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artscope magazine: January/February 2010
Welcome Statement: Brian Goslow, managing editor
Letters to the Editor
roundtable - Three Professionals. One Question.
cornered: a conversation with an art exhibition attendee
FEATURED ARTIST GEORGE NICK - Reflections of an impermanent world
Not Your Typical Photo Place - PHOTOPLACE GALLERY
TARO SHINODA: LUNAR REFLECTIONS
ODDLY PRETTY PAINTINGS - HANNAH COLE
TANGIBLE EXPERIENCE: BRIAN KEITH STEPHENS
Belonging and Longing - Maria Magdalena Campos-Pons: Works on Paper
FIXED CHAOS at Montserrat
SILENT CIRCLES: THE HEALING - Barbara Gagel
FEATURE - Evolution: Five Decades of Printmaking by David Driskell
FEATURE - Historic Japanese Kiri-E and Contemporary Tibetan Thangka
GOLDEN LEGACY: Original Art From 65 Years Of Golden Books
DECEIVINGLY SIMPLE - Charles Duback: Collages
EMMA AMOS: HEROES AND FOLK
GHOSTS OF THE PAST, PRESENT, AND FUTURE: ZUGUNRUHE
wanderlust - The (Right) Brainpower Triangle: The Finest Free Art in Somerville and Cambridge
community - THE KATE: A Little Gem With A Movie Star Name
industry focus - BUY WHAT YOU LOVE
education - SPACE TO DISCOVER: MASSART/FAWC LOW RESIDENCY MFA
Capsule Previews
FIXED CHAOS at Montserrat
Gina Fraone


Montserrat College of Art
23 Essex Street
Beverly, Massachusetts

Through January 23



CAN TRUE SPONTANEITY OCCUR WHILE CREATING WITHIN A MEDIUM THAT REQUIRES CAREFUL PLANNING AND NUMEROUS STEPS TO EXECUTE?



Etching, for example, is a printmaking process that takes several painstaking steps to complete: covering a metal plate with a waxy acid-resistant ground, “drawing” the image by scratching through the ground with a pointed needle, dipping the plate in acid to eat away at the exposed metal, cleaning of the remaining ground, inking the plate, etc. When does spontaneous creativity ever come into play when so much planning and technicality are required?



The answers often lie in one’s willingness to experiment while engaged in the process (“what if I were to leave the plate in the acid bath a little longer this time?”), and to relinquish some artistic control to the possibility of happy accidents (“what if I don’t entirely wipe the plate of ink before running it through the press?”).



“Fixed Chaos” is a ceramics exhibition that explores the idea that “letting go of control does not relinquish the artists’ authority of their medium, though it may appear that way at first,” according to curator Shana Dumont. “Rather, the artists have released their grip on the clarity of the work’s content,” she said. Like printmaking, ceramics is another kind of artwork that requires, as Dumont described, “a regimented set of steps in their creation; kneading, shaping, bisquing, glazing and firing at specific times and temperatures to set and transform the clay.”



For this exhibit, Dumont has assembled a very talented group of ceramicists from around the country, each with distinct approaches to the medium. In a field where superior control and perfect execution are highly prized, it is refreshing to




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