Since 2005 Kingston Gallery’s Emerging Artist program has offered recent MFA graduates the opportunity to be part of an artist-run gallery for a year, without the financial contribution such memberships usually require. Emerging artists get the experience of being part of a gallery, fulfilling all the aspects of membership, including gallery sitting, monthly member meetings, and inclusion in group shows, and are rewarded with a one-person show in our Center Gallery at the end of their tenure. The gallery benefits from the diversity that a younger, recent graduate brings to the mix, and welcomes their energy to the running of the gallery.
Last night during Beverly’s First Thursday Art Walk, Sophia Ainslie spoke about her current exhibition Interstitial to an audience of Montserrat students, faculty, and visitors with curator Leonie Bradbury. Seated in front of her wall painting “Fragments – Wall – Montserrat”, Sophia spoke about the development of her current body of work as a way of processing her mother’s illness and death, the evolution of her wall paintings, and future directions for her work.
The public is invited to a reception for Interstitial on Thursday, April 4, 6–8 pm, which will include a gallery talk by Sophia and curator Leonie Bradbury from 6–6:30 as part of Beverly’s First Thursday Art Walk.
The work up in the Kingston Gallery through February 24 — paintings by Sophia Ainslie, Stacey Alickman and Lynda Schlosberg — bring to mind the current interest and the many discussions inspired by Raphael Rubenstein’s seminal article which appeared in Art in America in 2009, “Provisional Painting”, and the superb show Paint Things: Beyond the Stretcher, curated by Dina Deitsch and Evan Garza now at the deCordova Museum and Sculpture Park.
Their work is part of this ongoing conversation about the way artists both pay homage to and challenge painting and its history, and the delight in that dichotomy — for both the practitioners and viewers as well. To see a painting of enormous scale inscribed on a wall, as is the case with Ainslie’s “In Person”, and to know that it is temporary, alerts the viewer to the challenge the artist presents — in questioning the value of the work and how one is to perceive it. Stacey Alickman literally takes the detritus of a work as she recycles oil paintings by peeling the paint off of its canvas and using the resulting paint-laden chips for other projects. Lynda Schlosberg’s work is characterized by a relationship between form and formlessness — even as the work is circumscribed by relatively conventional means, acrylic on panel, she is attempting to push against what might be expected from the materials themselves.