Monday, November 7, 2011

At Long Last, Pollination

About two years ago, Greg Wright was invited by the Brush Gallery in Lowell, Mass. to curate a show of works in encaustic. Greg wanted to shape the show around a theme, and chose pollination because he thought it had many "nuanced definitions." In addition, he "wanted to use the beautiful and life-sustaining pollinating activities of bees, producers of our beloved wax, as a point of inspiration." [quoting from Greg's Curator's Statement.] He invited a group of artists whose work he knew to create pieces about pollination that stretched the definition beyond the garden and into the realm of metaphor, poetry, philosophy and emotion. Yesterday, November 7th, was the opening reception for Pollination: Beyond the Garden. (Click images to enlarge)


Two of Greg Wright's dynamic paintings from the show.

Note: Greg has posted on his blog the full text of the exhibition catalog along with images of all the work in the show. So for a closer look at the work with details on titles, sizes and materials along with statements from the curator, the artists, the filmmaker and the beekeeper, check this link.

Thinking about this theme for such a long time and having made work for it more than six months ago, we artists in the show were all very curious to see each other's work in the flesh. It definitely did not disappoint. Here are a few shots from the opening that show the work and the artists involved.


A wall of pieces by Kellie Weeks about water-borne pollen.
Closeups of  two of these works below.









Toby Sisson and  Cherie Mittenthal admire a wall of work by Laura Tyler

Laura Tyler is a beekeeper as well as an artist and has also created the film, Sister Bee, about her experience with honeybees. Laura, who lives in Boulder, Colorado, will be present at the Pollination show on Beekeeper Day, November 19th, when she will screen her film. Tony Lulek, President of the Norfolk County Beekeepers Association, will also speak on that day about Colony Collapse Disorder and its effect on honeybees.


One side of a dimensional work by Toby Sisson



Toby Sisson, the recto side of another untitled piece.




Foreground, Toby Sisson, the verso side of the piece above



Three works by Sue Katz


Greg and Binnie Birstein in front of Binnie's work



Binnie Birstein's work


Two paintings and a dimensional box by Lynette Haggard in the window of the Brush Gallery with sun streaming in.


Binnie and Lynette with flowers presented to them by Ellen Granter,
a former student of Binnie's and  the subject of a blog post by Lynette


Milisa (Misa) Galazzi with her work


A closeup of Misa's delicate work that is hand-stitched on paper, then cut out
and dipped in wax. When it is hung away from the wall on pins,
it casts shadows behind it.


Kim Bernard and Binnie Birstein share a laugh and a hug


Kim with her work


Me with my work (not the most flattering lighting, is it now?)


Three pieces by Donna Talman


A detail of Donna's work


Another detail of Donna's work



Surprise visitor from Truro/Provincetown, Cherie Mittenthal of Castle Hill Center for the Arts, along with Kim


Stealth gift instigator, Misa, made a great thank-you card for Greg that we all signed


Then she framed a show postcard that we all signed


Then we all chipped in to present him with the pen we used for signing - a hand-turned
pen created by Misa's husband, David Michel of Pipe and Paddle Woodworking.
The pen actually looked like Greg's paintings!

Two other supportive artists who came to the reception, Linda Cordner and
Joanne Mattera, deep in conversation. That's Greg's shoulder on the left.


The Pollination catalog that contains all the statements and images of all the works.




If you want to order a catalog to be sent to you, here's what to do:

Send: Buyer's name and mailing address along with a check for $16.25 per catalog to:

Brush Gallery & Studios
Att: Catalogs
256 Market Street
Lowell, MA 01852

Greg may also have some available for sale at the conference in June if you can wait that long.




One photo I missed getting yesterday is Eileen Byrne, Executive Director of The Brush Art Gallery, who was so kind and helpful to Greg and all of us.  But, thanks to Google, here she is:


Eileen Byrne - Thanks for all your help!

So there you have it, a wonderful time was had by all and there is still more to come:





Kind of overexposed, but I hope you get the idea!

Saturday, November 5, 2011

Reporting In On The Latest News and Views

Growing Older, Growing More Conservative
Uh-unh. Not me, man! I heard on the radio that a new survey from the Pew Research Center shows that there are generational gaps in political views and attitudes toward the government. Supposedly, people grow more conservative as they age. This study says that if the Silent Generation (born between 1928 and 1945) had their way, Mitt Romney would become the next president because this group considers themselves more Conservative. This political orientation supposedly grows weaker as generations become younger, with Millenials (born between 1981-1993) being both the youngest and most Liberal.


Wikipedia map showing percentage of self-identified Conservatives, according
to a Gallup survey, August 2010. The darker the state, the more Conservative.


Now I don't want to say that the world revolves around Massachusetts, but I don't know any people (except the next-door neighbors that we don't talk to) who are self-identified Conservatives. Notice how pale the East and West Coast states are? We are Liberal here! Furthermore, we in Massachusetts have had experience with Mitt Romney. I wouldn't elect him to ANY office, let alone president. Where were we in that survey?

I don't know about you, but the older I get, the more Liberal I get. That doesn't mean that I'm not skeptical and pessimistic, because I am. Still, I don't want to tell anyone how to live, I want us all to have equal rights, I want to have the government regulate corporations (who are not people but business entities organized to make as much profit as possible), I want the police to enforce the law but not make it, I want us all to make nice, but probably not all of us will. I want to be that old lady in tennis shoes who stands on the corner with a peace sign. However, I will probably never do that because I'll be in the studio making art and talking back to NPR when they publicize these assinine surveys telling me how Conservative I am.


Oh, That Nasty Storm
Oh, the misery we suffered during the past week - trees brought down or torn apart by that weird October snowstorm that led to no power - for DAYS -  no lights, no heat, no cell phones, no cable or internet, no refrigeration, no warm showers, no Facebook! We here in Easthampton were without for power for three days and I was about at the end of my tolerance. I would have made a lousy pioneer woman. Some poor souls have still not had their power restored after a week, and I feel empathy and pity for them because it is really miserable to have no light and heat when it gets down below 20 degrees at night. I would not want to go through that again any time soon - or any time at all.

Our house with tree limb on roof and electric wires

In the aftermath, we found we had plenty of damage but no direct hits to our house. We had a broken limb that stretched across the driveway and hit the wires where electric power comes in from the street, but we got it removed pretty quickly and the wires were OK.


Flattened ornamental grasses

Our mulberry tree split right down the middle and is now laying on an apple tree
and a dogwood tree. Still waiting for our tree guy to cut it up.





Our fence at the back of the property was badly damaged by a heavy limb
from a neighbor's tree. This has already been repaired. We need to keep out
the bears and coyotes and keep in the dogs.

There are a lot of other broken branches and limbs but all in all, we consider ourselves lucky to have gotten off as lightly as we did.

I am not someone who goes through life looking for lessons to be learned, but in this case, I did learn how lucky we are to have electricity continuously available except in extreme circumstances. I am still in appreciation mode and relishing the fact that I can flip a switch and have light, TV, internet, heat and all the rest of the modern conveniences.

In God I Don't Trust


The "official" motto of the U.S. on the sides of U.S. $1 coins (that nobody uses)
From the NY Times - Getty Images.


If you follow me on Facebook, you know that I've been ranting away on the recent nonsensical resolution passed 397 to 9 by the House of Representatives reaffirming the Official Motto of the United States as "In God We Trust." Although the "unofficial" motto of the U.S. since its inception was E Pluribus Unum (Out of Many, One), the House felt it necessary to remind President Obama that the "Official" motto, going all the way back to the Red scare days of Senator McCarthy in 1956 was "In God We Trust."

Why does this bother me so much? Aside from the fact that the country is going down the tube while Congress sits around on their asses mouthing off about complete nonsense,  I resent this Religious Right assertion of what the U.S. does or does not trust. Personally, I do not believe in god or gods, and as the Executive Director of the American Humanist Association, Roy Speckhardt, wrote in the Huffington Post:

"[This motto] is in direct opposition to our national tradition of secular governance and is a slap in the face to the many nontheistic Americans who object to government endorsement of religion.

By placing "In God We Trust" in public buildings, public schools and other government institutions, we weaken the wall of separation between church and state. Even though this motto doesn't favor one religion's god over another, it assumes that there is a god, and that there's only one. That excludes polytheistic Americans like Hindus, nontheistic Buddhists and the 16 percent of us with no religious affiliation. This kind of government sponsorship of religion runs afoul of the First Amendment and should be strongly rejected by our legislature and our judicial system. It is the sworn duty of the government to uphold the Constitution, and allowing this resolution to pass would be a direct violation of that obligation."

Kindly do not tell me what I do or do not believe, if you please. I am not conservative and I do not trust in god. Thump that bible and that nonsensical survey all you want, I'm not buying it.

Saturday, October 29, 2011

Birth of The Dark Series

The series of works that I have been making for nearly a year, The Running Stitch, is framed in my mind as relating to the way memory is built up and breaks down over time. The mixture of materials that I use and the fragments of text, books, objects and colors metaphorically represent segments of experience that are stored sequentially but retrieved in a fragmented and almost random order. I enjoy making The Running Stitch and I think that my most successful pieces in that series contain a dark aesthetic.


The Black One, 2011, tarpaper, book covers, patinated aluminum, oilstick, encaustic, tacks, 36"x36"

That said, sometimes I feel compelled to make works that are related to but not part of this series. These works celebrate the color black and revel in darkness. This part of my oevre precedes The Running Stitch by many years and seems to be my natural aesthetic. So here are two large works in what I have named "The Dark Series." (Click pix to enlarge.)

As far as the context and/or antecedents of this work, I think it derives from my great admiration for and study of African and African American art. This is my connection to Leonardo Drew and El Anatsui. At the same time, it relates strongly to the early work of Lee Bontecou and to Louise Nevelson, both white American artists. I believe that Bontecou's canvas work of the 1950s and 1960s was also strongly influenced by an African aesthetic as was Nevelson's.


Material World, 2011, cardboard, rubber, book parts, album cover parts, rubber,
patinated aluminum and copper, oilstick, encaustic, tacks, 36"x36".  (Most of the
cardboard in this piece comes from the boxes that the tacks are packed in.)


Both The Running Stitch and The Dark Series are composed of found and invented objects in a form called "bricolage," which I have written about many times (and which is the subject of my Art of Bricolage blog). Bricolage has probably always existed and predates the use of conventional or specialized art materials. The Italian Arte Povera movement of the 1960s claimed this use of "everyday materials" for their own to "break down the dichotomy between life and art" (to quote from MoMA's statement on the topic). However, that movement did not combine the free or low cost materials in a geometric presentation, and geometry seems to be a major part of my own aesthetic and of both my continuing series.

I like this idea of having two ongoing series. It lets me feel free to experiment more. Someone recently called me a rebel, and I guess that all of us who grew up in the '60s have a rebellious outlook to some extent. That seems to have become stronger as I've grown older and witnessed the way the world threatens to break apart. It won't be long now before I'm out there on the streets occupying something, but right now I'm quite busy occupying my studio.

Friday, October 28, 2011

Painting Freedom

Coming soon - a post with my newest work. I am having two pieces re-photographed because I made changes after the first go-round. (The photographer says some people have gone for three and four times on the same work, so I guess I'm ahead of the process.)

Anyway, meanwhile, I just noticed this today:

Joan Mitchell, untitled, 1991

Willem deKooning, 1983


I thought the Joan Mitchell piece had a lot of the same feeling of deKooning's late work in its openness and freedom of marks. This imagery seems just as different for her as deKooning's did for his oevre. Maybe we all get to that place in our work as we release our hold on life?

The Joan Mitchell image is from her New York dealer, Cheim & Read, where an exhibition of 13 of Mitchell's works called "Last Paintings" will be shown November 3 - January 4.

Wednesday, October 19, 2011

SHIFTING at UMass Amherst

Sick of hair! So how's about some art for a change?


In the center foreground - part of a work by Sue Katz, to the left - work by
Donna Talman and to the right - work by Toby Sisson.

Last Saturday afternoon I went to the Hampden Gallery at the University of Massachusetts Amherst campus, about half an hour from where I live, to the reception for SHIFTING, a show of works in encaustic curated by Sue Katz. I took some pictures with my iPhone that are not the best but will give you an idea of the work. The show is up until November 10th and you can see the hours on the Hampden Gallery site. It's well worth a trip! I am also giving the website address for each artist for more info about their work. Click each name for that artist's website. CLICK PIX TO ENLARGE (By the way, here's a link to a very nice article about the show in Preview Magazine.)

TOBY SISSON







DONNA HAMIL TALMAN





KIM BERNARD












SUE KATZ







PAM FARRELL












In the gallery with Pam Farrell, Lynnette Haggard and Catherine Weber