617.779.1900 | fax 617.770.9100 | email info@solomonrugs.com

www.solomonrugs.com

78 JAN/FEB 2015

Your work could be artscope’s next CENTERFOLD.

Work by established and emerging artists welcome.

For the May/June 2015 issue we will be accepting submissions

on 3D paper.

Please send up to three images and your statement with contact

information to: centerfold@artscopemagazine.com

no later than April 10, 2015.

Please send low resolution images for review. High resolution

images must be available to be reproduced up to 9” x 12”

dependent on your work selected. No resumes please.

The centerfold will be selected based on visual and/or conceptual quality,

by a panel of one Artscope staff and two arts professionals.

classifieds

call for artists

10TH BIENNIAL INTERNATIONALMINIATURE PRINT EXHIBITION

The Center for Contemporary Printmaking is delighted to announce the

10th Biennial International Miniature Print Competition and Exhibition.

This juried competition and exhibition, limited to works that are no more than four

square inches (25.8 square cm), encourages artists to explore the miniature print format.

The exhibition is an opportunity for artists and the public to view the current concerns

of printmakers from around the world. ENTRY DEADLINE: March 14, 2015

(Postmark)JUROR: Lyle Williams, Curator of Prints

and Drawings at the McNay Art Museum, San Antonio, Texas

Visit www.contemprints.org for entry information

Center for Contemporary PrintmakingMathews Park

299 West Ave, Norwalk, CT 06850203.899.7999

CALL to ARTISTSAGC Annual Spring Art Exhibition

Spring 2015

March 14th & 15th, 21st & 22ndOpening Reception, Friday March 13th

Submissions by March 2ndemail to stovefactorygallery@gmail.com

subject “spring 2015” Open, Juried show

StoveFactory Gallery523 Medford Street, Charlestown, MA

Download prospectus and submission requirements at

www.artistsgroupofcharlestown.com

UMASS LOWELL

“Four By Four For Education” raises funds for “UMass Lowell Art Scholarship” granted to a UMass student majoring in

visual arts.

Requirements: Create one 4” by 4” work of art. We provide you with one

stretched canvas. You may use whatever media you like.

Deadline: Feb 28thExhibition: 3/7 to 4/11, 2015

Fundraising Event: April 11, (snow: April 12)

More details: www.thebrush.org

PROVINCETOWN

Request for Expressions of Interest: Provincetown AIDS Memorial

Seeking qualified artists to develop a site-specific Memorial commemorating

the lives lost to AIDS and the Town’s response to this crisis.

Deadline May 1, 2015. www.ProvincetownAIDSMemorial.org

CALLING ALL CAMBRIDGE ARTISTS

Artists who live or work in Cambridge are invited to participate in the 7th annual

Cambridge Arts Open Studios.May 9-10, 2015

Registration Deadline: January 31, 2015 www.cambridgeartscouncil.org/

openstudios

THOMPSON GALLERY

Accepting submissions for a three-part exhibition series between

September 2015 and June 2016 entitled Nowhere Everywhere.

Submissions should explore the subjects of utopia and/or dystopia, and within this idea the human conflict or dilemma within societal structures. Submissions that reference specific

literature are welcome. All media considered.

Entries must be submitted via the CAFÉ online system on or before

March 31st, 2015. callforentry.org

CAFÉ Keyword: “Thompson Gallery.”

NORTH ADAMS“Art Adventure/Art Address: near

MASS MoCA” 1/4 mileOne and two bedroom:

shared bathroom/kitchen.airbnb.com / North Adams

Call Henry 617-460-2711

CALL FOR ARTISTS AND CURATORS

The New Art Center is currently accepting curatorial proposals for group exhibitions. We provide marketing, PR, and installation assistance, as well as a $1,000 stipend to make diverse visions possible in our non-profit and alterna-

tive exhibition space.

Submission Deadline: April 6, 2015. For more information: www.newart-

center/COP or casey@newartcenter.org.

ANDREW  STEVOVICH

A D E L S O N G A L L E R I E SB O S T O N

520 HARRISON AVENUE BOSTON, MA 02118 617.832.0633www.adelsongalleriesboston.com

FEBRUARY 6 – MARCH 15, 2015