Exhibitions - 2016
Duxbury Art Association Annual Winter Juried Show
February 7 - April 24
Andrew Kusman, Yesterday's Joy, 2015, watercolor
The Duxbury Art Association (DAA) has held their Annual Winter Juried Show at the museum for forty-two years. This popular exhibition encompasses artwork by artists from all over New England but predominantly from the Metropolitan Boston, South Shore and Cape Cod areas.
Artists enter work in all mediums and a panel of working artists and art educators select approximately one hundred pieces for exhibition. Cash awards are given in each category for First Place and for Best in Show. Ribbons are awarded for Second, Third and Honorable Mention. Volunteers orchestrate the process of bringing the show to the public under the direction of the DAA and museum staff.
Founded in 1917, the Duxbury Art Association is one of the oldest arts organizations in the country. The organization has attracted and nurtured some of America’s greatest artists including DAA founders, Charles Bittenger, John Singer Sargent, and Frank Benson.
Compelling Progressions: Explorations in Encaustic
Pat Gerkin, Donna Hamil Talman, Charyl Weissbach
February 21 - May 15
Pat Gerkin, Unfamiliar Terrain, 2015, Encaustic, pigment oil sticks, metal leaf on panel
Three New England artists, working in the ancient medium of encaustic, have encouraged each other to think and work "outside the box" while investigating the fascinating and diverse medium of encaustic. Encaustic is experiencing a renaissance. The basic processes involved (e.g. heating, cooling, building up and scraping back layers of wax) invite you to ponder the cycles of life. One is reminded of renewal in nature, as well as its sometimes disruptive forces, all of which nourish transformations within our art and ourselves, continually creating new stories.
Pat Gerkin's paintings examine the space between the physical world and the inner world. In her Liminal States Series, she focuses on that which is not ordinary, extracting truth from the natural world and its many manifestations of birth, death, and renewal. This series seeks to exalt and admire the natural world and the interconnectedness of all things. Pat employs an intuitive process to uncover what is beneath the surface, to depict the paradox of constancy/change, static/shifting ground, and the unrelenting passage of time.
Donna Hamil Talman, Timeless the Flow, 2012, Encaustic, ink, pencil, pen, oil pastel
Donna Hamil Talman’s art explores the way life of the earth, sea and the body evolves. In deep time, the processes of nature are continuous - everything morphing into something else. Surfaces also do not tell the whole story. In these works, the surface is stripped away to reveal what lies within. Appreciation of these natural evolutionary processes heightens attention to the ways in which we may be making unlivable the very creation we need for life itself.
Charyl Weissbach, Lyre Series, No. 3, 2015, Encaustic and mixed media on panel
Charyl Weissbach's paintings are epitomized by musical elements that create an exquisite counterpoint and symbiosis between the ethereal and physical worlds. Her work puts an abstract eye on nature’s details that are often overlooked, yet fit seamlessly like symphonic sounds to proclaim beauty and magnificence. It has a sublime quality that surrounds and embraces.
The shared values of these three artists are striking. They are driven by a commitment to nature, balance and our earth. All use mixed media to accomplish their individual visions while focusing on the oft-missed details.
In a group statement about the exhibition, the artists say, “In an age of heightened awareness of our endangered environment, we turn inward to create powerful works as a compelling reminder that we are stewards of the planet on which we live. We demonstrate a deep respect for the elements of nature by exploring transformational and historical progressions in distinctly
different ways. We explore the earth’s rhythmic, almost musical-like aspects as well as the more dissonant effects of modern civilization. Our art aims to recognize the mysterious in life-affirming natural movements through time and space by focusing on the underlying forms. We look to nature to mine the mysteries of the universe and our shared histories in order to create and continually reshape our lives and our world.”
May 8 – September 4, 2016
Reception - May 22, 1:30-3:30pm
Sue Aygarn-Kowalski, Functional Striking Tools, 2014 -2016, ebony, delrin, purple heart, steel, sterling silver,
tulip wood, copper, bronze, yellowheart, cocobolo
The Art Complex Museum’s collection now numbers over eight thousand pieces, the majority in four areas; Shaker Furniture, American Paintings, Works on Paper and Asian Art. We continue to collect and have acquired work directly from artists, from galleries and at auction, as well as from our own exhibitions. A number of artists in our collection are still very active, making and exhibiting work. For this exhibition we invited a dozen artists currently in the collection to show new work. In turn, we asked each of them to invite an artist of their own choosing. We simply said,“ Invite an artist whose work you admire.” We had one condition: the artist could not have shown at the museum. We hope this exhibition will bring a great deal of new work to our visitors, inspire the artists in their own creativity and expand our mission to a new group of talented artists.
Our artist list with their invited guests: Jesseca Ferguson, Caleb Cole; Lisa Howard, Alyn Carlson; Mark DelGuidice, Lisa and Scott Cylinder; Judith Brassard Brown, Catalina Viejo; Sue Aygarn-Kowalski, Yoko Zeltserman-Miyaji; Phyllis Berman, Marilu Swett; Brad Story, Nina Fletcher; George Nick, Julia von Metzsch; Eric Aho, Toby Bartles; Dot Krause, Merike van Zanten; Mitch Ryerson, Liz Welch; Jessica Straus, Antoinette Winters; Chris Gustin, Barry Bartlett.
Lisa Daria Kennedy: Daily Paintings
May 22 – August 14, 2016
Reception – June 5, 1:30-3:30pm
Lisa Daria Kennedy, General Store, Mink, and Devoid, 2015, oil on board
Lisa Daria Kennedy has been making one small painting every single day for the last nineteen hundred days. After five years, she has no intention of stopping. Having cancer as a young adult, Kennedy discovered living is not just surviving. At age twenty-nine she was a lead artist in the giftware industry when she was diagnosed with Non-Hodgkin’s Lymphoma. After six rounds of chemotherapy, one month of radiation, and now, years of monitoring to make sure she’s still cancer free, her perspective has changed. Young and faced with an existential crisis, she questioned: Who was she?; What does it all mean?; Psychologically, existentially, transcendentally – what can a life amount to?
She says, I was acutely aware of all the time I’d wasted and the things I put off – like painting. But, like a lot of artists, I had trouble working up momentum. After all I had been through, the idea of starting an artistic project and failing was terrifying. I had a moment of clarity and pared the creative process down to this one idea – show up for the job. I treat creativity like a disembodied spirit and I simply must be present daily to receive it. I started showing up for my new job in 2009 and without excuse I wake up every day at 5:00 AM and I paint.
Continuous painting is by far the most effective way to improve creativity and image-making skills. The benefit of creating one small painting a day stems from the act of routine as practice. Painting every day is not a new idea. I quickly found a lineage of painters I had already admired, like Charles Hawthorne and Edwin Dickinson who created ‘premier coup’ or ‘at first crack’ paintings – small observational works created in one sitting.
When I paint my pieces, I too, work primarily from direct observation. My technique is to make a mark and leave it – no fussing. I restrict myself to a limited color palette, six primaries consisting of three cools, three warms, plus pink and white. I use only two brushes and paint on the same type of surface each day – unprimed Masonite. Each painting takes between one to three hours to complete. At the end of the day, I scan the painting, number and title it. Each title reflects something that happened during the day, like a journal entry. Finally, I post the piece to a blog and disperse it through social media to over two thousand followers, worldwide. For those who follow my blog, the paintings chronicle events in my life yet the subject matter, itself, staves off the worry.
I find that routines are simultaneously freeing and grounding. Through daily practice comes inspiration, growth and confidence because this type of project is about process and not the finished product. In short, my philosophy is that you cannot have the good without the bad. This daily practice allows a natural progression of skill and self analysis while removing the anxiety of a final piece. The cumulative process is the end product. If painting number eleven doesn’t work out as expected, there is always number twelve (or number 1901). For myself and other artists, the act of creating in a meditative daily (or almost daily) gesture reflects an intense focus and patience and lends itself to heightened perception.
August 23 – November 8, 2016
Reception – September 18, 1:30-3:30pm
Paul Bloodgood, Study for Houses and Trees, 2008, oil on linen
Talking about his work in 2010, New York painter Paul Bloodgood said, My paintings take landscape as their subject and as a conceptual point of departure. I begin with preparatory collages made out of parts and details taken from other landscape painters as well as from photographs and drawings. Pollock’s Black Enamel paintings, Cezanne’s late works, and the landscapes of the late-Ming Dynasty painter Tung Ch’i-Ch’ang are a few of the sources I draw from. The collage process allows me to reorient the foreground, midground, mountain, and sky organization characteristic of landscape painting and reconceive it as a dynamic that changes at every scale of time and place. Illogical spatial relations, inconsistencies of scale, imbalanced masses, and ambiguous transitions become the organizing principles of the paintings, and they create a structural dissonance that is incompatible with representational depictions of landscape. But as these elements of space change position, a very different perceptual field of vision opens, and human activity takes shape with the wind, trees, and rivers.
I’ve come to the realization that a landscape is part of a larger energetic system; that it is not constant in form, structure or proportion; and that any attempts to capture both the rough topography and the sensorial experience of landscape in painting must include an active human presence. The essential reality of nature is not separating, self-contained, and complete in itself. Rather, nature’s unfolding truth emerges only with the active participation of the human mind. I believe that painting’s particular calling is to initiate this type of engagement. I also believe that the traditions of abstract painting (such as those developed by the three artists I mention above) are particularly suited to the task. Abstraction’s imperative to grant the medium priority over the subject matter allows for an exploration of the expressive capability of line as an embodiment of naturalistic form and of human values.
Paul Bloodgood was born in 1960 in Nyack, New York. He graduated from Duxbury High School in Duxbury, Massachusetts in 1978 and received a B.A. in painting from Yale University in 1982. In 1990 he co-founded New York's influential AC Project Room, an artist-run commercial gallery. In the 1990s his work was shown in New York at both Gavin Brown's enterprise and 303 Gallery, during which time he also made an artist's book of his text collages for Matthew Higgs' 'Imprint 93' publishing project. In 2002 he received a MFA from the Maine College of Art. He has taught at Tyler School of Art, Rutgers University and Cooper Union. In 2002 he began working as a colorist for Martha Stewart Omni Media, and in 2003 developed a 350 color interior house paint palette, based on Paul Klee’s color systems developed at the Bauhaus. The project was finished in 2006 and was sold at Loews Home Centers across the country. He has shown at the White Columns Annual, selected by Clarissa Dalrymple, David Zwirner Gallery in New York and at Wilkinson Gallery in London. In 2009 he was awarded an Artist Fellowship from the Guggenheim Foundation. In 2014 at the age of 53, Bloodgood was diagnosed with Alzheimer’s disease. He is the brother of ACM Contemporary Curator, Craig Bloodgood.
Night Becomes Us
Night-time photographs by the Greater Boston Night Photographers
September 18, 2016 – January 15, 2017
Reception – September 18, 1:30-3:30pm
Jürgen Lobert, Point Judith Blood Moon, 2015, photograph
The Night Becomes Us exhibit contains selected images from about 15-20 group members to convey the transformational experience of the world at night where the mundane suddenly becomes ethereal and otherworldly, the busy becomes serene and bland structures transform into bursts of color. The majesty of the Aurora Borealis and the Milky Way will be on display, as will be many examples of capturing time, where clouds form broad bands, cars become bright streaks, waves smooth over and stars form trails in the sky. The artists see beauty in crumbling ruins, the night sky and urban landscapes that are filled with a rainbow of artificial light. As the photographers record their experience, they, too, become a part of the world at night.
The Greater Boston Night Photographers meetup group is a non-profit photo club specifically for night photography. The goal of the meetup is to facilitate group events and nurture the process of creating fine art night photography. It was formed in September of 2013 by Jürgen Lobert and has grown to a membership of over 350, with photo shoots on average once per week. Venues include the city, natural landscapes and industrial or abandoned places, as far north as Maine and as far south as New York City. In addition to photo shoots, the group offers workshops, lectures and access to professional speakers and conferences. The leadership team includes Jürgen Lobert, Elizabeth Ryan, Derrick Morin, Rupesh Rajagopalan and Romit Maity.
Full Tilt Print Studio
November 13, 2016 – February 19, 2017
Reception – November 13, 1:30-3:30pm
Laurie Alpert, Lighten Up, 2015, lithograph
Full Tilt Print Studio has come a very long way from its founding in 1970 by Deborah Cornell and Jeannette Silverio. Located on Stanhope Street in Boston, its original name was Experimental Etching Studio. It provided a well-equipped workshop where artists could pay by the day to do their work, as well as take classes in printmaking.
In 1983, the studio changed its name as well as its focus, becoming a closed cooperative group with twenty-six founding members, called EES Arts, Inc. The classes were discontinued but, reflecting its new sense of community, the studio embarked on its first collaborative portfolio, titled EES ARTS, published in 1988. This was the same year that the group was evicted from Stanhope Street and forced to relocate. The equipment was moved to a somewhat smaller space on Plympton Street in Boston’s South End neighborhood.
Approximately every five years, a new portfolio was published, varying greatly in theme and format. Chronicle was published in 1991, followed by Shadow in 1995, Duality in 1999-2000, Three in 2006, and Lighten Up in 2012. The group is currently working on its latest portfolio to be finished sometime in 2016. The theme for the folio is Secret/Hidden/Veiled.
In 2001, the ongoing gentrification of the South End affected the studio when the rent for its space doubled. After an arduous search a much larger space was leased in a former train repair facility on Sprague Street in Hyde Park. At the same time the members decided to seek non-profit status, and this process was completed the following year. The new space was nearly three times the size of the Plympton Street studio and offered the opportunity to acquire new presses as well as a photo polymer darkroom. The members also chose to practice non-toxic methods of printmaking.
Over its many years, the work of studio members was exhibited widely, not only locally, but nationally and internationally. The Boston Public Library acknowledged the studio’s importance to the artistic environment in Boston by purchasing all of the portfolios as well as mounting a comprehensive exhibition of prints by its members in 1991. The Art Complex Museum has also acknowledged the studio both by exhibiting and collecting its portfolios.
Reflecting the increased importance of an online presence, a web site for the studio was created a few years ago. Many members also felt it was time for a new name, something more descriptive of the studio’s character. So, in 2013 EES Arts became Full Tilt Print Studio. It’s hard to believe forty-five years have passed since the studio first opened its doors, but it continues to be a vibrant and creative work place for its members.
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