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artscope magazine: May/June 2011
Welcome Statement: Brian Goslow, managing editor
cornered:A conversation with Cherie Mittenthal, executive director of the Truro Center for the Arts
Chihuly: Through the Looking Glass
John Brickels: Used Cars
Concepts in Glass
Introducing the Cambridge Arts Council
Studios Without Walls: sanc-tu-ary
Wings of Whimsy: The Butterfly Worlds of Salvador Dali, Damien Hirst and Hunt Slonem
Laurie Alpert: SNAP!
Ursula Von Rydingsvard: Sculpture 1991-2011
Angela Glajcar: Curalium
David Baggarly: Observances: Both Wild and Cultivated
Erin Murray: Bubble Wrapped World
Featured artist: Paul Chojnowski
Wanderlust: Bellows Falls, Vermont
Newport, Rhode Island
Cocktail Culture: Ritual and Invention in American Fashion, 1920-1980
A Command of Craft: The Photography of Caryn B. Davis
2011 Portland Museum of Art Biennial
Paedra Bramhall: Parallel Universes: Transfigured Collages
Jon Brooks: Collaboration with Nature
Appleton Mills: Artist Live/Work Space
Laurie Alpert: SNAP!
Franklin W. Liu


Laurie Alpert said that her current body of work, “SNAP!” was, in part, shaped and steered by a sine qua non of emotional continuum. It is an effusive artistic pendulum swung to the far end, away from the gravitas that addressed violence in biblical and cultural themes — artworks that engulfed her for the last four years.



A few years ago when Alpert saw the Dead Sea Scrolls at the Israel Museum in Jerusalem, she was instantly and fervidly moved by the religious icon: the torn edges, the decaying leather fragments, the ancient text all spoke of a mysterious beauty dating back to the beginning of mankind. While visiting the Golan Heights, she came upon a life-sized sculpture of a kneeling soldier aiming a rifle toward Syria; this image was also indelibly etched in her mind.



These images would rise along with the music her mother, a professional violinist, loved and performed, all coalescing into a restless mosaic imbued with tension between harmony and violence. Alpert said rendering this difficult, didactic personal theme consumed her.



Alpert’s current impetus is to find a counterbalance, a deliverance from her total immersion in a wrenching dialogue on conflict. Now, as though Alpert was somehow prophetic, we witness numerous nations in the Middle East region explode into violent, bloody governmental suppression of citizen protests seeking democracy and individual civil liberty rights.



Alpert divulged, with some relief, that a recently completed group portfolio project with fellow member-artists from EES Arts, a printmaker cooperative, entitled “Lighten Up,” gave her much needed fresh air and introspection.



This momentary pause is, in fact, a critical refueling moment that every serious artist should take in order to recalibrate the sights and sounds of the world, a necessary momentary pause to reinvigorate their artwork with renewed meaning.



In May, Albert’s show “SNAP!” will be presented at Boston’s Bromfield Gallery. It is a series of engaging mixed-media prints, lithography and monotype, that draw the viewers in to ponder the basics. These are forthright, lambent examinations of complex images; pure in form, articulating color, scale, depth and movement — all gleefully unhampered by any hint of political and social messages.




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