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DTSTART;VALUE=DATE:20160201
DTEND;VALUE=DATE:20160212
DTSTAMP:20260423T201542
CREATED:20231220T195403Z
LAST-MODIFIED:20240108T165817Z
UID:1763-1454284800-1455235199@www.montserrat.edu
SUMMARY:Annual Illustration Theme Show
DESCRIPTION:Reception: Wednesday\, February 3rd 5–8pm \nGallery Hours\nM–F\, 11:30am–2:30pm\nSat.\, 12–5pm \nThis year’s theme for the Annual Illustration Theme Show is Cryptic! \nCurrent student work is shown alongside faculty\, staff and alumni in a broad range of method and media. \nDeadline for Students is January 27th \n*All current Illustration Students must enter! \nDeadline for Alumni is January 30th
URL:https://www.montserrat.edu/event/annual-illustration-theme-showfebruary-1-11-2016/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/Illustration-Theme-Show.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160112
DTEND;VALUE=DATE:20160208
DTSTAMP:20260423T201542
CREATED:20231220T195401Z
LAST-MODIFIED:20240108T165817Z
UID:1758-1452556800-1454889599@www.montserrat.edu
SUMMARY:Remi Thornton: Free Air 4 You
DESCRIPTION:Reception: Thursday\, January 21st\, 5:30–7:30pm \nGallery Hours\nM\,T\,W\,F\, 10am–5pm\nTh\, 10am–8pm\nSat.\, 12–5pm \nUsing only atmospheric street lighting\, Remi Thornton has developed a style that has been described as capable of capturing\, “that emotion that has been chased by writers\, poets\, film makers\, artists forever.” Titled after one of the prints in this exhibition\, Free Air 4 You will feature recent works\, as well as\, two debut images from his latest body of work\, “Ranch Camp” (2015). \nThornton’s first Digital SLR camera was delivered at the end of the day and as he was eager to try it out\, his first shoot was at night. Since then\, Thornton has felt compelled and excited by documenting the unstaged\, quiet moments illuminated only by “natural” street lighting. The works portray a sense of anticipation – that either something doesn’t seem right or something is about to happen.” Because of this feeling of urgency and unspoken tension\, Thornton places the viewer at the threshold of a potential mysterious or a thrilling encounter. Works in this series such as\, Superette (2014) and Arlington Pump (2015)\, capture the calm\, quiet sensation that can only be captured in the stillness of a mid-night encounter. \nThornton’s latest body of work\, “Ranch Camp” came to fruition during a recent trip back to the artist’s adolescent sleep-away camp. As a camper\, Thornton developed a personal connection to the forty plus acres of land during his nights wandering the grounds suffering from insomnia. He would frequent the picnic benches or sit outside of the boys cabins with his older counselors\, waiting for the tiredness to set in. Thornton says\, “Like most places\, the camp had an entirely different personality at night… it would take on a distinctive look\, sound\, and feel once the sun went down.” No stranger to the mysterious and strange characteristics only legible at night\, the artist says\, “It made sense for me to return to camp and document the silent side as I remember it.” \n\nCabin 6E (2015) is a standout piece from the “Ranch Camp” series. At the forefront of the print is a quintessential rustic cabin\, seemingly made of stacked logs topped by a weathered pointed roof. Using only the natural light around him\, Thornton captures a truly magical moment in which a cluster of emerald green light radiates from off into the distance from the woods\, at far left just behind the cabin. The color canopies the entire work\, particularly on the facade of the tiny house\, almost camouflaging it against the green grass and woods that surround it. \nRemi Thornton has exhibited throughout the United States and his photographs have been highly collected by private and public collections including Fidelity Investments and Wellington Management. He was recently selected as a recipient of the St. Botolph Club Foundation Emerging Artist Award. Thornton lives in Melrose\, Massachusetts\, with his wife and a heavily photographed Chihuahua/Pug mix named Winnie Cooper.
URL:https://www.montserrat.edu/event/remi-thornton-free-air-4-youjanuary-12-february-7-2016/
LOCATION:Carol Schlosberg Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160111
DTEND;VALUE=DATE:20160403
DTSTAMP:20260423T201542
CREATED:20231220T195359Z
LAST-MODIFIED:20240108T165817Z
UID:1750-1452470400-1459641599@www.montserrat.edu
SUMMARY:I Will Go On...
DESCRIPTION:Reception: Thursday\, January 21st\, 5:30–7:30pm \nGallery Hours\nM\, T\, W\, F\, 10am–5pm\nTh\, 10am–8pm\nSat.\, 12–5pm \nFeaturing: Liz Jaff\, Jon Kuzmich\, Aaron Meyers\, Jenny O’Dell\, Rachel Perry \nCurated by Associate Curator of Exhibitions and Programs\, Pam Campanaro\, I Will Go On… exhibits artists whose practices parallel the characteristics of a marathoner: endurance\, repetition\, and focus. Each artist on view employs repetitive\, laborious acts such as: drilling tiny holes into wood until it breaks\, painting with a needlepoint\, compulsively collecting\, or meticulously hand-cutting paper to demonstrate precise focus.  \nBy bringing to light each artist’s exceptional endurance and devotion to their process\, Campanaro reveals the bridge between artist as maker and artist as “marathoner.” Preparing for a marathon requires a specific type of conditioning; a kind of training that syncs the physicality of doing and mental stimulus that tells you to keep pressing on. A runner’s training looks a lot like an artist in their studio: They too devote a substantial amount of time to the physicality of doing or making\, while the conceptual or mental facets of the work are equally essential in seeing a project through. \nInspired by a passage from Samuel Beckett’s novel The Unnamable\, the exhibition title I Will Go On… references a climactic moment in which the author converses with himself repeating\, “You must go on\, that’s all I know. You must go on. I can’t go on. You must go on. I’ll go on.” Beckett’s struggle is identical to the physical and psychological battle a runner faces during the final miles of a marathon. In the end\, true marathoners repeat the process and fine tune their practice in pursuit of different results. The artists exhibiting in I Will Go On… follow suit in that all of the works on view are continuations or adaptations of ongoing projects “running their course.” \nLiz Jaff pushes the structure\, or “body” of paper to its limits by manipulating its formal and physical qualities. In its third iteration\, “Plugs and Fuses” (2015) spans twenty-six feet of gallery wall. Originally a single sheet of white paper\, Jaff cuts vertical strips\, twisting them downward into long coils with circles half cut out of each strand. \n\nJon Kuzmich’s paintings are evenly paced and well tempoed\, like that of a seasoned marathoner. Using only a needlepoint as his brush to apply up to four million marks\, Kuzmich translates economic data into visual systems that aesthetically reference characteristics of Op-art\, Pointilism\, and abstraction. Aaron Meyers illustrates the bridge between sculpture and performance in his infinite performance “It Must Be Nearly Finished” (2012-ongoing). Now in its sixth iteration\, Meyers continually drills 1/16” holes into the surface of a wooden plank bracketed to the gallery wall until he falls. Jenny O’Dell collects online imagery\, escalating the traditional practice of archiving in that not only does she research the “life” of an object\, but creates a place for it permanently be “suspended” using augmented reality. Now researching the discarded\, unwanted object\, O’Dell founded the Bureau of Suspended Objects- an ongoing\, one-person organization and archive created during a residency at the Recology dump in San Francisco. Rachel Perry is the ultimate marathoner. She obsessively and repetitively collects aspects of her own life ranging from bread tags and twist ties to voice messages left on her answering machine. Like O’Dell who uses the digital frontier\, Perry’s “Twitter Project” (2009-ongoing) captures and archives the daily life of an artist using the social media platform Twitter in exactly one hundred forty characters.
URL:https://www.montserrat.edu/event/i-will-go-on-january-11-april-2-2016/
LOCATION:Montserrat Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/Aaron_Meyers.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20160111
DTEND;VALUE=DATE:20160128
DTSTAMP:20260423T201542
CREATED:20231220T195400Z
LAST-MODIFIED:20240108T165817Z
UID:1755-1452470400-1453939199@www.montserrat.edu
SUMMARY:Constellations: Annual Alumni Show
DESCRIPTION:Reception: Saturday\, January 23rd 4–7pm \nGallery Hours\nM-F\, 11:30am–2:30pm\nSat\, 12–5pm \nCurated by Printmaking Professor Stacy Thomas-Vickory ’91\, Constellations is a large multi-disciplinary exhibition featuring over 30 works created by Montserrat Alumni. \nThomas-Vickory had the idea of using the concept of a constellation to symbolize the connections that the alumni have with one another. She described this as follows: “The Constellation is an emblem of the connections that we make between individuals even though we may be spread across a huge distance of place and time. The uniting thread is that they were all here at Montserrat\, with a shared experience and that we’ve taken that experience with us into the broader world.” The Constellation theme also references the role that social media plays in our lives\, be it strengthening connections or forging new ones\, but also is a reminder that we not forget the defining moments that helped spark those connections. \nParticipating Montserrat Alumni: Christine Bobek ‘74\, Carly Brasier ‘15\, Elizabeth Breder ‘15\, Peter Brefini ‘07\, Kathryn Brown ‘12\, Devon Clapp ‘06\, Alexandra Comfort ‘13\, Dan DeRosato ‘14\, Sarah Dineen ‘97\, Richard Dolan ‘09\, Corinne D’Orsi ‘15\, Kevin Duffy ‘77\, David Ferreira ‘98\, Yetti Frenkel ‘82\, Omer Gagnon ‘81\, Albert Gray ‘08\, Leonard Greco ‘03\, Nathan Hayward ‘06\,Rachel Hegburg Petruccillo ‘00\, Deanne Jacome ‘15\, Nicole Kircher ‘01\, Mark Lies ‘03\, Kevin Lucey ‘15\, Tom Maio ‘13\, Brett Mason ‘12\, Sarah LL Milton ‘03\, Kalimah Muhammad ‘11\, Kevin Quinn ‘11\, Suzanne Papin ‘00\, Richard Pawlak ‘81\, Alyssa Petit ‘15\, Janet Souza ‘01\, Christopher Stepler ‘09\, Karen Tusinski ‘98\, Stephanie Visciglia ‘15\, Cory Wasnewsky ‘14\, David Watson ‘07\, Allison White ‘08\, Amanda Woronecki ‘12\, and Timothy Zerci ‘09.
URL:https://www.montserrat.edu/event/constellations-annual-alumni-showjanuary-11-27-2016/
LOCATION:301 Gallery\, 301 Cabot Street\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/Constellation2FRONT.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151208
DTEND;VALUE=DATE:20151219
DTSTAMP:20260423T201542
CREATED:20231220T195359Z
LAST-MODIFIED:20240108T165817Z
UID:1747-1449532800-1450483199@www.montserrat.edu
SUMMARY:Growing Pains: Art Education Thesis Exhibition
DESCRIPTION:Reception: Thursday\, December 10\, 5–8pm \nGallery Hours\nM–F\, 11:30am–2:30pm\nSat.\, 12–5pm \nThe Art Education Program of Montserrat College and the Practicum students are pleased to present the artworks of their students in this annual celebration of their Pre-K–12 Initial Licensure requirements.  \nThe exhibition features works on paper and mixed\, traditional and digital media\, in two and three dimensions\, representing a selection of visual arts projects produced in the context of art classes assisted or taught by Practicum students Kayla Cochran (BFA Painting\, 2015)\, Deanna Jacome (BFA Book Arts\, 2015) and Taylor Kurmis (BFA Book Arts\, 2015).  \nThe Practicum students are showcasing the artwork created by their students across elementary\, middle and high school. Schools represented are Malcolm L. Bell Elementary School in Marblehead\, Masconomet Regional Middle School in Boxford\, and Revere High School.  \nThe work featured in this exhibition is an intimate look at the time Practicum students have spent educating and supporting youth in public school systems while completing their Pre-K–12 Initial Licensure requirements. The practicum internship consists of 300 hours of classroom experience usually completed in the Fall semester from September to December. Students enrolled in the program work with students in visual arts classes in a school of their choice\, under the professional guidance of their Supervising Practitioner. We are honored to have three local art teachers supporting our students as Supervising Practitioners: Tammy Picone Nohelty of Malcolm L. Bell School\, Ursina Amsler of Masconomet Regional Middle School and Meghan Allen of Revere High School.  \nA ceremony for the presentation of Certificates of Completion to the Practicum students will be held at the Opening Reception taking place on Thursday December 10th\, from 5–8pm at 301 Gallery\, 301 Cabot Street in Beverly\, MA. \nFriends and family\, colleagues\, teacher\, school students and their parents are all invited. Refreshments will be served. \n 
URL:https://www.montserrat.edu/event/growing-pains-art-education-thesis-exhibitiondecember-8-december-18-2015/
LOCATION:301 Gallery\, 301 Cabot Street\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/593b2f08-0b7b-46b1-bd02-7a457f504461.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151130
DTEND;VALUE=DATE:20151205
DTSTAMP:20260423T201542
CREATED:20231220T195358Z
LAST-MODIFIED:20240108T165817Z
UID:1743-1448841600-1449273599@www.montserrat.edu
SUMMARY:Bowerbirds
DESCRIPTION:Reception: Wed. December 2\, 5pm – 8PM \nGallery Hours\nM – F 11:30am – 2:30pm \nThe work of Haley Anderson strives to achieve a balance between a control and spontaneity\, while abstracting crystal structures. Veering away from tradition by breaking the rectangle\, she tears the paper to create the desired form. From there\, she proceeds to create large scale drawings that combine crystal structures with energetic mark making made by splattered ink. \nCyr’s work is an exploration of the concept of fantasy worlds and alternate realities.  Inspired by video games and the worlds that they build\, she seeks to create glimpses into her own fabricated worlds through two-dimensional media. These worlds are often ambiguous in nature\, giving them a dreamlike quality. Working intuitively\, she uses printmaking techniques along with craft materials to make collages that best represent these places as they appear in her head. \nFrana is an interdisciplinary artist currently focusing on found object\, sculptural\, installations. He uses construction materials to create environments that some have called drawings in space.  Frana’s work is abstract in nature and is left for the viewer to construct a meaning from. \nCiaran Gaffney grew up in Vermont\, the Caribbean\, and Montreal.  At Montserrat\, they have spent their time in the Illustration track honing skills for a narrative approach\, whether it be a single illustration\, development for film and game\, or in graphic novel format.  They utilize both digital and traditional tools. Enjoying gods\, monsters\, and passers-by who get swept up into those crowds\, their Bowerbirds collection will be a culminating approach to these themes\, a bestiary of both the sinister and the benevolent. Ciaran has a piece hanging in Montserrat’s Hardie lobby\, has created and sold work at Artrageous28 and 29\, and was accepted into the Society of Illustrators shows for ’14 and ’15. They hope to continue their independent endeavours and teach within the illustration field. \nDerrick Jamison’s three 40×30 multimedia canvas depict three different social aspects; Colorism\, Classism\, and sneaker violence. He uses color and figures to express personal feeling in each aspect.\n \nPrimarily done in ink and digital color\, Shae Vasile’s work explores the possibilities of illustration in package design.  Her current series of handmade bath products based on fairytales consists of label designs\, limited edition posters\, story cards\, and overall packaging of the three different products.  Based on common and lesser known fairy tales\, these illustrations not only drive a product but also offer an experience for the consumer. \nPhoebe Warner is a sensory artist who uses intuition to inspire her time-based work. Through various media- three-dimensional puff paint\, glitter\, flocking\, found objects\, and ball-point pen- she tries to capture something intangible and give it physicality. Her ink drawings are visual portraits of the sensory feelings she observes in public. While in the studio\, she focuses on adding intricate textures to old dysfunctional utilitarian objects as a meditative way to deal with the subjective world. Warner uses these components to curate maximalist installations that encourage hands-on audience participation.
URL:https://www.montserrat.edu/event/bowerbirds-november-30-december-4-2015/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/Ciaran-Gaffney_Vida-Versus-Ptitsa-Maska_gouache.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151116
DTEND;VALUE=DATE:20151122
DTSTAMP:20260423T201542
CREATED:20231220T195357Z
LAST-MODIFIED:20240108T165817Z
UID:1740-1447632000-1448150399@www.montserrat.edu
SUMMARY:WHAT A TIME TO BE ALIVE
DESCRIPTION:Reception: Wed. November 18\, 5 – 8pm \nGallery Hours\nM – F 11:30am – 2:30pm\nSat. 12p – 5p \nWHAT A TIME TO BE ALIVE features work by GG Burney\, Alexander Iverson\, Marisa Rasum\, Shelby Rivers\, Samuel Roberts\, and Rachael Wentworth. \nGG Burney‘s work explores the transcendental nature of cultural appropriation; from “ghetto” to “trendy”. Her current body of work hones in on specific inanimate objects and aesthetics that have become staples of techno-secular millennial culture by being accessed through a predominantly White lens. \nAlexander Iverson is a graphic designer originally from Ellington\, CT\, moving after switching his concentration from painting to digital design. His body of work focuses on printed books and the data inside\, juxtaposing opposite thematic words and analyzing the patterns that emerge. \nOriginally from Holliston MA\, Marisa Rasum is a printmaker who admires the physicality of architecture but even more so the experience. Therefore\, the ongoing theme of her work is “every experienced house.” She applies this theme through complex\, illustrative ink drawings which transform into multi- processed prints and installations.\nShelby’s work is primarily influenced by her daily adventures. She collects data\, and reiterates what she finds in drawings or “doodles” to better understand what she is seeing/hearing. Her car series\, “ROUTine”\, is a collection of drawings depicting everything found in her car\, but she mainly enjoys the scientific aspects of the process\, which includes research\, categorization\, and documentation. In her other work\, she shows similar processes\, resulting in a variety of finished designs. \nSam Roberts is a portrait and mixed-media artist\, whose current work focuses on the the idea of adoption. while being adopted himself he draws from his own personal experiences and friends who were also adopted to create these pieces in attempt to bring light to the challenges and benefits from growing up adopted. Working in Acrylic\, charcoal\, pastel and ink\, he works in black and white to not only emphasize the feeling but to also encourage the idea that these also represent memories. \nRachael Wentworth is a mixed-media collage artist from Raymond\, NH. Her current works are inspired by the meditative qualities of the mandala and the relationships between colors\, shapes\, and materials which lend her paintings an active\, playful quality. These paintings also focus on the juxtaposition of low-brow materials with a high-brow conceptual foundation and artistic practice\, creating a fun and colorful visual utopia.
URL:https://www.montserrat.edu/event/what-a-time-to-be-alivenovember-16-november-21-2015/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/unnamed55.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151109
DTEND;VALUE=DATE:20151212
DTSTAMP:20260423T201542
CREATED:20231220T195356Z
LAST-MODIFIED:20240108T165817Z
UID:1736-1447027200-1449878399@www.montserrat.edu
SUMMARY:Dylan Blanchard
DESCRIPTION:The Slow Heroics of the Soil Builder contemplates visual expression as a kind of experimental gardening. Dylan Blanchard illustrates the nature of art making as it relates to our connection with the Earth. His practice is rooted in a steady\, chaotic\, and observatory process (much like that of the garden) somewhere between farm\, lawn\, and field\, between well tended and wild. Within his work\, faces might emerge and hints of small creatures appear surrounded by gently swooping strokes that feel at the same time aquatic\, wind-driven\, and humanistic. As Blanchard describes\, “I take real inspiration from the living nature of this earth we are bound to\, came from\, and are walking on; the elements of the earth that all thought is born from: rock and salt\, worms and wind\, roots and branches\, waves\, clouds and rain.” The installation inside the Frame 301 Gallery contains painterly observations as well as photographed relics\, which relate to Blanchard’s constant exploration of our tumultuous relationship with our planet. \nBlanchard brings a robust\, varied background to his art-making practice. After studying at Maine College of Art in Portland\, ME\, Blanchard spent several years immersed in Portland’s music scene as a percussionist. Teaching\, traveling\, and touring the United States\, Brazil\, and Cuba has lead him to work primarily with Afro-Caribbean dance companies in NYC\, and the Albany\, NY-based Taina Asili y la Banda Rebelde. Blanchard has performed with Glover\, VT-based Bread and Puppet Theater Company as well as Theater in the Open\, a Newburyport\, MA company. These cross-platform experiences continue to inform Blanchard’s visual art practice\, which often contains performative aspects and an exploratory nature.\nFrame 301 is an alternative display space located at 301 Cabot Street in Beverly\, MA. Each month this storefront window is installed with the work of local\, national or international artists. The space represents an integration of the creative cultures of Montserrat College of Art and the local community. This program is supported in part by a grant from the Beverly Cultural Council\, a local agency which is supported by the Massachusetts Cultural Council\, a state agency.
URL:https://www.montserrat.edu/event/dylan-blanchardnovember-9-december-11-2015/
LOCATION:Frame 301 Gallery\, 301 Cabot Street\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/Blanchard1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151021
DTEND;VALUE=DATE:20151115
DTSTAMP:20260423T201542
CREATED:20231220T195353Z
LAST-MODIFIED:20240108T165817Z
UID:1724-1445385600-1447545599@www.montserrat.edu
SUMMARY:Eben Kling '09: Bend
DESCRIPTION:Eben Kling’s work addresses social and psychological issues with humor and an exuberant color palette. Bends showcases fifteen works on paper and one large-scale painting. Kling pokes fun at topics such as consumerism\, the media\, and authority. Like a cartoon\, he depicts characters in moments of panic\, gluttony\, and desperation\, tangled in morally ambiguous situations. \nThe exhibition title and works on display wrestles with troubling cultural dilemmas that Kling “bends”\, applying them to a sandbox universe where he finds authorship over them. “Two Faced No. 1” and “Making Decisions Slowly” (2015) focus on the manipulation of facial features through layering multiple source imagery. Kling borrows physical characteristics from past work and the Internet\, and manipulates them digitally by folding and layering them over one another to create something entirely new.\nKling continues to manipulates his figures in the series “Twisty Turny” (2015). This time\, Kling looks beyond the face\, and contorts the entire body. Each piece consists of a sole figure compacted into the center of a 22”x 30” piece of paper. Their backs fold in on themselves\, “twisting” to conform to pressures that can’t be identified\, merely imagined as they grimace in agony and glee. Legs and arms flail in an inhuman way as the artist forces them into impossible poses where their gesture and physiology are dependent upon the relationship they have with their environment\, peers and outside occasionally unseen forces. \nKling portrays these characters in a way so that they seem comfortable despite being caught in a turbulent world that affords little relief from domineering cultural influences. For example\, in “Spring Breakers” (2015) Kling sends his characters off to the beach. They kick back\, soak up the sun\, and toss a ball around while sinking into a void littered with the spoils of their gallivanting and careless consumption. Ultimately\, King contorts the absurdity of everyday life\, twisting it through a fictional lens where jubilant characters collide with one another\, celebrating amidst the hysteria. \nEben Kling received his BFA from Montserrat College of Art in 2009 and his MFA from Umass Amherst in 2015. He is recipient of the 2014 St. Botolph Club grant for emerging artists\, has most recently shown at the Miller Yezerski project space in Boston MA\, Eastworks in Easthampton Ma\, SEEN Gallery in Pawtucket RI\, and Mingo Gallery in Beverly MA. He is one half of the independent curatorial project PlayLaborPlay and is currently the artist in residence at Artspace New Haven until 2016. Upcoming exhibitions include events and shows at New Haven’s City Wide Open Studios in October and Occam Projects in Providence RI in early 2016\, and the CT Culture and Tourism Gallery in Hartford. \nThis exhibition is guest curated by Zachary Naylor ‘14.
URL:https://www.montserrat.edu/event/eben-kling-09-bend-october-21-november-14-2015/
LOCATION:Carol Schlosberg Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151019
DTEND;VALUE=DATE:20151115
DTSTAMP:20260423T201542
CREATED:20231220T195355Z
LAST-MODIFIED:20240108T165817Z
UID:1734-1445212800-1447545599@www.montserrat.edu
SUMMARY:Trifecta: Year Two
DESCRIPTION:Reception: Oct. 22\, 5pm – 9pm\nEvents Hotline: 978.921.4242 x1204 \nGallery Hours\nM – F 11:30am – 2:30pm\nSat. 12p – 5p \nGuest curated by Trifecta Editions\, Montserrat College of Art is excited to welcome Trifecta: Year Two at 301 Gallery. Year Two goes beyond the traditional gallery show by offering special events\, arts programming and skill share sessions along with innovative installations\, prints and original work by Trifecta Editions’ diverse roster of artists. \nYear Two celebrates a thriving arts collective\, uniting a diverse group of artists to engage and inspire the Greater Boston community as well as the students\, faculty and staff at Montserrat College of Art. \nTrifecta Editions artists & collaborators including: Matthew Zaremba\, Michele L’Heureux\, Greg Lamarche (SP.ONE)\, David Buckley Borden\, Cyrille Conan\, Lauren Barnett\, Daniel White\, Josh Falk\, Sarah Gay-O’Neil\, Jack Byers\, James Mustin\, Kenji Nakayama\, Sneha Shrestha (Imagine)\, Jay LaCouture and Fish McGill \nLive demonstrations and skillshare sessions with: \nAntiDesigns (live screen printing) \nTrifecta Editions (rubylith cutting for screen printing & sticker making) \nMichele L’Heureux (Gocco printing) \nTrifecta Editions is a print collective based in Boston and Cambridge\, MA. They create limited-edition silk-screened prints and art objects with artists from all disciplines. Trifecta takes pride in diverse backgrounds of their artists- from illustrators to comic artists to architects and sculptors. We think the work we’re producing is unique and special.
URL:https://www.montserrat.edu/event/trifecta-year-two-october-19-november-14-2015/
LOCATION:301 Gallery\, 301 Cabot Street\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151005
DTEND;VALUE=DATE:20151206
DTSTAMP:20260423T201542
CREATED:20231220T195354Z
LAST-MODIFIED:20240108T165817Z
UID:1729-1444003200-1449359999@www.montserrat.edu
SUMMARY:Wood
DESCRIPTION:WOOD a group exhibition featuring Damien Hoar de Galvan (MA)\, Harry Roseman (NY)\,Damion  Silver (MA)\, Sally Tittmann (CT)\, and Michael Zelehoski (NY). Curated by gallery director Leonie Bradbury\, the exhibition hosts contemporary art works that actively engage with the history and discourse of both sculpture and painting. Each artist questions the boundaries of these mediums as their work exists somewhere between the two and in the process aid to redefine the limitations of these terms. \nDamien Hoar de Galvan’s Something Could Happen at Any Moment (2010-15) is a large-scale wall installation comprised of sixty-six wooden boxes that each contain one\, two or three of de Galvan’s seventy-two smaller sculptures. The individual pieces range from miniature found objects (plastic bottles\, soda cans\, and matchsticks) to repurposed wood that is cut and glued into geometric shapes that are then painted. In their combination onto the wall the individual pieces become a singular whole that echoes the tradition of cabinets of curiosity. De Galvan intuitively placed each object within the ‘curiosity cabinet’\, providing the sculptures with a niche to occupy with purpose. Once inside the box the negative space around the object and the pieces’ shadows also play a role in its visual perception. As a whole\, the installation showcases the intuitive process and emphasis on play within de Galvan’s work\, while simultaneously commenting on collecting and modes of presentation. \nEach piece in Harry Roseman’s “Draped” and “Folded Plywood” series is created using a single sheet of commercially available plywood. Roseman cuts\, stacks\, and unites the plywood in a manner that makes reference to draped textiles. Folded Plywood 15 (2012) gives the illusion that the hard\, materiality of wood has somehow transformed into a malleable cloth as it slumps down off the wall and onto the gallery floor. Boldly occupying both realms\,Folded Plywood 15 draws awareness to the fact that paintings are traditionally installed on the wall\, while sculptures generally occupy the floor. Folded Plywood 16 (2013) is hung directly onto the gallery wall. Although the piece simply has two folds\, it is complex in the manner in which it questions its own being. What is it? A two-dimensional sculpture hung on the wall? A wall relief? At a basic level it can be described as a wall-mounted object while it simultaneously allows the viewer to not only realize\, but experience\, a rupture between the boundaries of two and three-dimensional planes. \nDamion Silver created two new assemblages for WOOD combining pine\, plywood\, and fire. Both Medicine and Compass (2015) have large circular shapes that reference shields\, as well as\, traffic signs. Silver added a bright color on the backside of the panels that give off a soft glow as light is reflected onto the gallery wall. The intricate inlay pattern alternates between smooth golden pieces of pine and blackened scorched segments. Although abstract geometric compositions\, the pieces speak to the many associations the use of wood brings to mind\, in particular its contradictory relationship to fire. Burning is both a destructive and generative force that allows for matter to transform from one state to another. The pieces bring to mind the centuries old Japanese tradition of burning the wood surfaces of buildings for aesthetic effect also known as Shou sugi ban. It is a strategic burning of wood that as a result of the burning process makes it fire and bug resistant and last longer. Here\, though\, the burning serves to give the wood a sense of history and color\, when combined with the pristine pine creates a contrasting\, yet harmonious balance.\n \nFor Circus and In The Field (2007)\, Sally Tittmann uses reclaimed wood she found in a dumpster in Dumbo\, NY. Her appendage-like constructions are pieced together like a puzzle\, and reference the human body in particular hands or feet. Tittmann’s work embodies an animated or vulnerable spirit\, breathing an anthropomorphic sensibility into an otherwise inanimate object. In The Field has a sadness or sense of tragedy to it. The seven-legged armature lays down on the gallery floor as if wounded or resting. As it lays\, some ‘legs’ struggle to completely stretch outward\, while others overlap one another; crippled and unable to untangle themselves. In contrast\, Circus stands upright\, stretching outward as if just awakening from a long slumber\, recharged and exuding an joyous energy. Small\, surprising marks of color are found throughout the works and allude to more of its unknown histories. The subtle combination of painting with objectness generates visual poetry in space. \nMichael Zelehoski’s works achieve a unique balance between flatness and three- dimensionality. In Knot (2014) and Inversion Block (2015) the artist repurposes weathered\, found wood and combines the pieces to create illusionist forms that activate both two and three-dimensional spatial planes. Due to the impeccable craft and intricate inlay compositions\, the pieces create a trompe l’oeil effect (an optical illusion). When looking at the work the mind is confronted with a complex puzzle of contradictory perspectives and struggles to identify what it is looking at. The artist intentionally plays with the possible confusions of the picture plane and has stated: “Through this dialogue between the deconstruction of the object and the construction of form\, I am able to create works that are picture\, relief and object in one.” Zelehoski alters three-dimensional objects and asks them to perform in a two-dimensional space. As a result object becomes image.
URL:https://www.montserrat.edu/event/wood-october-5-december-5-2015/
LOCATION:Montserrat Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150923
DTEND;VALUE=DATE:20151018
DTSTAMP:20260423T201542
CREATED:20231220T195352Z
LAST-MODIFIED:20240108T165817Z
UID:1722-1442966400-1445126399@www.montserrat.edu
SUMMARY:Yu-Wen Wu: Proximities
DESCRIPTION:Wu explores the visualization of journey\, process\, and topography. Through drawing\, video and installation\, her work bridges art and science\, imagination and documentation. Whether actual or virtual in traversing routes\, mapping is the way Wu locates herself in the world physically\, culturally\, and psychologically. For this exhibition\, Wu focuses on walking as both an act and metaphor for the traversing the “paths” of life. \nProximities features three works from the Random Walk series (2014-2015). By definition\, proximity is the nearness of place\, time\, order\, occurrence\, and relation. Wu asks the question: What does it mean to be proximal? What does it mean to be far away? A random walk is a mathematical formalization of a path that consists of a succession of random steps. For Wu this term is a metaphor for the serendipity within the structure of life. Wu translates the physicality of her walking practice into a visual language that resembles a constellation. In the work Crossings the course of travel leaves aspects of navigation to chance. A coin flip of a coin indicates whether Wu turns right for heads or left for tails. Wu’s body is an agent of change; adapting and reacting to chance in a manner reminiscent of the French Situationists. \nFor several of the works in the Random Walk series Wu uses her body to track time and space\, and marks her movements\, location\, geography\, and topography. “Crossings” (2015)\, is a site-specific wall “drawing” that records a walk completed by the artist throughout Boston. Her recorded movements grow exponentially as she works directly on the wall. The dot and line drawing is made of construction paper and fishing line and creates a rhizome-like network. “Walking VII” (2014)\, is a collated journal consisting of drawings that map and quantify walks taken during trips to visit family and friends. The eight foot\, accordion-style book contains paper remnants from travel such as tickets\, tourist maps and receipts. Like “Crossings\,” Wu uses the universal language of the dot and line to record her walking through urban streets\, airports\, the rural countryside\, even recording her pacing in her studio while making plans.\nThe star like clusters in both Crossings and Walking VII are geographic notations chronicling each of Wu’s walks. Visually they echo the connections made on the opposing wall by Random Walks I (2013-15). For this piece\, Wu will install a combination of eleven works on paper and a series of found images directly onto the gallery wall in a constellation formation. The images depict craters on the moon\, constellations\, planetary orbits\, and geological patterns both through photography and drawing. Here\, the networked connections do not correlate to actual steps taken by the artist. Rather\, they are symbolic of the larger connections that exist between natural phenomena and brings to light how these relationships can occur across different locations in space and time. \nBorn in Taipei\, Yu-Wen Wu is an interdisciplinary artist. She attended Brown University\, where she received a Bachelor of Science before attending the School of the Museum of Fine Arts. She received the Massachusetts Cultural/NEA Grant for Painting\, 2004\, 1998\, 1989\, and the Traveling Scholars Award\, Fifth Year Competition\, School of Museum of Fine Arts\, Boston\, MA\, 1989. Her work has been exhibited throughout New England and is held in major collections. Wu concurrently has a solo exhibition\, The Accumulation of Dreams at Miller Yezerski Gallery (Boston\, MA). \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\nJTNDaW1nJTIwY2xhc3MlM0QlMjJuZ2dfZGlzcGxheWVkX2dhbGxlcnklMjBtY2VJdGVtJTIyJTIwc3JjJTNEJTIyaHR0cCUzQSUyRiUyRnd3dy5tb250c2VycmF0LmVkdSUyRm5leHRnZW4tYXR0YWNoX3RvX3Bvc3QlMkZwcmV2aWV3JTJGaWQtLTE5Njc2JTIyJTIwYWx0JTNEJTIyJTIyJTIwZGF0YS1tY2UtcGxhY2Vob2xkZXIlM0QlMjIxJTIyJTIwJTJGJTNF
URL:https://www.montserrat.edu/event/yu-wen-wu-proximities-september-23-october-17-2015/
LOCATION:Carol Schlosberg Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150903
DTEND;VALUE=DATE:20151004
DTSTAMP:20260423T201542
CREATED:20231220T195352Z
LAST-MODIFIED:20240108T165817Z
UID:1720-1441238400-1443916799@www.montserrat.edu
SUMMARY:Rachel Weiss: CounterMeasures
DESCRIPTION:Rachel Mica Weiss combines thread with the density of stone\, cast forms\, and wood constructions to create sculptures and site-specific installations. Her practice results in objects that are concerned with self-imposed barriers that explore the realities and illusions of tension and ease\, physical and psychological space\, restraint and freedom. \nThe title of the exhibition CounterMeasures refers to a method of action taken to counter or offset another. Weiss’ work demonstrates that finding poetic balance between adverse materials is not only possible\, but desirable. She purposefully choreographs a “dance” between contradictory materials to generate harmony in their variance. To achieve this\, the artist uses materials such as\, hefty cast stone\, cotton\, tencel and raw maple wood\, in opposition to hand-braided and chained leather and intricately woven ‘scaffolding.’ When grouped together\, each of these materials form fluid partnerships\, or negotiations\, between artist\, material\, physical space and the boundaries set by each piece. \nCounterMeasures occupies both the 301 Gallery and the Frame 301\, featuring two site-specific\, hand woven\, string installations. Weiss developed each work in response to the architecture of the building\, particularly focusing on the window panes. \nIn the Frame\, Pivoted Planes(2015) transforms a narrow\, storefront window into an augmented portal. With careful placement of each strand\, Weiss constructs eight flying buttress. A series of massive\, vertical masonry blocks are used to resist the lateral force by redirecting weight to the ground. Weiss consciously elects to contrast the perceived masculinity of masonry with the traditionally feminine craft of weaving.\nInstalled in the 301 Gallery’s windows\, 3-Planed Vaultway (Locked and Crossed) uses “spice” bright red\, indigo\, and navy tencel (a natural man-made fiber) to slope and fade into one another. Weiss creates her own infrastructure by criss-crossing each cluster of pigments into soft architectural elements that reference pillars\, screens\, or trellises. Weiss’ ephemeral installation contradicts the intention of permanence associated with architecture. Again\, the artist uses the pliancy and limitations of her materials to reveal the balance between two opposing forces\, literally emphasizing the ‘softer side’ of a support structure. \nWeiss’ sculpture and installation works are at home in the 301 Gallery. To some degree\, the gallery itself reads like one of the artist’s cast objects. The building is full of character flaws that oddly work together. The concrete floor wears its age in cracks and dents\, while the marred walls are relics of exhibition history. Both of these quirks oppose the sleek and polished “white cube.” Like the gallery floors\, Fallen Portrait (2015) is an imperfect\, decaying surface surrounded\, literally\, by refinement. Like two magnets drawn to one another by force\, the red\, cast rock is pulled down out of the frame and closer to its material counterpart. This moment realizes how intentional Weiss’ decisions are. CounterMeasures could ‘live’ in any gallery\, but it speaks powerfully because it is housed in 301. \nWeiss reaches beyond the bounds of possibility and weaves\, casts\, knots\, and sculpts to resist limitations. While her work is a personal reflection on self-imposed barriers and hierarchies\, we can see ourselves in each of these works\, too. CounterMeasures is an invitation to question\, explore and reimagine what is possible. \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
URL:https://www.montserrat.edu/event/rachel-weiss-countermeasures-september-3-october-3-2015/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150826
DTEND;VALUE=DATE:20150927
DTSTAMP:20260423T201542
CREATED:20231220T195350Z
LAST-MODIFIED:20240108T165817Z
UID:1710-1440547200-1443311999@www.montserrat.edu
SUMMARY:Heidi Whitman: Lost Cities
DESCRIPTION:Reception: Sept 10\, 5:00 – 7:30p \nEvents Hotline\n978.921.4242 x3 \nGallery Hours\nMon. – Wed. 10a – 5p\nThurs. 10a – 8p\nFri. 10a – 5p\nSat. 12p – 5p \nMontserrat College of Art is pleased to announce\, Lost Cities\, a solo exhibition of mixed media constructions and drawings by Heidi Whitman. The exhibition focuses on Whitman’s exploration of mapping metaphorical states of mind\, as well as implied physical places and events. Lost Cities brings together recent paper constructions with more than fifty mental map drawings. Whitman’s newest installation “Small World” (2015) references the increasing hyper-connectivity\, urbanization\, and migration in the contemporary world. \nWhitman creates fictitious terrains that she calls “reimagined place.” She writes that\, “the structure of the city and the structure of the mind are conflated” in her paper constructions. Whitman layers contemporary city grids and plans of ancient ruins while referencing mental networks. She creates a perfect balance in her topographical networks between chaos\, structure\, and reverie. \nSheets of cut and painted paper sprawl across the gallery wall and guide the viewer through an alien\, yet familiar\, terrain in the series\, Lost Cities. The delicately sculpted paper casts dramatic shadows that extend along the surface of the wall. “Lost City of A” (2015)\, like others in this series\, explores memory and the translation of dreams into reality. Painted with acrylic and gouache Whitman applies color to guide the viewer through internal and external worlds. Blue greens and reddish browns are in dialogue with what resembles tan ancient maps\, as if to piece together past\, present\, and imaginary worlds. \n“Hell” (2013) another paper construction of Whitman’s featured in her 2013 solo exhibition\, Heaven\, Hell and Here at Christopher Henry Gallery in New York will be on view in Montserrat Gallery. In contrast to the cool or earthy colors of the Lost Cities series\, “Hell” depicts a fiery red underworld\, appearing charred at parts\, spiraling across the wall. Inspired by maps of Roman city ruins and Dante’s Inferno\, Whitman creates her own thorny woods\, circles of madness\, and crimson rivers. While rooted in the classics and ancient history\, “Hell” resonates in the present day as society reacts to war\, aerial surveillance\, and terrorism. \nDirector and Curator\, Leonie Bradbury along with the artist\, selected more than thirty exploratory drawings from the Uncharted Territory\, Brain\, andBrainstorm series (1998-2001) to span twenty-six feet of gallery wall\, a first for Whitman in the display of her work. Arranged in a grid contrasted against a cadmium red painted wall\, these pieces focus on thought\, memory\, and dream. Whitman says drawing is the medium with\, “the most direct links between mind\, eye\, hand\, and subject perceived.” These improvisational drawings on various tea-stained Japanese papers combine a kind of ancient aesthetic with a gestural and expressive focus on the uncharted territory of the mind. One might imagine the brain sorting through data or recalling memories in these drawings. \nLost Cities presents a willingness and eagerness by Whitman to play with boundaries and the infinite abyss. Between Whitman’s mental map drawings and her paper constructions\, she communicates a spectrum of endless possibilities that take shape from imagining place beyond a singular perspective. \nHeidi Whitman has exhibited internationally\, most recently in The Art of Mapping at Tag Fine Arts in London. She has had two solo shows at the Christopher Henry Gallery in New York. Her other recent exhibitions include the Kemper Museum of Contemporary Art\, Scope Miami\, the Boston Center for the Arts\, Whitespace (Atlanta)\, Pierogi Gallery (Brooklyn)\, Wheaton College\, the Boston Drawing Project\, Clark University\, The McMullen Museum of Art\, the Southeastern Louisiana Contemporary Art Gallery\, and Harvard College. Whitman’s work was featured in Katharine Harmon’s book The Map as Art\, New York: Princeton Architectural Press\, 2009. In 2007 Whitman completed a commission for the City of Cambridge\, MA (Jill Brown-Rhone Park). Whitman is a recipient of the Clarissa Bartlett Traveling Scholarship awarded by the Trustees of the Museum of Fine Arts. She is presently a faculty member at the School of the Museum of Fine Arts.
URL:https://www.montserrat.edu/event/heidi-whitman-lost-citiesaugust-26-september-26-2015/
LOCATION:Montserrat Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150824
DTEND;VALUE=DATE:20150920
DTSTAMP:20260423T201542
CREATED:20231220T195351Z
LAST-MODIFIED:20240108T165817Z
UID:1718-1440374400-1442707199@www.montserrat.edu
SUMMARY:Dan Mills: Interferences
DESCRIPTION:Reception: Thursday\, September 10\, 5-7:30pm \nMills is interested in visualizing information both through additive mark making and erasure. The inclusion of found\, vintage geographical maps and the practice of painting directly on to the maps has been a recurring facet of the artist’s work for several years. Mills sources are as diverse as children’s atlases and classroom maps. The series explores history\, geopolitics and current events. \nThe artist addresses changes to the landscape as a result of conflict and highlights hidden geographical information. His mark-making decisions\, such as color and shape choices\, are guided by rules or game-like strategy. Mills paints over political boundaries\, dates\, keys\, and names of human-made and natural landmarks- information usually based on histories of conquest and imperialism. This all disappears beneath variegated fields of painted color that gradually informs the translation of collective research and collated data into a visual language. \nInterferences features a large-scale mural by Mills and alumni Kevin Lucey ’15. The scale of Current Wars & Conflicts\, Belligerents and Supporter Data Visualized (2015) amplifies the traditional facets of Mills’ smaller works on paper. Twelve feet of gallery wall is covered in a printed decal of a world map. Originally taken from an online source\, Mills “reworked” the map in Photoshop before printing it. For instance\, the muted fields of blue indicating bodies of water\, are patterned into a two-tone blue checkerboard. Mills does this to clearly reference the strategy of seizing land as if in a game of chess. Mills blurs other indicators\, such as text\, to disconnect the viewer from language. As a result\, visual cues like shape and color become the method of identifying place. \nFor several weeks\, Mills recorded information that would eventually become the visualized data on the mural. He explored a variety of subjects: How many conflicts each country is currently active in\, the number of belligerents affiliated within each country\, death counts\, etc. With the help of Lucey\, the artists marked each country with the visual representation of their collected data. An adjacent key aides in correlating to the viewer the relationship between the more layered a mark is\, the higher numerical value associated with a country’s political state. \nSince 2009\, Mills has had solo shows at George Billis Gallery in New York\, the Chicago Cultural Center\, Sherry Frumkin Gallery in Santa Monica\, Zolla/Lieberman Gallery in Chicago\, Union College in Schenectady\, NY\, and Tianjin Academy of Fine Arts Museum in China. He has participated in several group exhibitions including: Dissident Futures at Yerba Buena Center for the Arts in San Francisco; Remix: Selections from the International College Center (traveling nationally)\, and Party Headquarters: Voting is Just the Beginning at Pratt Manhattan Gallery. Collections include the British Library\, John D. & Catherine C. MacArthur Foundation\, Chicago\, JPMorgan Chase\, New York\, Library of Congress\, Washington\, DC\, and UCLA. He is represented by George Billis Gallery in New York and Zolla/Lieberman Gallery in Chicago. Mills presently is the Director of the Bates College Museum of Art and Lecturer in the Humanities.
URL:https://www.montserrat.edu/event/dan-mills-interferencesaugust-24-september-19-2015/
LOCATION:Carol Schlosberg Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150310
DTEND;VALUE=DATE:20150405
DTSTAMP:20260423T201542
CREATED:20231220T195346Z
LAST-MODIFIED:20240108T165817Z
UID:1702-1425945600-1428191999@www.montserrat.edu
SUMMARY:Paul Roden & Valerie Rueth:Tugboat Printshop
DESCRIPTION:Artist Talk: March 13\, 11:30a-12:30p \nEvents Hotline\n978.921.4242 x3 \nGallery Hours\nMon. – Thurs. 10 am – 5 pm\nFri. 10 am – 1 pm \nMontserrat College of Art is excited to welcome Pittsburgh-based Paul Roden and Valerie Lueth\, the husband and wife team behind Tugboat Printshop. Since 2006\, Tugboat has created contemporary artwork using traditional printmaking techniques. Roden and Lueth create work that seem other-worldly. Giant moths with intricately patterned wings\, a moon against a star clustered\, intergalactic sky. Anything is possible is you can imagine it- and Tugboat delightfully does. \nHandmade from original images\, carved out of wood and printed onto paper\, Tugboat prides their practice on using age-old printmaking techniques employed by artisans for centuries. “Our exact methods have evolved through our practice\, always maintaining a high standard of quality.We rely on handicraft & artisan skill in every stage of development\,” explain Roden and Lueth. Maintaining authentic printmaking techniques in critical in Tugboat’s methodical\, multi-step process. And original image is drawn directly on birch plywood\, first in pencil and then in pen. The images are then carved in low relief and brushed with oil-based ink. With pressure\, alike a stamp\, the final print is made by running hand-cut paper through a printing press. \nEach completed print exudes energy; gestural\, vibrant moments of energy. “Valley” (2014)\, captures a liminal moment before dawn. As a hawk glides behind a “V” of birds in the lower left-hand corner\, the sky sweeps right to left\, creating concentric semi-circle formations\, each of a different color (light blue\, violet\, magenta\, yellow). Beneath the assortment of hues\, a lush valley fills the lower third of the composition. Following the same semicircle shape as the sky above\, the valley sustains life of baby seedlings and evergreens beneath the gradient sky. \nPaul Roden was born & raised in Nashville\, TN. Paul got his BFA from Washington University\, St. Louis in 2001 and\, later in 2004\, his MFA in Printmaking from the University of South Dakota\, Vermillion. Valerie Lueth is a South Dakota prairie gal\, born in Iowa and raised in rural Humboldt and Hartford\, SD. Valerie received her BFA in Printmaking from the University of South Dakota\, Vermillion in 2004.
URL:https://www.montserrat.edu/event/paul-roden-valerie-ruethtugboat-printshopmarch-10-april-4-2015/
LOCATION:Carol Schlosberg Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/Tugboat.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150305
DTEND;VALUE=DATE:20150311
DTSTAMP:20260423T201542
CREATED:20231220T195347Z
LAST-MODIFIED:20240108T165817Z
UID:1704-1425513600-1426031999@www.montserrat.edu
SUMMARY:6th Congressional District High School Art Show
DESCRIPTION:Please join us for the 2015 Congressional High School Art Competition and Exhibition sponsored by Congressman Seth Moulton. \nThe exhibition is a juried art show\, open to high school students grades 10-12 from public and private schools within the Sixth Congressional District of Massachusetts\, as well as high school students home-schooled within the district. Students from every school in the district are encouraged to participate. \nThe Closing Awards Event with Congressman Seth Moulton will take place Sat.\, March 7\, 3:30 p.m. – 5 p.m. at Montserrat College of Art’s 301 Cabot Street Gallery. \nThe Award Winners will receive varying amounts of scholarship to Montserrat’s Pre-College summer program and the U.S. Postal Service will provide students with the option of having their artwork displayed at their local post office. \nAt the conclusion of the exhibition\, the artwork of the Grand Award Winner will be sent to the U.S. Capitol Building where it will be displayed for one year with the work of other award winners from across the country. The winner from each district\, accompanied by one adult\, will be invited to attend the opening of that exhibition in Washington\, D.C. to be scheduled for a date in June. \nFor more information visit: https://www.montserrat.edu/news/HS_Congressional.php \nQuestions? \nContact: Jo Broderick \njo.broderick@montserrat.edu \n978.867.9613
URL:https://www.montserrat.edu/event/6th-congressional-district-high-school-art-showmarch-5-march-10-2015/
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/CongressionalHS_cropped.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150129
DTEND;VALUE=DATE:20150330
DTSTAMP:20260423T201542
CREATED:20231220T195348Z
LAST-MODIFIED:20240108T165817Z
UID:1706-1422489600-1427673599@www.montserrat.edu
SUMMARY:Meryl Blinder: Aquatic
DESCRIPTION:The current installation in the Frame 301 space is Meryl Blinder’s: Aquatic on view through Sunday\, March 29\, 2015. The group of five panels represents Blinder’s interest in how color and patterns excite our visual pathways\, engage our senses and can be conveyed through the traditional mediums of oil painting and pencil drawing. \nThe painted canvas acts as both a window and a surface. Oil paint\, when loosely applied\, is translucent and the layering of colors conveys depth and space and pencil lines are precise and repetitive. They contrast with the depth of oil paint ground as they delicately incise the canvas surface. Blinder utilizes Orange and blue\, which are complements and opposites: the warm and cool colors appear to advance and recede. \nDrawing and color have had an important role throughout Blinder’s career. She spent 10 years working as a colorist for the architect Michael Graves. While there\, she worked on color models and renderings. She also created patterns and color for such projects as Disney Dolphin\, Swan hotels and the Denver Public Library. As a courtroom sketch artist\, Blinder documented events for television news stations in Connecticut and New York. Her work has also been commemorative; she has exhibited 2 drawing installations at the Boston Museum of Fine Arts on World AIDS day in 2000 and 2001 and her drawing in reaction to the World Trade Center bombing is in the permanent archive of the Library of Congress. Blinder currently has a studio in Boston and teaches color and drawing at the School on Architecture and Design at Wentworth Institute in Boston.
URL:https://www.montserrat.edu/event/meryl-blinderaquaticjanuary-29-march-29-2015/
LOCATION:Frame 301 Gallery\, 301 Cabot Street\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/blinder11.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150112
DTEND;VALUE=DATE:20150329
DTSTAMP:20260423T201542
CREATED:20231220T195345Z
LAST-MODIFIED:20240108T165817Z
UID:1700-1421020800-1427587199@www.montserrat.edu
SUMMARY:Seven: A Performative Drawing Project
DESCRIPTION:Opening Reception: Every Friday 7-9pm\nHours\nMon. – Thurs. 10 am – 5 pm\nFri. 10 am – 1 pm \nEvents Hotline\n978.921.4242 x3 \nMontserrat Galleries is thrilled to announce the third iteration of SEVEN: A Performative Drawing Project from January 12 – March 28\, 2015. Over the course of seven weeks\, seven artists will be asked to ‘draw’ directed onto the seven gallery walls of Montserrat Gallery\, highlighting the performative aspects of drawing and the individual nature of each artist’s process. The gallery will operate as an open studio\, effectively putting the creative process on display. SEVEN challenges the traditional definition of ‘drawing’\, inviting artists to mark make in a variety of disciplines and considering the final drawings residue of an artistic performance. \nAugust Ventimiglia’s “Swell”\, a mural of blue chalk-snap lines resembling a wave\, will span an eighteen foot wall. Sign-painter Kenji Nakayama executes a meditative\, highly-trained craft to investigate personal and social realities. Samantha Fields deconstructs and reconstructs found textiles on a loom\, inspired by repetitive actions. Christopher Mir’s ‘automatic image collisions’ are paintings of contemporary mythologies influenced by song lyrics\, jpegs and photographs. Montserrat Alumnus Adam Miller’s commitment to comics and illustration emerge from his dynamic sequential drawings. Montserrat Faculty Mark Hoffmann incorporates influence of southern folk art and americana with a humorous and personal style. Nadia Westcott creates graphic murals with an emphasis on the ways in which public and site-specific art can empower viewer communities. \nJanuary 12 – 16: August Ventimiglia\nOpening Reception Friday\, January 16\, 7-9p \nJanuary 19 – 23: Kenji Nakayama\nOpening Reception Friday\, January 23\, 7-9p \nJanuary 26 – 30: Samantha Fields\nOpening Reception Friday\, January 30\, 7-9p \nFebruary 2 – 6: Christopher Mir\nOpening Reception Friday\, February 6\, 7-9p \nFebruary 9 – 13: Adam Miller\nOpening Reception Friday\, February 13\, 7-9p \nFebruary 16 – 20: Mark Hoffmann\nOpening Reception Friday\, February 20\, 7-9p \nFebruary 23 – 27: Nadia Westcott\nOpening Reception Thursday\, February 26\, 7-9p
URL:https://www.montserrat.edu/event/seven-a-performative-drawing-project-january-12-march-28-2015/
LOCATION:Montserrat Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/seven1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140917
DTEND;VALUE=DATE:20141214
DTSTAMP:20260423T201542
CREATED:20231220T195349Z
LAST-MODIFIED:20240108T165817Z
UID:1708-1410912000-1418515199@www.montserrat.edu
SUMMARY:Franklin Evans: juddrules
DESCRIPTION:Reception: Sept 17\, 5:00 – 8:00p \nGallery Hours\nMon. – Thurs. 10 am – 5 pm\nFri. 10 am – 1 pm \nOpen Studios: M – Th\, 11:10a – 12:30p \nEvents Hotline\n978.921.4242 x3 \nMontserrat College of Art is proud to present juddrules featuring New York-based artist Franklin Evans. While Evans considers himself first and foremost a painter his works are process-based physical environments\, surrounded by the very source materials that conceptually inform his paintings. “It’s like walking into a painting\,” describes Evans\, anticipating how Montserrat Gallery will evolve into a ‘landscape’ of ephemeral and factual materials over the course of his three week residency. \nAt first glance the space resembles a studio more than a gallery: long strands of painters tape\, unstretched canvas mounted to the walls\, books\, low resolution printed out photos and stacks of paper implies that the audience is literally “stepping into” a work in progress. Evans utilizes the gallery as a site of production\, rather than an endpoint in which show a “finished” product. By revealing cultural references influential to his work such as theoretical texts\, art historical documents\, exhibition press releases\, digital images\, etc.\, Evans creates a web of interconnected ideas. \nLeonie Bradbury\, Director and Chief Curator of Montserrat Galleries describes the artist’s work as a network. “The artwork exists in a state of flux\, continuously transitioning\, wavering between assembled and dismantled\, reconnecting and disconnecting\, configuring and reconfiguring to form moments of coalescence.” The inclusion of both found objects (tape\, photos\, books) and his fine art paintings work together to illustrate an expansive view into Evans’ history and biography as an artist. The flux between big picture thematics and personal items within the installation creates a constant loop of informing and influence. \nAnother way that Evans communicates sources of influence and inspiration is through the titles of his work. For example\, paintingassupermodel\, a recent solo-exhibition at Ameringer McEnery Yohe Gallery (New York) expanded upon three essays in Yves-Alain Bois’ book\, Painting as Model. For his exhibition at Montserrat\, Evans will work with the writings of Minimalist artist\, Donald Judd\, specifically those that were highlighted or underlined during Evans’ original reading of the text. Creating self-imposed guidelines or “rules” for which excepts to incorporate into the installation results in the title\, juddrules. \n*Franklin Evans will be in residence installing juddrules August 24 – September 16\, 2014. If you want to meet the artist or talk about his work come back during “open studio hours” Mondays-Thursdays 11:10am – 12:30pm OR contact Assistant Curator of Exhibitions\, Pam Campanaro: pamela.campanaro@montserrat.edu OR Curator of Education\, Maggie Cavallo: maggie.cavallo@montserrat.edu to schedule a visit. \nwww.franklinevans.com
URL:https://www.montserrat.edu/event/franklin-evans-juddrulessept-17-dec-13-2014/
LOCATION:Montserrat Gallery\, 23 Essex St\, Beverly\, MA\, 01915\, United States
CATEGORIES:Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://www.montserrat.edu/wp-content/uploads/2023/12/Franklin_Evans-35.jpg
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