Art and Giving Join Forces

Community partners at both ends of Harrison Avenue join forces to support immigrants and refugees.bmc_atkingston_03

Discussing the art in Relay: Jeff Samet, MD, BMC Section Chief, with Sarah Kimball, MD and Ilona Anderson, Kingston artist. Photo by Alex Hua.

For our January All Members show, Relay, the members of Kingston decided to donate their share of the proceeds from artwork sales during the exhibition to the Boston Medical Center Immigrant & Refugee Health Program. We wanted to do something to offer support to vulnerable populations, and the clinic, at the other end of Harrison Avenue from the gallery, was an ideal choice. Their program serves approximately 700 patients from many countries across the globe, who have been displaced by war, trauma, torture, and sexual and gender-based violence. IRHP serves the complex needs of these patients in a culturally informed and multidisciplinary setting, offering integrated mental health, case management (for HIV patients), women’s health specialty services and care coordination. In addition, IRHP is a designated screening site for newly arrived refugees in the Department of Public Health’s Refugee Health Assessment Program, through which the program provides initial screening, vaccinations, health education and connection to primary care. This work is incredibly important, now more than ever.

BMC_AtKingston_01.jpgStaff of the BMC Immigrant & Refugee Health Clinic. L to R: Nicolette Oleng, MD, Sondra Crosby, MD, Sarah Kimball, MD, and Aissatou Gueye, NP. Photo by Alex Hua.

The Immigrant & Refugee Health Program is currently fundraising to host a full time New American Integration Program AmeriCorps member. This full time staff member would help newly arrived refugees navigate the complicated processes of applying for jobs, learning English, and applying for green cards, services which our patients need but are outside of the scope of what healthcare can traditionally offer.   The current fundraising goal of $10,000 would support the first year of this program.

On January 12 Kingston hosted a fundraising evening for the clinic, bringing together BMC physicians, staff and researchers with gallery artists and friends. It was a great mix of energy and together we raised over $2500 for the clinic! Thanks to everyone who came out during the month to see the show, and special thanks to those who donated.

bmc_atkingston_02Viewing art in Relay. Photo by Alex Hua.

Remembering the Future

By Shana Dumont Garr

“The past, present and future occurs simultaneously and future actions can change the past. And anything is possible.” -Lynda Schlosbergschlosberg_theconsciousweb_installationview2_sm

The paintings in “The Conscious Web” bring on a sense of plunging into an alternative reality. Ornate and enigmatic spaces do not duplicate the everyday, but possess familiar organic structures and rhythms that are built with complex skeins of lines and dots painted in colors as bold and beguiling as gems.

While the paintings may evoke the deep sea or vast, starry skies, they are not landscapes. The artist’s conceptual impetus is to portray energetic connections throughout the universe, where people, places, thoughts, and things intersect. The dots are metaphors for atomic particles, the submicroscopic, smallest unit of everything. The fine lines conjure matrices whose rippling gestures suggest interactions between subatomic matter.

lyndaschlosbergThe at-times immersive and vertiginous atmosphere makes the painted space seem limitless and sublime. In the twentieth century, modernist painters broke from the past, making grand works not for religion or humanism, but as inspired by their own feelings. Inheritors of Albert Einstein’s theory of relativity and Sigmund Freud’s theories about the subconscious, their artwork made sense of newer ways of comprehending the world.

Schlosberg’s muse, the concept of a unified field of energy, provides an apt twenty-first century update to understanding the world. The marks in The Conscious Web form fluid, dappled, rippling spatial planes that do not adhere to a fore-, middle, and background. Like circuits or rhizomes, they have no dominant ranking, allowing for multiplicity in terms of what may instigate influence, growth, and time.

schlosberg_theheartofthematter_detailEach work is an act of engagement with the belief that all things already exist, yet they can manifest themselves in many different ways. The use of patterns are also meaningful: Schlosberg says, “there is more than one path to the same destination, and the repetition of form(s) alluding to this is a purposeful part of the development of the work.” Like impressionistic maps at the scale of particle physics, they suggest aspects of our world that are not visible to the unaided eye, but do exist.

Scientists have found that, when atoms are watched, they behave differently than when there is no witness. That the act of looking, or the presence of consciousness, alters reality is a  tantalizing premise for visual art. Schlosberg’s paintings may be read as meditations on this fact, or reminders, prompting us to take care with our actions, as each ripple touches everyone.

The titles guide us toward these realizations. Entangled with You looks like two planes pressing against each other, registered with fingerprint-like forms. At times the lines match, moving in rhythm with each other, and at other points they diverge. A Messy Cloud of Probability appears to be a kinetic, soft crush of pigment. Its composition harmoniously unites organic and hard-edged imagery, emblems bridging the intellect and the senses, insisting that we are more than our flesh. When we die, we cannot fall out of the universe. Our energy alters, as a grid may pivot direction or pool around a bright dot. It is hard to tell how close or far away we are from the theoretical matter in each image, and that’s part of the idea. The dynamism and complexity of the universe remain an abiding mystery.

lyndaschlosberg_cloudofsoulsShana Dumont Garr is the Curator of Fruitlands Museum in Harvard, MA. She was previously the Director of Kingston Gallery, and prior to that, the Director of Programs & Exhibitions at Artspace in Raleigh, NC. She has a MA in Art History from Boston University and a BA from Colby College in Waterville, ME.

All Member Show: Relay

Wessman_Tulip Project #7 jpeg.jpg
From Ann Wessmann (above) to Julie Graham(below)

Julie-Moving On.jpg

From Julie Graham to……..Kingston Gallery brings you an All Member Show : Relay
  1. 1.
    a group of people or animals engaged in a task or activity for a fixed period of time and then replaced by a similar group.
    “the wagons were pulled by relays of horses”
    • a race between teams usually of sprinters or swimmers, each team member in turn covering part of the total distance.
      “a 550-meter relay race”
  2. 2.
    an electrical device, typically incorporating an electromagnet, that is activated by a current or signal in one circuit to open or close another circuit.
  3. 3.
    a device to receive, reinforce, and retransmit a broadcast or program.
    • a message or program transmitted by a relay.
      “a relay of a performance live from the concert hall”
      synonyms broadcast, transmission, showing

      “a live relay of the performance”
verb: relay;
  1. receive and pass on (information or a message).
    “she intended to relay everything she had learned”
    synonyms: pass on, hand on, transfer, repeat, communicate, send, transmit, disseminate, spread, circulate

    “the PA announcer relayed this message to the crowd”
    • broadcast (something) by passing signals received from elsewhere through a transmitting station.
      “the speech was relayed live from the White House”

This group exhibition embodies all of the definitions for the word relay both noun and verb, a circuit opens another closes, information is transmitted….it is a visual conversation created through art. A call and response. To curate the works on view a finished piece by one member artist was passed along, in succession, to another gallery artist who selected a visual response with a work of their own, in turn passing it down the line. A visual community is manifested.  The concept of the exhibition runs in parallel with conversations currently occurring in the wider community about how to move forward in unity and strength through the currently charged political climate. In an effort to offer support to vulnerable populations, Kingston Gallery will donate their share of the proceeds from artwork sales during this exhibition directly to the Boston Medical Center Immigrant & Refugee Health Program. Boston Medical Center Immigrant & Refugee Health Program.

From Susan AlportSusan Alport, _Liz & Fitzgerald Letter_, 35 mm film print, 2016.jpg

To Jennifer MosesMoses_Homage to Musa ll.JPGFrom Jennifer Moses to …..and so on and so on…..January 4-29

Cree Bruins: Pieces of Light

Cree Bruins creates abstract photographic images made from analog photographic production materials that are now no longer being manufactured and are seldom used due to the rise of digital photography. In her collages and installations, she recycles discarded 35 mm end leaders, photo gels, and processed or unprocessed slide and print film. Bruins is fascinated by what happens to the parts of film that bear no images but have sensitively recorded their passage through light, chemical baths and the drying process.

She says about her work, “The recent and rapid movement from film to digital photography has changed how we view our world and the pictures we produce.” Her goal is “to bring to light elements of space, time and memory to reclaim a medium that has all but faded into the past.” Metaphors of the process of “developing” are visible in the subtle transitions of color we see in the work, which displays a specific sense of the light captured on the film surfaces.

Bruins’ father was a Kodak researcher, so an interest in photographic materials comes naturally to her. Before embarking on her ten-year practice working with these collages, she was a nurse, and she draws a parallel between caregiving and restoring health to people and her practice of bringing new life to a nearly abandoned technology. As an artist, Bruins has been the recipient of numerous awards, including one from the Massachusetts Cultural Council in Drawing in 2010.

Because Cree works in a small apartment and has no formal studio, her work lives as a vision that won’t be seen until the show opens. However, the images included here give an indication of what there is to see in the gallery at Kingston this month. Come and expose yourself to Cree Bruin’s new work!





Jennifer Moses has Elbow Room

Elbow Room is an exhibition of paintings and wall collages that Moses works on simultaneously. The paintings and collages are both visceral and humorous and they speak and refer to each other across her studio walls. The collages are free to meander and engage the white of the wall, they expand and constrict at will. While the paintings harness that edgeless quality in a crowded conglomerate of shapes that work their way up to the edges of the picture plane.

Congested or expansive, the qualities that both have in common are the relationship between flat shapes and texture, and the surprise of cutouts rearranged and layered together.

A Fond Farewell


My snapshot of Mira Cantor’s painting, Turlough, in her exhibition “Inundated,” October 2016.

In early 2015, I became Kingston Gallery’s first director. An artist-run space, it was a particularly appropriate endeavor for me, as one of my favorite parts of my profession is working with and supporting visual artists.  I’ll never forget the collective gaze of the twenty-five artist members during the final interview. It was intense, in a good way.


At an October 15 gallery talk with Mira Cantor & art historian Pennie Taylor

The next year and a half was a blend of me being impressed by the artists, whether during studio visits, at monthly meetings, or installing exhibitions, and learning the rhythms of the commercial art business in a changing neighborhood. Several new galleries opened on our block in 2016, and not long after that, the Globe significantly altered the way they cover visual art. At times, First Fridays seemed to arrive at a weekly pace rather than by the actual months they were scheduled.

Being a visual artist is a brave and adventurous vocation, and my time at Kingston added only further certainty to this reality. Through it all, the Kingston artists remained steadfastly connected to the gallery’s mission to exhibit high-quality artwork by regionally based artists with singular and independent voices.

It was my job to increase the reach and profile of the gallery, and of each artist. I couldn’t ask for a better way to reacquaint myself to the Boston art scene after having spent five years living in Raleigh, NC. Meanwhile, I knew that ultimately, I wanted to curate the exhibitions, to choose the art, the subject matter, and every detail of what went into the shows I worked on. I got that chance when I was offered the position of Curator at Fruitlands Museum in Harvard, MA, an opportunity that I accepted. As a result, I am no longer the Director of Kingston Gallery, but I continue to support its terrific artists and this independent business.

Alternative spaces of this kind bring consistently bright and varied voices to the city’s cultural landscape, enabling the public to put their finger on the pulse of what some of our most talented artists are working on right now. I wish to thank all of the members and associate members for letting me feel like an honorary member, and like a vital part of the gallery.


Detail of an installation in Ann Wessmann’s solo exhibition, Being: Vertical + Horizontal, September 2016.


Jennifer Moses’ Elbow Room: An Interview in Images with Linda Leslie Brown

Jennifer Moses’ quizzical, layered paintings are packed with physical and conceptual content. They also manage to pay homage, in ways both straightforward and sly, to a panoply of artists -some of whose work you may recognize below. Elbow Room, her show on view this month at Kingston, is a visual feast you won’t want to miss.

I met Jennifer for coffee recently to talk about her work, in an extension of an ongoing discussion we’ve carried on over the years. So, we sat around over at Nero the other morning talking about our art heroes and influences, of whom we have several in common.

Here’s one of Jennifer Moses’ works:

-1.jpgJennifer Moses  Bird on Wire 33×30 oil on panel

And one of my wall pieces

Linda Leslie Brown Nutthouse 2016 mixed media

We decided to conduct our discourse in images…

“First, she said, there’s…


…And don’t forget


Do you know this one?Sassetta_-_The_blessed_Ranieri_frees_the_poors_from_a_jail_Florence_-_Louvre.jpg

We have to mention  picasso_nudeinanarmchair1929  of course.”

And it seems both of us have a permanent Resident in our studios:


Well, that started a flow of images…murray2450

th   the-weeping-woman



…as well as images of flow…


until I came out with


which started us both laughing. We could go on and on with this!

So I’ll leave it to you, Readers, to search out further references like these in Jennifer Moses’ paintings and collages at Kingston Gallery this November.

See you at Elbow Room!