Joining Susan Alport is 2014 MFA/ Emerging Artist, Eugene LaRochelle, with his exhibit I Love You in the Center Gallery. As you follow the suite of silkscreen prints around the room, a crescendo builds with the repetition of the phrase “There are no gay people in Korea”. The text not only becomes image but also sound, a litany, a chorus, both inviting and implicating the viewer as she works her way around the gallery space. As it builds in density, the text becomes less clear but more implicit. The artist wants to have a dialogue with the viewer and for the work to engender that conversation.
LaRochelle invites the audience to see and hear his concerns about pain as a universal theme. He aims to create work that frames and provides a window into conversations on pain and conflict, allowing the observer to eavesdrop and gain an intimate, even invasive view of the private lives, quarrels and suffering of others.
This is the last week for the three October exhibits – work by Eugene LaRochelle, Susan Alport and Elif Soyer, which run through November 2.
“You are one of the few artists I know who really live it, without any commercial concerns – Brava.” Comment by Jennifer Moses in exhibit guest book
Susan Alport’s exhibit There for the Taking is a performance. That is, she has asked the objects which make up the installation in the gallery, and which are in relationship to each other, to act. We see the evidence of her mind, what she is drawn to, what she has decided to present here. These relationships are relative, and can only be understood in this way.
She renders an imaginary studio for us, using and referencing these elements simultaneously. She lets us in on her vision and presents the objects in high relief by placing them in the gallery setting. We see the evidence of the studio through the objects placed on a wooden table: painted bottles, photographs of the painted bottles, yellowed newspaper articles, photographic images of her studio, which in turn become objects, a collection of pottery shards in a box, postcards, notes, receipts.
The installation reads, like the blown up statement with edits and notations which one encounters as one enters the space, as a record of her thinking. It does so best when seen from a single frontal point of view, as if it were one image. Neither a still-life nor a theatrical set, it exists as a text containing a subtext, and this viewer was transposed and transported. Brava.
Alport is joined in the Center Gallery by Eugene LaRochelle’s I Love You and by Elif Soyer’s New Work in the Member’s Gallery.
This is the last week to check out the three exhibits at the Kingston Gallery: Luanne E Witkowski: IV, Thoreau inspired landscape collages, Mary Mead: Heads, images started in 2001 when she began making prints, and Susan Alport: Give/Take, a continuation of her intriguing project inspired by the “The Gift” by Lewis Hyde. All three have been received well and complement each other in the spaces of the gallery – something that often happens with the shows here.
Image: Mary Mead, from the “Head” Series, woodcut intaglio monoprint, 30 x 22 inches, 2013.
Please join us for a special artist’s reception, Friday January 24, celebrating Luanne E Witkowski’s exhibit IV from 5:30 – 7:30 p.m. The weather will be fine and it will be a great chance to see the exhibit and join in the festivities. Also showing are Mary Mead (Heads) and Susan Alport (Give/Take). We look forward to seeing you there!!
The three exhibits up this month: Mira Cantor: Meltwater, Carmelo Midili: Fragments and Mary Lang: Inhabitants will be on view through Sunday, December 29. Gallery hours are Wed–Sun 12–5. In addition there will be special Public Relations hours with Deborah Davidson on Tuesday, December 24, 2–4 p.m. NOTE: the gallery will be closed Wednesday, December 25.
We will usher in the New Year with Luanne E Witkowski’s exhibit IV, Mary Mead: Heads: New Prints and Susan Alport: Give/Take opening January 2. We look forward to seeing you at the First Friday reception on January 3!!
On a recent visit on a lovely Friday afternoon to Kingston Gallery, Rose Olson’s paintings were still glowing. How these works are perceived is so dependent on the light, time of day and where one is in the space in relationship to the work.
This exhibition and the other two are up for one more week, through March 30. Congratulations are in order for Rose Olson, Haruyo Nakanishi and Susan Alport, as we have had many visitors and great response to the work. Something came to mind when looking at the Center Gallery’s Paper Dialogue. How do works of art, these mute objects, speak? And how do they speak to each other? The materials, color, forms, and technique are all elements that allow this to happen, but it is also the dialogue that can occur between the objects. That certainly is happening in the Gallery this month.
Two neighboring shows are very much worth mentioning, as they are stand out exhibitions in themselves and also are in dialogue (in this viewer’s opinion), both in terms of form and content, with Kingston Gallery. They are Catherine Kernan’s exhibition After Images: New Woodcut Monoprints at Soprafina Gallery and Ann Pibal’s Los Dos at Steven Zevitas Gallery.
A visit to 450 Harrison Avenue is in order — all these exhibitions are harbingers of spring, and are a powerful reminder that artworks made of paint, ink, wood, and paper act as mirrors: they reflect back, revealing us to ourselves.