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Thursday, July 30, 2015


Robertson is a self-taught artist. She was born and raised in Wales, in the UK, and moved to America in her late 20s, living in California for 7 years before settling on Cape Cod in 1999.  She is drawn especially to maps for many reasons: "they are beautiful to look at, they represent areas lived in and places still to visit, and I have incredibly fond memories of learning to map read as a very small child."

 I make art from items that were created for some other purpose, now isolated from their original function and given a new, more unique role and a life beyond what was initially intended. It's not about repurposing or recycling, but about seeing everyday things in a different way; using two or more elements and making them better for being together.  And by using different items from different sources I combine their individual histories, and in doing so create a new collective history.

Wednesday, July 29, 2015

Berta Walker Gallery presents JOSEPHINE and SALVATORE DEL DEO Opening Reception Friday, August 14, 6 - 8 pm

Berta Walker Gallery is proud to help premiere Josephine Del Deo's recent book "The Watch at Peaked Hill, Outer Cape Cod Dune Shack Life, 1953-2003" along with new and older paintings by master artist Salvatore Del Deo focusing on the Outer Cape's environment of land, sea, dunes, fishermen. Additionally, the gallery's artists will show a variety of paintings related to these subjects, honoring Josephine Del Deo and her unique work on behalf of our community and artistic history.

"The Watch at Peaked Hill, Outer Cape Cod Dune Shack Life, 1953-2003" just released by Schiffer publishers, chronicles the ongoing relationship between members of the Provincetown arts community and the dune dwellers and dune shacks on the outer shore and the influence of that life on the entire community of artists and writers. It reveals the ongoing trials and tribulations of preserving the dunes while still allowing artists and writers to live amongst them. 

Salvatore Del Deo is always having a dialogue in his paintings with the world he lives in and especially with the nature of the Outer Cape. Through the over sixty years of his painting career, coinciding with time he & Josephine spent in the dunes, he has created an immense and diverse body of work. His is a style that seems to traverse the continuum from the   realistic to the abstract, with a natural fluidity available only to one who is thoroughly centered. His visual vocabulary was built up over years of study and looking and seeing.  His view of the world is both engaging and compassionate, achieved by a rich palette and a soulful perspective.

Tuesday, July 28, 2015

Rice Polak Gallery presents work by Blair Bradshaw, Larry Calkins, Adam Graham, Suzanne Howes Stevens, Willie Little and Matthew Schofield rec. 7/31 7pm thru 8/19

Blair Bradshaw's paintings and constructions tend to focus on the graphic simplifications of larger, more complicated systems.

 Larry Calkins began by making his mark in outsider art circles but quickly moved into the mainstream of the art world.

Adam Graham began studying impressionist painting under the guidance of his father, painter Bob Graham who was a longtime pupil of Henry Hensche. Adam 's interest is in using the principles learned painting en plein air for the last 11 years and applying them to new and original motifs.

Suzanne Howes Stevens quite literally grounds her work in the real world via her trademark of painting over maps mounted on canvas or panel.   The geography of the underlying map relates to the subject of her painting for which it forms the support.
 Willie Little draws upon his background of growing up black in the rural South as inspiration for his art. His works range from abstract paintings to mixed media assemblages, incorporating family history and photographs to full-scale installations recreating memories from the artist's childhood. 
 Matthew Schofield's current painting series explores snapshots painted with unsentimental observation. He is interested in observing the idiosyncratic nature of the photographer and their subjects.

FINE ARTS WORK CENTER presents MICHAEL MAZUR: Selected Works rec. 7/31 6-8pm thru Aug. 16

Saturday, July 25, 2015

Hutson Gallery Highlights: Kristen Gossler, Peter Macara, Felice Newman and Michael Page 8/7-20 rec. 8/7 7-9pm

"A Bit of Venice" by Peter Macara

Peter Macara looks again to antiquities for inspiration: traditional motifs, border designs and repeating shapes that fall victim to the forces of time—cracking, breaking and eroding. “My artworks contrast predictable patterns against the seemingly random, broken shapes of crumbling material. Our minds fill in the gaps. In an effort to create memorable objects, the plywood support material is shaped to mimic slabs of terra cotta, plaster or stone. The artworks take on a presence that goes beyond pictorial, venturing into an area similar to low-relief sculpture. Nonetheless, these constructions, although irregular in shape, still provide reliably flat planes for the application of paint and collage. This interplay of substance, form, collage and traditional painting is the hallmark of my work." 

"Red Dinghy" by Felice Newman

Felice Newman delights the eyes with her pier-scapes and dinghies that glide toward you. The colors, patterns and textures create a glow that calls to mind a seductive summertime with rolling swells irrespective of whether you are on water or land. Newman was inspired to begin painting in Provincetown during her stays on Captain Jack's Wharf as she watched the horizon-sky, land and sea trading their colors back and forth in an endless conversation. "After a number of summers in Provincetown, the urge to grab a pallet knife and push color along a canvas became visceral. I discovered my fascination with mood and emotion in the movement of colors and textures across the canvas."

"idealism vs reality" by Michael Page

Michael Page's 2015 body of paintings is a conscience attempt to work outside his comfort zone by using a broader, more vibrant palette and wider range of compositional elements. With its abstracted cross, rectangles, squares and other geometric elements “idealism vs reality” brings to mind the nonobjective paintings of the Suprematists. Page’s paintings are both simple and complex in colors and composition with the added dimensions of textures.

Untitled by Kristen Gossler

Kristen Gossler uses aqueous pigment and acrylic resin to create paintings; she builds each composition “with a cacophony of marks and layers of color and texture that ultimately are resolved by my minimal aesthetic of symbolism”. She paints in a large format.

Kobalt Gallery presents ROSE MASTERPOL "Dogmata" 7/31-8/11 rec. 7/31 7- 10 pm

Watermark, 2015, Acrylic on Canvas, 60"x60"

KOBALT GALLERY is pleased to announce “Dogmata”, a solo exhibition featuring new work by Abstract Expressionist painter Rose Masterpol. Based in Santa Fe, NM, Masterpol, a new addition to the 2015 Kobalt Gallery roster, brings her demanding, emphatically expressive approach to the Provincetown art arena.
Art critic and curator Peter Frank cites “Masterpol recapitulates the influence of Mitchell, De Kooning, Motherwell, Gorky, and Kline with remarkable intelligence and sensitivity: her paintings are genuine, unabashed Abstract Expressionist works right down to their Surrealist reliance on the impulsive mark and their Cubist articulation of space.”

Thursday, July 23, 2015

Hutson Gallery Highlights: Gay Malin, Rose Olson, William Skerritt and Luanne E Witkowski REC. Friday, July 24 7 - 9 pm Thru Aug. 6

"Sentinels of Disquietude" by Gay Malin

Gay Malin returns to her sculpting in bronze with her fantastic series “Sentinels of Disquietude.” Malin envisioned the ten sentinels as “connect[ing] with that part of human nature that is evidenced by a sense of foreboding, anxiety, agitation, angst--the things that disturb us and that we find within ourselves as well.”

Double Gold, 2015 by Rose Olson

Rose Olson has always been interested in the color of almost anything and especially by color created with changing light. Plywood veneers and liquid paints allow Rose to build her painting in many transparent and translucent films of color while still revealing the specific grain of wood.

Luanne E Witkowski returns with work not previously seen in the gallery. Witkowski’s work is about process and material: she incorporates clay mixed with acrylic paint, pigment and other media including fragments of a photograph.

William Skerritt’s new work includes watercolor, drypoint, etchings, and two white line woodblock prints.

AMP Gallery--July 24 through August 12 | Opening Reception, Friday, July 24, 6-9 pm Steven Baines | Karen Cappotto | Michael Cunningham + Richard Dorff | Mimi Gross | Heather Kapplow | Laura Wulf

Birds Can't Laugh, oil on canvas, by Steven Baines

 Steven Baines: Did You Get What You Came For? Steven Baines’ paintings can act as metaphors for the passage of time, the brevity of human life as in Vanitas and Momento Mori paintings. However they are not heavy or morbid. They are optimistic and humorous, like sad, dark lyrics in a catchy lighthearted melody. Sometimes within romantic settings and other times within bright bold abstractions, figurative images have been chosen for their symbolic value to represent the fragile and transitory nature of life: luxuriantly plumed birds, moths, monkeys, ripe fruit, bubbles, bones and UFO’s. Baines’ work also aims to encourage an escape, aiming to be beautiful, tragic, dramatic, even romantic, but something about it seems to have an innate sense of humor which can question the sincerity. This line between sincerity and the absurd is something we find also creeping into his work. Sincerity wins but it’s just a little wobbly.
Grey Honey, oil and mixed on paper, by Karen Cappotto

 Karen Cappotto: Entering Meadowville
"Entering Meadowville is a series of new paintings about the idealized notion of summer, youth, and unique qualities I see disappearing. My aim is to create a fictionalized landscape comprised of collaged elements taken out of time from this actual town at the end of Cape Cod and from my own personal narrative…vapors that still seem to exist, albeit in tag sale set of dishes or a bench seated quietly over time…against the historic seaside structures still standing amongst us. MY humble attempt at visually opening a gate to a lane leading us back towards those magical “meadowville” moments we all carry within us."

Michael Cunningham + Richard Dorff: Dis/Enchant, a collaborative sound story installation
(Sound engineer: Sue Metro)
"As a child, I was never quite satisfied with “happily ever after.” That is, I was always baffled by the phrase, “And they all lived happily ever after,” which my mother or father delivered, with evident satisfaction, at the end of almost every fairy tale they read to me. I inevitably asked, “What do you mean, ever afterDid they live forever? And were they happy all the time, like every second?” Being five years old, I had no idea how irritating a five-year-old can be. I don’t remember how my parents answered, or dodged the question. I just know that it can’t have been answered to my childish satisfaction, because it has remained unanswered, in the back of my mind, for decades since. A Wild Swan, my collection of fairy tales, is essentially a body of riffs on the question: What happens after “happily ever after?” What happens after the spell is broken, after the prince carries his true love off to his palace, after Beauty marries the Beast, after Jack has gotten rich by climbing the beanstalk and stealing all the giant’s treasures? These are, after all, stories unto themselves. They’re the secondary stories, the ones spawned by the initial ones. I mean, Happily? I mean, Ever after?" - Michael Cunningham

 Mimi Gross: August Afternoon, 2 1/2 D
Atmospheres; illusion; illusive moments; time and light, changing.
Installation: a portrait; a group; a park; a beach; a road.

Days After the Darkest Day, (detail), Polaroids by Heather Kapplow

 Heather Kapplow: Days After the Darkest Day
Created in the early mornings of the last ten days of 2014, these daily images capture the (supposedly) brightening sky following the Winter Solstice. The series involves 10 images and the medium is FP100c 3.25" x 4.25" instant film, multiply exposed on a Polaroid (250) Land Camera.

0420059, hand-etched color photogram by Laura Wulf

 Laura Wulf: Hand-Etched Color Photograms
"When photography was invented in the mid-1800's, it effectively freed painters from the responsibility of representation and paved the way for the modern exploration of painting materials and of the painting process. Photography today finds itself in a historically parallel moment, due to the development of digital photography. Some artists are currently investigating the fine line between fact and fiction, creating fictional "documentary" images, while others are exploring how photographic materials can be used, other than for strictly reproductive purposes.