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'Lower Manhattan Nocturne'
oil on canvas 28 x 22
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'At the Zoo'
oil on canvas 12 x 16 |
Friday, July 24, 2015
Simie Maryles Gallery presents RICHARD ROSENBLATT 'Tone Poems' Moody, nostalgic, poetic paintings rec. 7-10pm 7/24
EGELI GALLERY presents KEVIN McNAMARA- ONE MAN SHOW opening rec. 7/24 7-9pm
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| Pond Village in Winter 30x40 by Kevin McNamara |
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| Tidal Marsh 40x52 by Kevin McNamara |
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
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| "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.”
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| 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
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| 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.
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| 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 after? Did 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.
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| 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.
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| 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.
Wednesday, July 22, 2015
Monday, April 20, 2015
TWENTY SUMMERS ANNOUNCES NEW SCHEDULE OF EVENTS at HISTORIC HAWTHORNE BARN
Twenty Summers is a new nonprofit arts center in Provincetown,
Massachusetts, founded to foster public engagement with art and artists,
and to honor the legacy of art in Provincetown. It restored the
historic Hawthorne Barn where that legacy began and where its programs
take place from May 15 to June 15 annually. To visit the Barn, please
see our calendar of events to purchase tickets.
The name Twenty Summers is a phrase in a poem by Stanley Kunitz connoting both the pull of Provincetown and its legacy of art.
Learn more https://www.20summers.org/events/calendar/
The name Twenty Summers is a phrase in a poem by Stanley Kunitz connoting both the pull of Provincetown and its legacy of art.
Learn more https://www.20summers.org/events/calendar/
Sunday, August 3, 2014
ALDEN GALLERY - Joerg Dressler & Ed Christie- 8/8-21
Alden Gallery presents
Joerg Dressler + Ed Christie
Opening on Friday, August 8, 2014, 7 – 9pm
Joerg Dressler’s work is driven by nature and how we perceive it. When he is in the studio, he paints solely from memory. As a result, disjointed experiences of the seen and learned are re-assembled, creating a reality of their own. Joerg’s evocative, vigorous paintings derive from a sincere dialogue between the representational and the abstract, the conceptual consciousness and pure spontaneity. Though his vocabulary is drawn from a cross-section of history—Renaissance, Mannerism, Impressionism, Abstract Expressionism, Pop Art, Postmodernism, graphic design, and photography—his work emerges as his own distinctive visual communication. With his new series, “Entropy,” Joerg is exploring the extreme ends of the spectrum: high entropy (clouds) and low entropy (ice). “The higher the entropy/disorder,” Joerg says, “the greater the challenge to not resolve into repetitive patterns and static forms, but instead to paint shapes that remain fluid and seemingly fleeting.” Joerg’s new paintings convey a sumptuousness that inspires a prolonged consideration of our own relationship with nature.
Ed Christie is a veteran puppet designer and builder who has worked for more than 30 years on Jim Henson’s Muppets in movies, television, and theater, and in particular on Sesame Street, where the characters he designed are seen in productions around the world. In 2008, the Provincetown Art Association and Museum presented a solo exhibit of Ed’s puppets, and his fine-art sculpture has been part of the Alden Gallery since its inception in 2007. For his new show, Ed chose to create new variations on “Ricky,” a head sculpt he designed in 2009 that was inspired by iconic characters from mid-century advertising and entertainment. “All of the Ricky heads come from the same mold, based on my sculpt,” Ed says. “But by the time I’m finished embellishing the surface with different media, each takes on a completely unique character, usually with an ironic twist on childhood innocence.”
The exhibit runs August 8 – 21, 2014. For more info: http://www.aldengallery.com/artist/
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