you are here x wild & precious x as i see you, you see me x on the horizon
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Jesse Burke: Wild & Precious
When: On view through February 25, 2017
Opening Reception: February 3rd, 5:30-8:00pm
Where: Gallery Kayafas, 450 Harrison Avenue #37 Boston, MA 02118
How: Official Website
What/Why: “Jesse Burke – Wild & Precious
The color photographs in Wild & Precious capture the unique relationship between father and daughter. Jesse Burke and his daughter, Clover, have taken multiple four – five day long trips into nature exploring state parks, forests, beaches, and rivers. They camped, hiked, swam, and just hung out together. Away from her home in the suburbs, Clover roams freely with her father – free to be both Wild & Precious. One minute exploring in a tidal pool…the next peacefully asleep, she is always respected for her feelings and thoughts. Burke’s example is his only guidance…maintain a safe environment for self discovery. It is obvious that the bond strengthens and rewards both adult and child.
‘Wild & Precious’ brings together treasures from a series of road trips traveled with my daughter to explore the natural world. I use these adventures to encourage a connection between my child and nature and to give her an education that I consider essential—one that develops appreciation, respect, conservation, and self-confidence. On the road we talk about the vastness of nature and try to get more in touch with the earth. Together we document the routes we drive, the landscapes we discover, the creatures we encounter, even the roadside motels where we sleep. Wild & Precious reveals the fragile, complicated relationship that humans share with nature and attempts to strengthen those bonds. Jesse Burke
Jesse Burke divides his time between personal art projects and commissioned work. Burke’s work deals with themes related to vulnerability and identity, as well as human’s complicated relationship with nature. Daylight Books published his monograph, Wild & Precious 2015. He received his MFA from Rhode Island School of Design, where he is a faculty member. His work has been exhibited in galleries and museums in the U.S. and abroad and is held in many private and public collections including the Museum of Contemporary Photography, Chicago; Museum of Fine Arts, Houston; the North Carolina Museum of Art; and the Rhode Island School of Design Museum.
Also on view..
Audrey Goldstein: The Repair Reflex
What/Why: “We are pleased to be exhibiting Audrey Goldstein’s newest body of work, The Repair Reflex. Goldstein continues to explore the use of materials often redefining the viewers sensibility – what looks soft to the touch is often rigid and firm while what appears hard is often soft and yielding.
‘The Repair Reflex’ uses the Bernini ‘Apollo and Daphne’ as its starting point. Bernini’s Daphne is depicted at her moment of greatest vulnerability; at the exact moment she looses her humanity. Her transformation into a laurel tree is a moment of both magic and horror. She is forced to surrender her capacity for empathy in order to maintain a severely compromised life. This heartbreaking vulnerability is intended to fail using the gesture of Daphne’s transformation as my guide.
This process translated the frozen marble into a cycle of building and collapse in order to generate fragments from the ruins. Each fragile version was built at full scale using only soft materials that could not withstand temperature changes or gravitational forces. After several cycles I built a stable piece while integrating the fragments, in essence forming a sculptural collage. These fragments alter the profile of the underlying work just as change altered the destroyed versions. They bear the marks of ruin while reforming the whole. The incised lines in the work are used as reference to mechanical and digital printing but also serve to create a readable, more detailed surface. Audrey Goldstein
Audrey Goldstein lives and works in the Boston area. Her work has been exhibited at the Museum of Fine Arts, Boston and the Danforth Museum, Framingham, MA. Her performance work was staged at the deCordova Sculpture Park and Museum, Lincoln, MA and at the D.U.M.B.O. Arts Festival through the D.U.M.B.O. Art Center, Brooklyn, NY. She is a recipient of the Artist Resource Fund award from the Berkshire Taconic Trust, a Traveling Scholars award from The School of the Museum of Fine Arts, and the International Association of Art Critics Emerging Artist Award.”
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Boston Does Boston 10
When: On view through February 25, 2017
Where: Proof Gallery, 516 E 2nd St, Boston, MA 02127
How: Official Website
What/Why: “DESIGN STUDIO FOR SOCIAL INTERVENTION
ANDREA GREITZER
JUDITH LEEMANN
WILHELM NEUSSER
ANDREA RAYNOR
JUSTIN C. ROUNDS
Now in it’s tenth year, three Boston-based artists each invited another artist, with whom they share interests, to exhibit work alongside for Proof’s annual Boston Does Boston. We are pleased to present the resulting exhibition which highlights the range of art practice by members of our diverse Boston arts community. ”
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Lunar New Year Celebration
When: Febraury 04, 2016 10AM-5PM
Where: Museum of Fine Arts, 465 Huntington Avenue, Boston, MA
How: Official Website
What/Why: “On Saturday, February 4, the Museum of Fine Arts, Boston (MFA), offers free admission for its Lunar New Year Celebration (10 am–5 pm). Ringing in the “Year of the Rooster,” visitors can enjoy Chinese, Korean and Vietnamese New Year traditions with activities, demonstrations and performances throughout the day. Festive music and dance performances are complemented by hands-on family art-making activities, interactive demonstrations and tours exploring the Art of Asia collection. Highlights of the day include interactive Chinese Lion Dance performances by Gund Kwok, the only Asian women’s Lion and Dragon Dance troupe in New England; Saebae demonstrations, a traditional bowing and greeting ceremony practiced in Korea during the New Year, with members of the Korean Cultural Society of Boston; and an interactive roundtable discussion about how Tết, the Vietnamese Lunar New Year, is celebrated around the world.”
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OBSERVANCE: As I See You, You See Me
(Caleb Cole, Man In Parking Garage)
When: On view through April 8, 2017
Where: Montserrat Gallery, 23 Essex St, Beverly, MA 01915
How: Official Website
What/Why: “An exhibition of provocative photographic portraits curated by Leonie Bradbury, featuring the work of Juan Jose Barboza-Gubo & Andrew Mroczek, Maria Magdalena Campos-Pons, Caleb Cole, DEAD ART STAR, and Ervin A. Johnson. Each photographer explores how identity is constructed through the lens of the camera and the cultural, political, and personal circumstances of their subject. Bradbury is particularly interested in the role and responsibility of the photographer in framing the way a subject’s identity is portrayed. Additionally, the exhibition establishes a paradigm wherein the viewer becomes aware of their own subjectivity in relation to the individuals portrayed in the photographs.”
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Mirela Kulovic: Fragments
When: On view through February 26th, 2017
Opening Reception: February 3, 6-8:30 pm.
Where: Bromfield Gallery, 450 Harrison Ave, Boston, MA
How: Official Website
What/Why: “Being born in Bosnia in the late 1980s, and growing up in the Balkans in the early 1990s was challenging. The area wasn’t the best place for an innocent child. On the one hand, there was the beauty of nature and freedom; on the other hand, there was political conflict and fear. These two opposing worlds had a big influence on me. I grew up very fast. From an early age, I was concerned with questions about human destiny.
I discovered painting after getting my Master’s degree in industrial engineering, and soon realized the importance of art. I started painting almost every day, and abandoned my engineering career. Painting became the most important thing in my life, and a tool for spiritual transformation and self-knowledge.
Drawing is my primary artistic language, and I do it every day. I see it as a tool for penetration into deep spiritual experience.
When I finish a drawing, it is more like I have discovered it. Its mysterious manifestation always surprises me.
At the beginning of 2016, I started drawing delicate, meditative, abstract objects with few marks and lines. I worked on each one for hours, observing each step I took, and letting the process unfold. Each mark and line were important.
But that lasted for only a few months. I wanted to explore more possibilities with the same motive, but it didn’t work. Chaotic and aggressive marks suddenly appeared unpredictably all over my paper. I couldn’t control them. I let them appear and be observed.
These marks bothered me, and I felt the need to erase them. After I did some erasing, a few marks were still dominant. Attracted to some of them, I made them more visible. Each step of adding and erasing made my painting more settled. I was looking for compositions that were visually and intuitively right for me. When I felt like I didn’t want to add anything to a painting, it was done. In most of my paintings, I saw two worlds coming together. One was harmonious, the other one was chaotic, but both were non-representational.
“Fragments” soon turned out to be the best title for this work.”
Also on view..
Joe Landry: You Are Here
What/Why: “I work from memory to reconstruct the settings of experiences that form my personal narrative—from early childhood to the present. I aim for the highest degree of verisimilitude so that viewers can feel transported to an actual place that brings to mind their own personal narratives.”
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Material Matters: Gerri Rachins and Stephanie Roberts-Camello
When: On view through March 02, 2017
Opening Reception: Thursday February 09, 2017 5-7PM
Where: Simmons College Trustman Art Gallery, Boston, MA
How: Official Website
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James Sterling Pitt: Points East
When: On view through March 25, 2017
Opening Reception: Friday, February 3, 5:30pm
Where: Steven Zevitas Gallery,450 Harrison Avenue #47 | Boston, MA 02118
How: Official Website
What/Why: “Points East presents twenty-nine new sculptural works that Pitt produced in 2016. The works are drawn from a larger group of sixty-two sculptures that Pitt made for a recent solo exhibition at the College of Marin’s Fine Arts Gallery. As with the Marin exhibition, Point East is organized as a table installation.
Pitt’s sculptures arrive from a rigorous drawing practice in which he distills dozens of potential formal directions. The results of this distillation process are complex sculptures, made of carved wood and acrylic paint, that seem to have arrived by their own internal necessity, yet teasingly point to sources beyond themselves. While Pitt’s previous works poignantly spoke about memory, time and place, his recent works are more direct in their impact and intent.
Pitt received a BFA from the University of New Mexico, Albuquerque in 2000, and an MFA from Mills College in 2003. His work has been the focus of several solo exhibitions in recent years, including shows at: Eli Ridgway, Et al. and Romer Young Gallery, all in San Francisco, and Richard Levy Gallery in Albuquerque, NM. Pitt had a one-man exhibition at the Fine Arts Gallery of the College of Marin in 2016. This is the artist’s second exhibition at Steven Zevitas Gallery.”
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Works by Pairs
When: On view through February 26, 2017
Where: Distillery Gallery, 516 E 2nd St, Boston, Massachusetts 02127
How: Official Website
What/Why: “Work by Pairs explores the processes and products of collaborative artist duos.
Caitlin & Nicole Duennebier
Chances With Wolves
CHIAOZZA
Cold Picnic
EXHUSBAND
EyeBodega
FPOAFM
Jodie Mack & Sharon Marney
Lina Tullgren
Mary Provenzano & Scout Hutchinson
Safarani Sisters
Tom Maio & Gordon Feng
Organized by Lisa Purdy & Shane Levi
Closing reception: Thursday, February 23, 7 – 10 PM
With performances by Safarani Sisters and Lina Tullgren“
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CARLY GLOVINSKI: SCOUT LAND
When: On view through February 11, 2017
Where: Carroll and Sons Gallery, 450 Harrison Ave, Boston, MA 02118
How: Official Website
Also on view..
HEIDI WHITMAN: MENTAL MAP
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Lynda Schlosberg: The Conscious Web
When: On view through February 26, 2017
Opening Reception: Friday, February 3, 2017, 5:30-8:00 pm
Where: Kingston Gallery, 450 Harrison Ave, No. 43, Boston, MA 02118
How: Official Website
What/Why: “Lynda Schlosberg’s latest body of work, The Conscious Web, are paintings inspired by theories of quantum physics, which Schlosberg explores through vibrant color, and an organized chaos of line, pattern, and visual movement. Of her intense canvasses Schlosberg says, “My current work is focused on the idea of a unified field of energy to which we are all connected, a collective consciousness that we contribute to with everything we think and do, no matter how big or small.” Schlosberg’s paintings are not landscapes to be stepped into traditionally; instead they ask to be dissolved into as particles and waves of energy. Repeating patterns of dots suggest particulate matter. Interweaving layers of undulating lines and saturated colors swirl, expand and visually vibrate across the canvas. The labor-intensiveness of her work adds to the feeling of spontaneous combustion and pulsating movement while her bold presentations thoroughly envelop the viewer.”
Also on view..
Elif Soyer: Membrane
What/Why: ”In Membrane, Elif Soyer exhibits a series of mixed-media explorations with non-traditional materials. Soyer experiments with a range of materials, many gathered from nature, to bring into focus images seen on a daily basis that attract her eye with texture and pattern. In this body of work the artist plays with filtering images through a membrane of time and material, bringing to the foreground three-dimensional objects that her brain initially identified as background.”
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Queer Painting
When: On view through February 25, 2017
Where: How’s Howard?, 450 Harrison Ave, Ste 309c, Boston, Massachusetts 02118
How: Official Website
What/Why: “Join How’s Howard at the reception for Queer Painting, a group show featuring the work of Hannah Barrett, Darlin Frometa, Dylan Hurwitz, Rebecca Ness and Sean O’Connor.”
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Loud and Clear
When: On view through February 07, 2017
Where: Miller Yezerski Gallery, 460 Harrison Ave, Boston, MA, 02118
How: Official Website
What/Why: “Featuring the work of Jonathan Bonner, Pat Falco, Eric Lebofsky, Rachel Perry, Joe Wardwell, Deb Todd Wheeler”
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Fuse
When: On view February 3, 2017 – April 1, 2017
Opening Reception: Friday, February 3, 6:00-9:00 pm
Where: Abigail Ogilvy Gallery, 460 Harrison Ave, C7, Boston, MA 02118
How: Official Website
What/Why: “Abigail Ogilvy Gallery is proud to present Fuse, an exhibition of artists Cassandra C. Jones and Alfred Steiner, curated by artist and professor at Brandeis University, Todd Pavlisko. Fuse is a coalescence of images that intersect politics and pop culture within the lascivious American backdrop. Sociopolitical messages are interwoven in a cleverly composited miscellany, layering the erotic and whimsical, the beautiful and grotesque.
Overlapped, Cassandra C. Jones and Alfred Steiner’s work present an abundance of images that force the viewer to consider every component with focused attention in order to process its content. Each piece unfolds a complex cluster of social messages that infiltrate our cursory habits of perception and comprehension.”
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February at Galatea Fine Art
When: On view through February 26, 2017
Opening Reception: February 03, 6-8PM
Where: Galatea Fine Art, 460 Harrison Ave, Boston, MA 02118
How: Official Website
What/Why: Learn more about the exhibitions here.
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Occupancies
When: On view through February 26, 2017
Where: BU Art Galleries, 855 Commonwealth Ave, Boston, MA
How: Official Website
What/Why: “Occupancies explores how individual and collective bodies create, negotiate, and inhabit space. Conceived as a response to the current political climate and to forms of personal resistance against systemic injustices, Occupancies assembles emerging and mid-career artists who use or intimate the physical body as a politicized site to forefront ideas of agency and visibility. While the exhibitions aims do not fit resolutely within the couplet of art and activism, Occupancies engages with the political and historical dimensions of the term “occupy” today. As part of Occupancies, three of the participating artists – eBAY, Intelligent Mischief, and Nabeela Vega – will serve as “Resident Occupants” and occupy the gallery space through ongoing projects, performances, and interventions during the run of the exhibition. Supported, in part, by an Arts Grant from the BU Arts Initiative – Office of the Provost.
Occupancies artists are Indira Allegra, eBAY, Andrea Bowers, Jonathan Calm, Jordan Casteel, Edie Fake, Nona Faustine, Marlon Forrester, Chitra Ganesh, Jonah Groeneboer, Ramiro Gomez, Dell M. Hamilton, Ann Hirsch, Intelligent Mischief (Aisha Shillingford and Terry Marshall), Ellen Lesperance, Tony Lewis, Museum of Transgender Hirstory and Art courtesy of the artist Chris E. Vargas, L.J. Roberts, Kameelah Janan Rasheed, Shen Wei, and Nabeela Vega.
Curated by Lynne Cooney, Artistic Director, Boston University Art Galleries and Kimber Chewning, Exhibition Assistant Curator and MA Candidate, Department of History of Art and Architecture, Boston University”
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Times/Changes
When: On view through March 11, 2017
Where: Barbara Krakow Gallery, 10 Newbury Street, Boston, MA
How: Official Website
What/Why: “Times/Changes features works by three artists who use photography to create scenarios somewhere between fact and fiction.
Giulio Paolini, one of the central figures in Arte Povera (the leading contemporary art movement in Italy in the late 1960’s and 1970’s), has explored ideas of absence, centrifugal and centripetal forces, continuation, repetition and variation, all within the framework of art-making as visual subject. In order to create “The Triumph of Representation (A ritual: the artist is absent)”, Paolini photographed people and objects that he has specifically arranged. The imagery contains 18th century chamber servants, a slide projector, reflective boxes filled with images of either torn, crumpled or cut pieces of paper, as well as lines that potentially serve as observational directives. Comparing the quantity of figures, the drawn marks and the imagery within each ‘box’ held by the chamber servants, one can’t help but ask questions about cohesion, legibility, progress, representation and more. With this in mind, the work takes pride in the regenerative nature of looking in and out, as well as back and forth.
Liliana Porter also sets up objects and photographs them but, unlike Paolini, she creates a whole scene of found objects and considers the photographs she takes to be the final works. In the case of this new body of work, “For Sale”, Porter has taken worn and broken examples of doll house objects and arranged them without situating them in a specific context. In each photograph, objects are haphazardly arranged. Are they, in fact, “for sale” as the title references? Are they cast-offs that have no value to the original owners? They are both mere toys (easily read as such in the large scale photographs showing all the details [or lack thereof] in the toys) and fully symbolic references to daily life. If one does not need chairs, a dresser, a mirror, a teacup, an oven or a refrigerator, what is one’s life? Is this a good or bad thing to do away with these typical domestic goods? Perhaps, as the scenes are neither enveloped by nor separated from the horizonless and borderless white backgrounds in the photos, the objects serve more as questions to ask in daily life than to definitively answer those questions.
Paolo Ventura, like Paolini and Porter, sets up photographs, but for him, he integrates, from one edge of the image to the other, fabricated, found and altered materials and actors. The scene in this particular work, that of a man noticing a boy with a red balloon, trading a duck he pulls out of his hat for the red balloon and then the balloon pulling the man away (although it did not do this for the much smaller boy), cannot help but be read metaphorically. To balance with this heavy yet playful metaphor, Ventura makes the scene easily viewable as theatrical, from the painted backdrops to the overly made-up actors to the props visible as such and thus the scenes are as much about being legible as fiction as they are about transporting you to a poetic other-world.
Using photography to create alternative approaches to viewing reality, all three artists force the viewer to confront initial assumptions of legibility and subjectivity.”
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You Must Persuade Me: Influence Thru Illustration
When: On view through February 10, 2017
Where: Montserrat College of Art, 23 Essex Street, Beverly, MA, 01915
How: Official Website
What/Why: “An annual illustration showcase!
Current student work is shown alongside faculty, staff and alumni in a broad range of method and media.”
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Creature Comforts
When: On view through February 2017
Opening Reception: Feb 3, 6-8:30P
Where: Lens Gallery, 524 Harrison Ave, Boston, MA
How: Official Website
What/Why: “Creature Comforts: work by Jonathan Talit & Amelia Young
The artworks here are designed for pleasure. Some pieces are warm and like to be picked up, and would really love to ease your sore back muscles. Others relish in their own pleasure-seeking behaviors, and are less interested in making you feel good. Creature Comforts is a show-environment exploring attraction, embodied cognition, the intersection of technology and comfort, and the therapeutic possibilities of objects.”
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Gideon Bok: Afterfuture
When: On view through March 01, 2017
Opening Reception: Friday February 3 6-8PM
Where: Alpha Gallery, 460C Harrison Avenue – Boston, MA 02118
How: Official Website
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Transition of Power: 2017
When: On view through March 11, 2017
Sat 2/4, 4-6 pm: Art, Truth and Politics – A conversation with the artists
Where: 13FOREST, 167 Massachusetts Ave, Arlington, Massachusetts 02474
How: Official Website
What/Why: “13FOREST Gallery is pleased to present Transition of Power: 2017, an exhibition dedicated to artistic voices in response to the current state of American politics.
In an increasingly polarized nation, we often look to artists to make sense of the world around us. Transition of Power: 2017 features eBay, John Campbell, Asia Kepka, Mark Luiggi, Ted Ollier, Dimel Rivas, Sarah Rushford and Jason Wallace. Working in a range of media, from photography to sculpture, printmaking to painting, each of these Boston-area artists offers unique commentary on the nature of our (dis)union. Read More: http://13forest.com/
Can’t make it to Washington? Celebrate local voices and political participation as we mark the opening of Transition of Power: 2017.”
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American Modernism: 1912 – 1945
When: On view through February 22, 2017
Where: Beth Urdang, 460 Harrison Ave, Boston, MA 02118
How: Official Website
What/Why: “Paintings & Works on Paper from
Private Collections
GEORGE AULT ALBERT GALLATIN
EMILE BRANCHARD ELIE NADELMAN
ARTHUR D. BROOKS EDWARD JOHN STEVENS, JR.
ABRAHAM WALKOWITZ”
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Yellow: Core Member Show
When: On view through March 05, 2017
Opening Reception: Saturday February 04, 2017 5-7PM
Where: Fountain Street Fine Art, 59 Fountain Street, Framingham, MA
How: Official Website
What/Why:“EXHIBITING ARTISTS: Sarah Alexander, Sorin Bica, Brenda Cirioni, C Clinton, Marie Craig, Mia Cross, Denise Driscoll, Susan Emerson, Sara Fine-Wilson, Tatiana Flis, Joseph Fontinha, Kay Hartung, Vicki McKenna, Iris Osterman, Pat Paxton, Joel Moskowitz, Rebecca Skinner, Mary Spencer, Cory Shea, Marcia Wise, Tracy Spadafora, Leslie Zelamsky. “
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Invisible Fractures
When: On view February 3-26, 2017
Opening Reception: Friday, February 3, from 6-10 p.m
Where: Piano Craft Gallery, 793 Tremont Street, Boston, Massachusetts
How: Official Website
What/Why: “Boston, Massachusetts – Invisible Fractures: The Enduring Trauma of Emotional Abuse, a series of digital photographs paired with audio depicting the emotional toll suffered by victims of emotional abuse, will be on exhibit from February 3-26, 2017, at the Piano Craft Gallery, with an opening reception on Friday, February 3, from 6-10 p.m.
For this series, Tine invited survivors of emotional abuse to conceptualize visual depictions of how the abuse made them feel. In addition, she created audio recordings that describe some of the abuse in detail and explain how the abuse impacted the victims and how they were finally able to leave their abusers (in the cases where the abuse is not ongoing). Tine says that, “I am intimately aware of how individuals can allow themselves to stay in an abusive relationship, and yet it happens every day, all over the world. This is a rarely discussed yet hyper-prevalent, severely damaging issue that deserves immediate attention.”
Because emotional abuse has too often been shown to be more damaging long-term than other kinds of abuse—and because the absence of physical scars causes many victims to discredit their own realities—Tine created this photographic project to empower and give closure to victims of severe emotional abuse, to offer hope and help to people currently in emotionally abusive relationships, to raise awareness about emotional abuse, and to raise money to assist victims of emotional abuse. As part of the exhibition, partner and sponsor Casa Myrna, a Boston-based domestic violence shelter founded by a female artist/abuse victim, will provide information on how to access resources dedicated to helping emotional abuse victims. Invisible Fractures: The Enduring Trauma of Emotional Abuse is sponsored by Casa Myrna, Emma’s Pizza, Lord Hobo, Hojoko, Around the Corner Framing, Sofra, and Nations Photo Lab.
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Sati Zech | Arbeiten
When: On view through February 28, 2017
Where: Clark Gallery, 145 Lincoln Road, Lincoln, MA
How: Official Website
What/Why: “Tracey Adams, Richard Baker, Andrea Collesano, Holly Farrell, Dietlind Vander Schaaf”
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Nancy Dyer Mitton: On the Horizon
When: On view through February 25, 2017
Opening Reception: Friday, Feb. 3rd, 5:30 PM to 7:30 PM
Where: Soprafina Gallery, 55 Thayer Street, Boston, MA
How: Official Website
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Coded
When: On view through March 4, 2017.
Opening Reception: Reception: Thursday, February 9, 6-8pm
Where: Lesley University’s VanDernoot Gallery,29 Everett St, Cambridge, MA 02138
How: Official Website
What/Why: “ Exploring the Role of Language in the Queer Community
BLAA is excited to partner with Lesley University for Coded, a group exhibition that runs at the University’s VanDernoot Gallery from January 31 – March 4, 2017.
Coded explores the unique role language has played in queer culture as it has developed and flourished since the 19th century. From the outset, coded language has allowed connections and communities to form among gender and sexual minorities in the midst of a hostile dominant culture. As queer culture expanded, shifting and splintering into different subgroups, slang became a way for GSM-identified people to find others who shared similar interests and ideals within the larger milieu of queer spaces. And today, as LGBTQIA identities become more accepted and integrated into mainstream society, language serves as a way to subvert sexist, transphobic, heterosexist, and racist tropes in American popular culture.
Artists:
Joe Balestraci, Carl Bowlby, Tynan Byrne, William Chambers, Ma Chih Ching (Dill), Oliver Coley, Jamieson Edson, Jeremy Endo, Gordon Feng, Rixy Fernandez, Maggie Guillette,Dylan Hurwitz, Heather Kapplow, Bunny Kellam-Scott, Coe Lapossy, Jonathan Obin, Zoe Perry-Wood, Renee Silva, Evan Smith, Raleigh Strott, Kenson Tuong, Sarah Washburn, Dong Wu, Nathaniel Wyrick, Anthony Young”
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Boston Social Emergency Response Center
When: February 03-05, 2017
Fridays 5PM-9PM
Saturdays 12PM-6PM
Sundays 12PM-6PM
Where: Dorchester Arts Collaborative at the Erick Jean Center for the Arts, 157 Washington Street, Dorchester, MA 02121
How: Official Website
What/Why: “Social Emergency Response Centers (SERCs) are pop-up spaces co-led by activists and artists. Join us for creative action, healing, collective making, performances and more.
#socialemergency #socialemergency #socialemergency
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New Members Opening
When: On view February 4 – 23, 2017
Opening Reception: Saturday February 04, 2017 6-9P
Where: Atlantic Works Gallery, 80 Border Street, Boston, Massachusetts 02128
How: Official Website
What/Why:“Dominick Takis’s work explores landscape and surface themes related to travels and ancestry, paint, transparencies, lichen and mixed media textures. Religious imagery creates a surface that pulls the viewer in. The symbiotic relationship between lichen and algae is a metaphorical relationship to Takis’s ancestral roots.
Internal feelings of displacement, abandonment, and reconciliation guide Curran Broderick to form a connection with land. He was abandoned as an infant, adopted, and raised in America. He uses photography to establish roots within landscape and establish a sense of belonging.
Brian Reardon uses oil paint to depict common objects such as tractors, toys and colanders. Reardon gives his everyday objects significance using color and a sensitive brush stroke, creating luscious and generous paintings.
Using painting, drawing and cutting, Leah Grimaldi explores anxiety and joy—emotions that often coexist—in the context of her culture. In her new body of work she references the coastal New England Landscape, a site of beauty and tension as it changes due to human population growth, development and climate change.”
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Mary Bucci McCoy: Terra Recognita
When: February 4-26, 2017
Opening Reception: Saturday, February 4, 4-6 p.m.
Where: Jane Deering Gallery, 19 Pleasant Street, Gloucester, MA 01930
How: Official Website
What/Why: “”Terra Recognita” presents a recent selection of Mary Bucci McCoy’s intimate abstract acrylic and mixed media paintings. The color, marks and materiality of the work poetically reference and integrate forms and processes of the natural landscape, plants, and the human body through a painterly language grounded in her formal training as a ceramic sculptor. Echoing the scale of the human head, the vertical rectangular and oval paintings obliquely suggest mirrors or the art historical format of the cameo portrait and so invite the viewer into a focused, self-reflexive encounter.
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COREY ESCOTO: A Routine Pattern of Troubling Behaviour
When: On view February 3 – April 1, 2017
Opening Reception: February 03, 5 to 8PM
Where: Samson Projects, 450 Harrison Ave, Boston, MA 02118
How: Official Website
What/Why: “I started making resin castings of mushrooms after foraging for them in the forest. During the time that I spent searching for them and admiring their quiet and curious structures, I would find clarity and wonder. Fungi have been found to be a conduit through which a dense forest may exchange resources, and I hoped that the text that I’d draw on the underside of these shelf mushrooms, in the tradition inscribing scenic images on artist conk mushrooms (Ganoderma Applanatum) would initiate some kind of interspecies communication where these messages might resonate through to the branches and leaves. During this time, I found myself routinely walking among fireflies, and overcoming the fear of being alone in the deep rural darkness that makes for such beautiful displays of light — be it firefly or distant star. So these nightlight sculptures, pursue the direct and crude expressiveness of painting, drawing, or journaling, while dialoguing with artists like Turrell or Flavin whose work is centered in light and space, but instead hone in on the internal light of one’s fear, of hope, and of disorientation, a turn toward and re-acquaintance what it means to feel, not so much think. — Corey Escoto (Jan. 2017)
Samsøñ is pleased to present Corey Escoto’s (b. 1983, Amarillo, TX) first solo presentation in Boston, A Routine Pattern of Troubling Behaviour. This exhibition brings together Escoto’s recent works, cast resin nightlights and a body of large and small format analog photographic works. These are all meticulously crafted Polaroids, un-editioned color instant film 4×5 prints or impossible silver shade instant film created not with Photoshop or collage. Escoto’s multi exposure process requires the creation of light blocking stencils allowing for sections of the film to be partially exposed in sequence. Each image is comprised of multiple exposures from multiple photographic sources (from 5 to 15) the artist aligns to create one seamless image. The entire process happens “in camera” and the resulting image is the result of a controlled, yet blind, guesswork of time and placement.
“The two- and three-dimensional works of Corey Escoto meditate on the production and consumption of illusion, both in terms of what we accept as photographic truth and, more broadly, how we distinguish fact from fiction in an ever more manipulated, media-saturated world. By hacking the Polaroid—a commonplace and yet seemingly magical technology—Escoto reveals how readily we suspend our disbelief.” – Carnegie Museum of Art”
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