Gallery Artists’ News

The second half of 2014 was as busy as the first for Kingston Gallery’s artists! We are happy to share what our artists have been up to:

Ilona Anderson currently has work in Imaginal/Imagining The World (organized by Deborah Davidson, Suffolk University Gallery Director) at the Adams Gallery, Suffolk Law School. The exhibition runs through January 25.

Kathleen Gerdon Archer was a finalist for the Photolucida Critical Mass awards. Photolucida is an arts nonprofit based in Portland, Oregon whose mission is to provide platforms that expand, inspire, educate and connect the regional, national, and international photography community.

Linda Leslie Brown Co-Host Ceramic, metal, plastic, paper clay 13 x 9 x 9 inches 2013

Linda Leslie Brown — Co-Host, ceramic, metal, plastic, paper clay, 13 x 9 x 9″, 2013

Linda Leslie Brown has been awarded a 2015 Traveling Fellowship from the School of the Museum of Fine Arts, Boston. She had a new environmental work in copper wire and crystal, Indra’s Drala Net, installed as part of the Kingstown RI Land Trust Sculpture Trail, and she currently has work in Imaginal/Imagining the World Imaginal/Imagining The World at the Adams Gallery, Suffolk Law School. (See Ilona Anderson, above, for full details).

Judith Brassard Brown’s painting, Frontline, was purchased by NYU’s School of Professional Studies in New York, NY. She had work in the group exhibit Faculty and Students of Montserrat College of Art and Endicott College at the Rocky Neck Cultural Center, Gloucester, MA during the month of October, and also during October she exhibited work at New England BioLabs in Ipswich, MA.

Mary Bucci McCoy is now represented by Gray Contemporary in Houston, TX and CG2 Gallery in Nashville, TN. Her work was included in an exhibition of work by gallery artists, Aloe Vera, at Gray Contemporary in August and also was featured in a two-person show with the British painter Erin Lawlor, Long Loud Silence, in September and October at the gallery. Reconfiguring Abstraction: Lisa Russell and Mary Bucci McCoy was on view at the FPAC Gallery in South Boston in August and September. Mary was the Visiting Critic for the fall semester at Montserrat College of Art’s Senior Fine Arts Seminar. She has work in a group exhibition of work by gallery artists at Gray Contemporary, Houston, TX through January 17.

Conny Goelz-Schmitt had work in Bibliophilia at Nave Gallery Annex, Somerville, MA during the month of October. Also during October Conny also had work in Time Travelers at Cambridge Arts Association, Kathryn Schultz Gallery, Cambridge.

Julie S Graham had work in the Salon Show at the Clark Gallery, Lincoln, MA in November–December.

 the space between, hand embroidery on re-appropriated linen, 50 x 72", 2012

Joetta Maue — the space between, hand embroidery on re-appropriated linen, 50 x 72″, 2012

New member Joetta Maue spoke at the event With Thread in Hand, a program celebrating the historic and vital art of embroidery, at The Atwood House Museum in Chatham, MA in November. Also in November Joetta had work in Narcissism and The Self-Portrait at the Ann Street Gallery in Newburgh, NY. She had work in The Personal is Political, at the Slater Concourse Gallery, Aidekman Arts Center, Tufts University, Medford, MA in November and December. Joetta gave an informal talk within the context of the exhibition Vessels at the Nave Gallery Annex in Davis Square in December.

Jennifer Moses was an artist in residence at Yaddo, Saratoga Springs, NY for the month of July. She had work in the summer-long exhibition Surface, Strokes and Light, a group exhibition of of contemporary painters and sculptors at Kelly Roy Gallery. Broadsided Press displayed a collaboration between Moses and poet Annie Finch on the Cape Cod Public Bus Transit in the summer through September.

Rose Olson had work in Postscript: A Selection of Work from the Gallery Artists and the Director’s Collection at Hutson Gallery, Provincetown, MA in September and October . She had a group of small works on display in October at Susan Maasch Fine Art, Portland, ME, and currently has work on display there in Gallery Artists: Group Exhibition at Susan Maasch Fine Art, through February.

Christina Pitsch — Flora of Fauna Porcelain 21” x 21” x 5” 2013 [photo: Millyard Studios]

Christina Pitsch — Flora of Fauna, porcelain, 21” x 21” x 5”, 2013
[photo: Millyard Studios]

New member Christina Pitsch has work in Beasticon II at Mark MIller Gallery, 92 Orchard Street, New York, NY. The exhibition runs through January 15.

Lynda Schlosberg is guest juror for Chroma, a national juried exhibition of work on hue, saturation and value at Gallery 263 in Cambridge, MA. The exhibition will run January 15 – February 14, 2015. She has work in Gallery Artists: Group Exhibition at Susan Maasch Fine Art, Portland, ME through February.

Elif Soyer had work in the annual exhibition Ekim Gecidi (The Passage of October) at the Canakkale Museum of Ceramics in Canakkale, Turkey in October and November.

Ann Wessmann had work in the group show Earth to Heaven at Spoke Gallery @ Medicine Wheel Productions, South Boston from September to November.

Luanne E Witkowski’s works on paper and selected paintings were featured at Hutson Gallery, Provincetown, MA during the summer and she had work on display there in Postscript: A Selection of Work from the Gallery Artists and the Director’s Collection in September and October. She also had work in Trans-Alternate: artists, social practitioners, and voices seldom heard from Nepal: Art and Social Practice – Call and Response at Godine Family Gallery, Mass. College of Art and Design, Boston, MA in October.

 

Kingston Gallery Artist News

Kingston Gallery artists have had a busy first half of 2014:

Stacey Alickman — Lost Year, oil on canvas, 48 x 42", 2014

Stacey Alickman — Lost Year, oil on canvas, 48 x 42″, 2014

Stacey Alickman received the 2014 Blanche E. Colman Award.

Ilona Anderson has work in Pipe Dreams, Wishful Thinking, Grand Gestures & Dirty Lies at ASC project space, 526 West 26th Street, Room 304, New York, NY through July 15. Ilona also has work in the group exhibition As | Orchard opening July 31, Lower East Side, NY.

Kathleen Gerdon Archer and Barbara Moody were named Co-directors of Kingston Gallery for 2014. Kathleen Gerdon Archer and Conny Goelz-Schmitt both had work in the group exhibition Synchronicity at the Associazione Culturale Rosa Venerini (ACRV) in Viterbo, Italy from June 27 – July 6. They spent the month of June at the Associazione Culturale Rosa Venerini (ACRV) Residency Program.

Judith Brassard Brown is exhibited in The Power of Suggestion at Gallery Alpers Fine Art in Andover, MA from January 15 – March 22. For more information visit www.alpersfineartonline.com. Judith is now also represented by Art in Giving, www.artingiving.com. This non-profit organization provides a creative way to raise funds for research for the prevention and cure of childhood cancer.

Linda Leslie Brown and Luanne E Witkowski both had work in a group show at AMP: Art Market Provincetown, 148 Commercial Street, which runs June 25 – July 9.

Mary Bucci McCoy was interviewed by the 365 Artists 365 Days project.

Mira Cantor is teaching at the Burren College of Art in Ireland during the month of July.

Julie Graham was in the group show Small Works at the Ruth Bachofner Gallery in Santa Monica, CA, November 30, 2013 – January 11, 2014. She also had a solo show Topoanalysis at the Carol Schlosberg Alumni Gallery at Montserrat College, Beverly, MA, May 28 – June 27.

Mary Lang’s had a one-person retrospective exhibit, Like Water, at the Trustman Gallery at Simmons College, March 17 – April 17. The exhibition was reviewed by Mark Feeney in the Boston Globe.

Barbara Moody taught a new studio intensive course entitled Expressive Interpretations of the Landscape, at Montserrat College of Art in Beverly, MA in both January and July. She exhibited her photo-collages March 17 – May 7 in a three-person exhibition at the Albright Gallery, in Concord, MA. And she and Ann Wessman both have work in Dreaming Gardens at Suffolk University Gallery, 75 Arlington Street, Boston, MA, which runs June 10 – August 22, curated by Deborah Davidson.

Jennifer Moses showed her work in a group exhibition of 12×12 paintings at the Oxbow Gallery in North Hampton, MA, December 5, 2013 – January 5, 2014. She has work in the summer long exhibit Surface, Strokes and Light, a group exhibition of of contemporary painters and sculptors at Kelly Roy Gallery. Broadsided Press is displaying a collaboration between Moses and poet Annie Finch on the Cape Cod Public Bus Transit through September. Jennifer is also an artist in residence at Yaddo, Saratoga Springs, NY for the month of July.

Rose Olson will be featured at Hutson Gallery, 432 Commercial Street in Provincetown, July 25 – August 7. She also has work in Danforth Art Museum’s Community of Artists Annual Juried Exhibition, which runs June 8 – August 3.

Lynda Schlosberg had a solo exhibition Field of Potentiality in the Spencer Presentation Gallery at the Walter J. Manninen Center for the Arts, Endicott College, Beverly, MA, January 28 – March 20. She was the featured gallery artist at Susan Maasch Fine Art in Portland, ME for the month of March. And her work was included in Painting Intricacies, curated by Resa Blatman at Nave Annex Gallery in Somerville, MA, April 18.

Luanne E Witkowski’s mixed media works were included in a group exhibition in the President’s Gallery, Massachusetts College of Art and Design, December 9, 2013 – January 23, 2014.

For The Love of Paint!

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To quote painter Carrie Moyer, “Painting is about paint.” Jennifer Moses and Jeffrey Hull both love paint and everything about it. These two artists share this love, and a life-long commitment to the material itself, to the paint. Yet viewed side by side each has a different style and a different way of presenting ideas about abstraction. Jeff Hull’s paintings and drawings could be described as beautiful but not elegant; Columbia University professor Gregory Amenoff comes to mind as an influence. Jennifer Moses’ work always seems to be seeking resolution and makes a nod to that of the painter Arshile Gorky.

One of the most valued aspects of an artist’s activity is the act of observation. This certainly describes what Moses and Hull do, using the paint, the “stuff”, to express what they carry inside, what they experience and observe internally: the accumulation of narrative, shapes, color, experiences, associations. Moses and Hull are artists who make this demand on themselves, to express what is ineffable. Requiring passion and diligence, they ask the viewer to join them on their journey, letting us see what they see.

Image: Jeffrey Hull, April in Paris, Oil on Canvas, 13 x 18 inches, 2103.

Negotiated Possibilities

(From the brochure for Jennifer Moses: The Black and White of Things, at Kingston Gallery February 5 – March 2, 2014)

Bandelier Phantasmagoria 21 x 23 2013

Jennifer Moses — Bandelier Phantasmagoria, oil on wood panel, 21 x 23″, 2013 [photo: Bruce Rogovin]

In 2010 Jennifer Moses was given the opportunity to leave her Boston studio behind for a sabbatical year at the Artist-in-Residence Program in Roswell, New Mexico. The residency culminated in a solo exhibition, Spellbound, at the Roswell Museum and Art Center. The work in that exhibition revealed the awestruck response of a native New Englander to the western landscape on both a macro and micro level. Glimpsed within these abstract paintings were echoes of the enormity of the desert and sky, the monumentality of exposed rock faces, the delicately patterned complexity of spider webs, the colors of the surrounding scrub. Since returning to Boston, she has worked to reconcile her transformative experience of the West with her lifelong experience of the urban spaces of the Northeast.

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Jennifer Moses, Starburst, oil on panel, 12 x 12″, 2013

Moses uses the synthesis of opposing visual languages as a means of telling non-linear stories, explaining, “My process tends to be to paint until there seems to be no way forward and then try to introduce an impulsive and contradictory language in the work. From there it is like working a puzzle trying to integrate the two languages while maintaining the integrity of both. That is where the choices, this or that, black or white incite the creation of an image.”

As she has matured as an artist, her process and paintings have become increasingly complex, rich and varied, for rather than abandoning a visual language as she moves forward, she incorporates it into her ever-expanding repertoire. Earlier influences which continue to inform her vocabulary include details of Proto-Renaissance paintings as well as decaying Italian frescoes first seen during undergraduate studies in Rome; the work of Modernist painters such as Arshile Gorky, Willem de Kooning, and Philip Guston; and Hilma af Klint, whose work Moses saw in the 2013 Venice Biennale but has been looking at since the 1980s. More recent influences include the 2007 MoMA exhibition Comic Abstraction: Image Making, Image Breaking and Amy Sillman: One Lump or Two at the Institute of Contemporary Art/Boston.

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Jennifer Moses — This or That, oil on wood panel, 16 x 16″, 2013 [photo: Bruce Rogovin]

Like centuries of painters before her, Moses leverages the characteristics of oil paint in a time-honored process of scraping, blocking and repainting, although she foregrounds rather than hides the journey by allowing it to remain visible. Yet at a time when the deliberate open-endedness of provisional painting is a much-discussed response to our era of ever-increasing uncertainty and possibilities, Moses takes an opposing path: she demands a resolution for each painting. She challenges herself to avoid remaining in an unresolved, gray area — making and ultimately committing to decisions, to the black or white yes or no of the process. The inherent tension of her finished paintings, comprised as they are of an accretion of reconsidered marks, is compellingly destabilizing: in this work the certainty of resolution does not mean that the dynamic tension has been relieved.

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Jennifer Moses — Untitled, oil on panel, 33 x 30″, 2013 [photo: Forrest Elliot]

When Moses visits museums she is sensitive to the dialogue between the works of art she is viewing. While grounded in her here and now, her new paintings reach back and forth through time and across continents, in animated conversation with places, artworks, and audience. The Black and White of Things offers evidence that she is a painter very much in tune with the world of today, thoughtfully absorbing and negotiating visual, narrative and conceptual complexity to arrive at resonantly contemporary solutions.

— Mary Bucci McCoy

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Studio view.

Jennifer Moses – Hard Won

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The current exhibit The Black and White of Things in the Main Gallery, which opened last week, is not to be missed!  Jennifer Moses’ work is tough and rigorous, each painting like a well conceived and constructed sentence.  The paintings together speak to each other and to the viewer. The other exhibits, Jeffrey Hull’s paintings and drawings in GUMBO VARIATIONS and Kathleen Gerdon Archer’s work, entitled The Door Behind Us, complement Jennifer’s work – come check them out at the Kingston Gallery, through March 2.

Image: Jennifer Moses, Moonrise, 12×12 inches, Oil on wood panel, 2013

Barry McGee at the Institute of Contemporary Art, Boston

Two gallery artists share their experience at the recently-ended exhibition Barry McGee at the ICA in Boston:

Stacey Alickman writes: “Barry McGee is a master draughtsman from the world of graffiti art.  The vast quantities of doleful faces and engaging typography become a pleasant assault on the retinas. His impulse to fill space, all space, feels urgent yet organized. The work relates to so many artists whose work I appreciate — from Mad Magazine’s Sergio to the many artists of underground comics, to the paintings of Jim Nutt, to the outsider art of Jean Dubuffet and Adolf Wolfli.

Installation view

Installation view

McGee elevates his work through beautifully composed arrangements that feel both spiritual and transcendent. There are cluster installations that are made of framed, fairly small drawings. One is required to come close to the work and experience each micro-element. The drawings of people and creatures are funny and sentimental, random and appealing. But it is also necessary to step back and examine the cluster as a whole. This is like being at a party filled with people, only to step away in order to observe the crowd.

Barry McGee — sheeple, gouache on paper, 12.5” x 49.5”, 2009

Barry McGee — sheeple, gouache on paper, 12.5” x 49.5”, 2009

The piece that I was most taken by was the one I thought about days after seeing the exhibit. It was a shed that contained the artist’s own images and those of his late wife, Margaret Kilgallen. Peering into this shed, an ersatz home, is an intimate and bittersweet experience. Their domestic life had been intertwined with the making of art and the shed secures this legacy.”

And Jennifer Moses provides a video here.

Moses_video