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DTSTART;VALUE=DATE:20151021
DTEND;VALUE=DATE:20151115
DTSTAMP:20260425T100741
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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20151019
DTEND;VALUE=DATE:20151115
DTSTAMP:20260425T100741
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20151005
DTEND;VALUE=DATE:20151206
DTSTAMP:20260425T100741
CREATED:20231220T195354Z
LAST-MODIFIED:20240108T165817Z
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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:20260425T100741
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150903
DTEND;VALUE=DATE:20151004
DTSTAMP:20260425T100741
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/
LOCATION:MA
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20150826
DTEND;VALUE=DATE:20150927
DTSTAMP:20260425T100741
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150824
DTEND;VALUE=DATE:20150920
DTSTAMP:20260425T100741
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150310
DTEND;VALUE=DATE:20150405
DTSTAMP:20260425T100741
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:20260425T100741
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/
LOCATION:MA
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150129
DTEND;VALUE=DATE:20150330
DTSTAMP:20260425T100741
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20150112
DTEND;VALUE=DATE:20150329
DTSTAMP:20260425T100741
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
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20140917
DTEND;VALUE=DATE:20141214
DTSTAMP:20260425T100741
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
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